The Story Behind The Cover There's always a story behind every Al Parker illustration-and this month's cover is no exception. During our first visit with Parker, we decided to do a tongue-in-cheek take off on the boy-kissing-girl format that is so typical of fiction illustration. As you can see from the photograph on page 19, the original idea was to show the standard ((smooch"-but to show only the back of the girl's head on the front cover and the back of the boy's head on the back cover. But before we could get beyond the sketch stage, Parker saw the same idea used in an advertisement and we were ((back to the drawing board." At this point our lead time had dwindled to a few precious days and starting from scratch was out of the question. Maybe we could adapt an existing illustration? We picked the tender table scene, obtained permission from Otto Storch of McCall's to use it and then-with tongue in cheek and few deft strokes of his brush, Parker went to work and changed it from a typical, boy-girl situation to a roguish boy-girl-boy triangle and threw in an eleven of clubs just because this is the November issue! Our thanks to Otto Storch for his cooperation and to Al Parker for his inspiration in making this the first ((created- while- you- wait" cover in magazine history!
Number 4 • November 1959
• 11
2
Editorial
3
Letters to the editor
5
Creativity: part 1, Earl Thollander's sketches in Russia
10
Creativity: part 2, Rt~sian (commercial?) art
14
Color: regular color-guide chart, red-yellow-blue-black
17
Typography: Copperplate Gothic
19
Finish: a visit with Al Parker
28
Markets: magazine illustration, "breaking in"
35
Exhibit: reproductions of current and choice
Editorial Correspondence : No responsibility is assumed by the editors or publisher for unsolicited contributions. Manu· scripts or other material should be accompanied by self· addressed, stamped envelope.
51
Morgue: children at play
Advertising Correspondence : Requests for information or other correspondence concerning advertising may be ad· dressed to David Hartman, Advertising Manager, The Journal of Commercial Art, 15 W. 44th Street, New York 36, N. Y., or to Advertising Department, The Journal of Commercial Art, 809 San Antonio Road, Palo Alto, California.
57
Management: a morgue filing system
61
Materials: artists' materials "work-tested" by CA
64
Humor: Christmas cards for clients by Jerry Marcus
66
On the Board: shop talk, advertisers index
The Journal of Commercial Art is published monthly by Coyne & Blanchard, Inc. at 809 San Antonio Road , Palo Alto , California . Subscription rates : U. S. A., possessions and Canada, single copy, $1.50, one year, $12 .00; Pan American, one year, $14.00; foreign, one year, $18 .00 . Copyright 1959 by Coyne & Blanchard , Inc. *Trademark registered. Second· class postage paid at Palo Alto, California. Postmaster: Please send 3579 to 809 San Antonio Road, Palo Alto , California. Change of Address: Notification should be sent to The Journal of Commercial Art, 809 San Antonio Road , Palo Alto , California, at least 45 days prior to effect date. Send both new and old address. If possible, use imprint from CA mailing envelope for old address.
Editorial The Concept Robert Blanchard, publisher Richard Coyne, art director Jack Herrick, editor
The Graphics Ralph Hudgins, assistant art director Jay McKendry, typographer Bert Bryce, associate typographer Clarence Philbrook, lithographer Glen Burroughs, litho cameraman Henri Luyckx, associate lithographer
Contributing Editors William Condit, Denver
To paraphrase a famous deodorant's claim to fame((If You're Only Creating Art, You're Only One-Third Safe." Because creating a piece of commercial art is only the second responsibility you have in the three-stage job of being an effective designer, layout artist, illustrator and perhaps even a paste-up or mechanical artist. Your first responsibility is to make sure you know what the problem is. Not just (( ... here's all the art, it's to be a half-page bleed, 2-color job with this headline." Make like a newspaper reporter-get the who, what, where, when, why and how of the assignment, too. Assuming you have all the facts, make sure your finished job does what it is supposed to do-and you know why.
Wendell Davenport, Honolulu Susan Karstrom, Chicago Tobias Moss, New York James Peck, Seattle Harold Quiram, Dallas Irwin Caplan, humor editor Graphis 3, photography editors Almonte Bailey, Jack Fields and Bill Hewitt
Advertising David Hartman, advertising manager
The Office
Finally, make sure the people who have the power to accept or reject it know why, too. If possible, be there yourself when it is presented. If it goes over like Disneyland it's always nice to hear. If it is met with stoney silence or criticism, don't do what artists are expected to do (get temperamental)- but stand up and sell it. Tell ccthem" why you did it this way-why it is good (they might not know why they don't like it, and all they need is a reason why they should!) We rather doubt that when Tom couldn't sell his electric light bulb the first time out, he went back and designed a jazzed-up candle or gas light. And we're sure the same determination went into getting everything from the steamboat to the hula hoop accepted. A basic ingredient in selling is belief in the product. If you believe in what you did-sell it.
Joan Buechner, circulation Van Whitman, assistant to the publisher Jan Williams, circulation / advertising
The Cover AI Parker
CA, November '59
LETTERS TO THE EDITOR
FINEST SINGLE UNIT
ART PROJECTOR and VISUALIZER
Cheaper by the the dozen?
We are very much impressed! All of the artists in our Engineering Presentation group are unanimous in their acclaim for CA. So much so, in fact, that we would like to know if you are offering any group subscription rates. Out of some forty artists and writers there are a number who would like to be charter subscribers of CA. Thank you for your consideration. Good Luck! R. Beshore Goodyear Aircraft Corp. Litchfield Park, Arizona
and
~
EDITOR'S NOTE: In answer to Mr. Beshore and many other requests for a company group rate for CA- herewith our new Company Group Subscription Offer, effective November 1, 1959 ... $10 per year year for each subscription providing: 1. There are 5 or more subscriptions at one time. 2. All subscriptions are billed to one source.
Copies can be mailed in bulk to one name and address; or if individual mailing is desired, a subscription card will be .needed for each member of the group . Gadzooks!
3
•
Thanks so much for your tremendous magazine. As a newcomer to the commercial art field, well the sidelines anyway - I greatly appreciate the helpful hints, ideas etc., and congratulate you for carrying them out so beautifully. One point, though: ((Seattle Is Beauty" (September issue) but GADZOOKS, you'd never know it from that map! Nan Davis Custom Cartography
• Not like the old days
A splendid magazine. But you can't be too careful. I'm an old timer, also terribly exacting. Three Errors (September issue) - pages: 2, 17 and 60. I'm not a subscriber. .. A friend got a copy (of CA) and gave it to me. Good luck, but give a bit of space to old timers, too, they were good, too, Yes? No? Ed Urdang Forest Hills, N.Y.
ask for BAINBRIDGE insist on BAINBRIDGE accept only BAINBRIDGE Leading artists and advancing students agree on Bainbridge #80 Illustration Board. They insist nothing else will do. Its quality and dependability assure you of the same perfect satisfaction, too. It never lets you down. In the long run, the best . is the most economical.
EDITOR'S NOTE: Not "too"-you missed pages 10 and 57!
•
CHARLES T. BAINBRIDGE'S SONS, 12 Cumberland Street, Brooklyn 5, N. Y •
CA, November '59
And the CAndles, too!
Gentlemen: CA takes the CAke! Here's wishing you every continued success. Fred E. Denzler Fred E. Denzler Designers Chicago, Illinois
• We're for raises!
... Since coming into the office, CA has traveled farther between desks, drawing boards and private offices than it did by mail to get here from California. At the moment the battered remains are on my desk cowering under a sheet of drawing paper, where I shall protect it until the noon hour. ... With the office budget limiting this office to one copy, this is not very satisfactory for the fellow on the end of the line, who has to content himself with the battered cover, and part of the editorial page. As soon as we learn the arrival date of issue three, we shall pull straws to see who accompanies the mail boy to the post office. As soon as the unanimous request goes through for a pay increase of $12 per year, by all members of this office, you can expect a rash of subscriptions to the home addresses of the staff. Howard A. Berry Advertising & Layout New Brunswick Travel Bureau Fredericton, N.S., Canada
4
• Togetherness
... I noticed that your New York office is practically next door to Art Direction's; I hope there is a window, or at least a small crack in the wall between the two, allowing an exchange of criticism and a cooperative movement toward upgrading and serving the graphic arts. From present accomplishments, both of you are welcome m this office every month. Arthur L. Cole Graphics Limited Los Angeles, Calif
Shading Screens . . . for crisp, clean line reproduction. Save! Eliminate the cost of screen negatives. Pre-sensitized acetate sheets are available in 32 V2, 42%, 50, 60, 65 and 85 line screen in tonal values from 10% to 80% in 1 0% tonal gradations. PARA-TONE products-the most imitated reproductive art vehicle, provide cost-saving accuracy for all graphic and engineering mediums.
See your local art dealer or write toPARA-TONE INCORPORATED
EDITOR'S NOTE: Being at Nos. 15 and 19 West 44th St., New York, respectively, does make CA and AD neighbors. But CA 's office is an Advertising Sales office only and sales people being what they are, and competition being what it is, we are afraid that other than a warm hello in the morning and careful scrutiny of each other's ad pages, the relationship falls into the same category as: "Does Macy's tell Gimbel's?" But we do J·oin AD's editorial staff in a common desire to ''upgrade'' the world of graphic arts!
512 W. Burlington St.
•
LaGrange, Illinois
CA, November '59
(3. CREATIVITY • • •
have pen, Will t~avel" Earl Thollander Reports on Russia
5
CA, November '59
€aRt thottanb€R R€PORtS on RUSSia (continued)
some on-the-spot sketches, the stories behind them and some examples of current Russian commercial art from Earl Thollander' s first foreign "assignment" as an artist-reporter
6
About the time the U.S. was making plans to impress one of the more articulate of the Russian tourists, an American tourist from San Francisco had quietly slipped backstage behind the curtain and was jotting down his impressions of Russia. In this case the ((jotting" took the form of 225 drawings from the famous pen of Earl Thollander on his recent, self-generated ((assignment" to Europe. Already established as an advertising and editorial illustrator and a fine arts painter, Thollander spent three months in Europe developing a format and ((feel" for artist-reporting. In the course of his trip through nine countries, Thollander developed his ((Things, People and Events" format for bringing back a visual insight into the countries he visited. The Thollander format is quite simple. It begins when he sets up his portable seat and starts to draw Things (buildings, interesting scenes, landmarks and so on) -the curiosity factor automatically pulls in the People like a magnet-and, with enough People, he inevitably finds himself involved in Events that give him an informal, behind-the-scenes view of the habits, living conditions and thinking of a country. Thollander also discovered that as an artist-tourist, he was held in much more awe by the populace and literally ((drew" more people than the now-common photographer-tourist. He capitalized on this by growing a beard and dressing very informally (note photograph on title page by another member of Thollander's group, Charles Bush). Typical examples of the Thollander Approach at work are told in the artist's own words: ((For the church sketch I sat on my portable folding stool-seat and started to draw this church in Leningrad. At one time it was quite an imposing structure but is now abandoned -except for a telephone booth on one corner and a Kiosk (beer stand) in front. A crowd gathered, and I was asked questions ... was I Czech, German, Scotch or Finnish. (Nyet,' I said (using my four-month University of California Extension Russian) ... (ya koodoshneek ezz sahn frahnseeska' ... translation: (I am an artist from San Francisco.' One fellow (I think he had just left the beer stand) said, (I am an artist, too,' then grabbed my arm and insisted I accompany him and two friends to his apartment to see his work. His apartment turned out to be a tiny, stuffy, overcrowded one room. We ate tomatoes, bread,
brains and drank tumblers of vodka in one gulp (except me). I had learned some Russian toasts, which I used, and now a new one cropped up ... (meeroo meer' ... peace to the world. One of them hugged me and gave me a kiss on the cheek. I couldn't drink all that vodka, and, after looking at the artist's work (fairly competent, academicstyle drawings and paintings), they accompanied me to the street and insisted I drink some beer since I didn't seem to care for their vodka; but I told them I had to catch a train to Moscow. I wanted to get this drawing back to my hotel room safely."
CA, November '59
7
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:------
. . . .. . .
CA. November '59
eaRl thollanb€R R€PORtS on RUSSia (continued)
Thollander's sketch pad gave him practically a carte blanche entree to wherever he wanted to go; and he took full advantage of it. Sometimes as part of a guided tour, sometimes on his own, Thollander stopped whenever he saw a subject that interested him. The courtroom scene was sketched during the trial of a young man involved in an auto accident. Describing the <<back alley" scene with little Olya in the foreground, Thollander says: «I took a ride to the end of a bus line where streets are dirt and old wooden houses and rundown churches abound (the Cybop in the background). I sat down to draw, and people began talking to me. I gave them some reproductions of San Francisco scenes. I was «decorated" with a head of Lenin, and another chap brought out a number of photos he had taken. I saw a guitar key in his
photo box and asked if he played the guitar. Soon two guitars appeared, and I drew the rest of this scene to Russian guitar accompaniment. I gave little Olya a gift (a magnet), but she positively refused to accept it. A smaller girl was urged to accept it by one of the adults, and she said, <spa-see-ba' (thank you) in a tiny voice. The writing across the sky in the drawing is a friendly greeting in Russian and was added by one of the onlookers. The fellow who wrote it dropped two big blobs of ink on the paper, and the people watching gasped and scolded him, but I quickly licked my finger and smeared the spots into doud shapes and added the funny sun for the benefit of the children. As I left, the group joined in singing a farewell song and waved until I had turned the corner. I must say that drawing on the spot is rugged, tiring and demanding, yet paradoxically, an absorbing and sometimes inexplicably fulfilling experience."
I
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._. - = """
.--·..
- ....... "" .
CA. November '59
I
9
JUDGE 6'~ -
"'IJ!ifA:flikff' vsse~~~ ~ -6 .··fli'/E ~N /NJVKEP
CA, November '59
CREATIVITY: PART 2
Russ1an (commeRcial?) aRt some "best-of-show" examples of what Earl Thollander found in the way of commercial art on his trip to Russia.
During a last-minute phone call to Thollander before he left for Russia last summer, we casually asked him to bring back some good examples of commercial art. The minute we hung up we realized our folly. We might as well have asked him to bring back some sample ballots from the last election or the latest quotations from the Moscow stock exchange. There are basically only three things in Russia that are <<advertised" -government-controlled movies, government-controlled lotteries and government-controlled government. The only other form of ((commercial art" is on the labels of government-controlled consumer essentials. But with an intrepid determination, Thollander did manage to collect some examples of the closest thing he could find to commercial art. He states:
<Ogonyok,' the Russian <Life' magazine; the biggest paper in Moscow is usually four to eight pages with an occasional ad on the current lottery. Having all factories under the same ownership must be a discouraging prospect to any up-and-coming Muscovian ad man. He would do better to concentrate upon the designing of posters urging workers of soap factory No.1 to outproduce soap factory No.2, and let it go at that. It's all the same suds. I found extremely few examples which would indicate any degree of design awareness in Russian advertising art. More contact with the West might give the better-design bug to Russian commercial artists-certainly the October Revolution was little help."
<<Advertising art in Russia is hardly apparent. For example, there is not an advertisement to be found in
•
10
A soft drink label-this one is for an uncarbonated citrus beverage-as with most labels, the "copy" is devoted mainly to identifying the production plant.
A cigarette package (box )- this is the top of the box and is a typical example of the primitive, folk-art found on so many labels, packages and wrappers.
(IJ)],'J!I
An automobile brochure-this version was specially prepared for the Brussels Fair and is in English-this is the Russian luxury car with obvious attempts at copying both the car design (Packard Clipper) and the literature.
CA, November '59
Two record envelopes- one typifying the folk-a'rt approach, the other an attempt at design-the contents ofthe record are told on the record label- the copy on the back is the same on both envelopes.
A soap wrapper-nothing fancy, nothing elaborate, no pitch-'-just soap wrapped in inexpensive paper. CA, November '59
Creativity (cont'd.)
MHHHCTEPCTBO TOPrOB.nH C C C P
r JlABM~COPbi6TOPr MOCXnAJlOKOM611HAT HhtA.I1. MHKORHA 12
rOtT 119 · 52
A beer bottle- they got a little fancy on this one, repeating the circle logo to create a nice effect -(1-gain, the copy identifies the plant.
Two chocolate bar wrappers - another example of ''the old and the new"- chocolate is expensive, according to Thollander, with about half as much chocolate as an American bar, and costing twice as much. CA, November '59
A government-sponsored poster-in these there appears to be some spark of competitiveness although the themes are fairly repetitive- Thollander' s University of California Extension Russian translation (from top to bottom): ''Communist Party of the Soviet Union-(the initial of the youth organization ?) -Always Together, Soviet Youth and Communism" Credits: Artist - N. Veegeelyanskaya Client-there's only one
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• CA, November '59
10%
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DUOTONES 50%
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CA. November '59
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TRIPLE TONES 10%
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CA
COLOR CHART COPYRIGHT 1 959
BY THE JOURNAL OF COMMERCIAL ART
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PRINTED
CA. November '59
BY LITHOGRAPHY USING 150- LINE
LEVY SCREEN .
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CA , November '59
m
TYPOGRAPHY
"Contemporary" suggests a fad ... what's currently in vogue. Copperplate Gothic was contemporary when it arrived on the scene over fifty years ago and has remained continuously contemporary ever since. CA takes a look at this all-time best-selling type and offers a few reasons why.
COPPERPLATE GOTHIC The major reason for this face's constant popularity is its versatility. It is compatible with almost any type face in combinations. Used in different ways, it has the ability to suggest all things to all people. For that ttsolid feeling," Copperplate has been accepted as meaning longevity, stability and success by nearly every bank, investment house and law firm. Yet, it is also used in the ttmodern, progressive corporate images" of a great number of firms, notably the rocket and missile industry. Besides its compatibility and versatility, Copperplate offers perhaps the best reproducibility of any type face. It is a clean design, and the fine serifs are inconspicuous, especially in reduction, but hold a sharp feeling to the corners often lost in sans serif faces. It stands up well under the most difficult conditions to which type can be subjected, as shown below in this excerpt from ((Numbers" ( CA, August 1959). This makes Copperplate an excellent choice for work on charts, slides and films.
$123456
$1234.56
$123456
$123456
$123456 $123456 $123456
$123456 $123456
$123456
$123456
$123456
$123456
$123456
$123456
$123456
$123456
17
$123456
$123456
$123456
$123456
$123456 $123456
Originally commanded by Queen Victoria for her own use, and since recognized as the world 's finest water color brushes. Made by craftsmen for the craftsman: commercial artist-illustratorretoucher- eng rover.
$123456 $123456
902 Broadway, New York 10, N. Y.
$123456
$123456
$123456
Copperplate Light Extended (second from bottom)shown in reverse, reduced one-third, overprinting a 30% tone, and reduced one-half.
Canadian Agents: THE HUGHES & OWENS CO., LTD. Head office: MONTREAL California Distributors: THE SCHWABACHER·FREY CO., SAN FRANCISCO See your local dealer!
CA, November '59
Typography (cont'd.) Copperplate Heavy is often seen in specimen books of smaller printers and typographers as the only face shown. As demonstrated below, the Copperplate family offers a complete range. One problem is in the specification. Copperplate is cut on only four body sizes. Each of these has a variety of face sizes on the same body, usually: 6 pt., four sizes; 12 pt., four sizes; 18 pt., two sizes; and 24 pt., 2 sizes. A specification of just 12 pt. Copperplate (it's been done) leaves the typographer with the following choices:
This variety of sizes on the same body does offer the easy combination of caps and small caps, e.g.
12 POINT NO. 1 LIGHT CONDENSED
COPPERPLATE HEAVY CoPPERPLATE
12 POINT NO. 2 LIGHT CONDENSED
The story of Copperplate is somewhat vague, but from our best available information it goes something like this: Copperplate Gothic is the descendent of a variety of ((lining card gothics" hand cut by a number of scattered casting foundries. These in tum were descendents or copies of the «engravers block letters." These faces were commonly used for business cards, invitations, etc, Around 1900, Frederic W. Goudy gathered a number of these faces into a sort of composite and developed the design for the medium weight (heavy) of Copperplate which served as a prototype for the rest of the family. The other variations were developed soon afterward.
12 POINT NO. 3 LIGHT CONDENSED
12 POINT NO. 4 LIGHT CONDEN 12 POINT NO. 1 LIGHT
12 POINT NO. 2 LIGHT
12 POINT NO. 3 LIGHT _
12 POINT NO. 4 LIGHT
12 POINT NO. 1 BOLD
12 POINT NO. 2
BOLD
12 POINT NO. 3
BOLD
12 POINT NO. 4
BOLD
12 POINT NO. 1 LIGHT EXTENDED
12 POINT NO. 2 18
0
LIGHT EXTE
12 POINT NO. 3
LIGHT
12 POINT NO. 4
LIT
MENU SOUP
12 POINT NO. 1 HEAVY CONDENSED
CONSOMME ROYAL SAL TEO CRACKERS
12 POINT NO. 2 HEAVY CONDENSED
FISH
12 POINT NO. 3 HEAVY CONDENSED
MOUNTAIN BROOK TROUT OLI V ES
12 POINT NO. 4 HEAVY COND
LETTUCE
CELERY
BAKED BLUE FISH GREEN CORN
BAKED SPANISH MACKEREL
12 POINT NO. 1 HEAVY
BRUSSELS SPROUTS
12 POINT NO. 2 HEAVY
12 POINT NO. 3
ENTREES RO AST SPRING LAMB
HEAVY
12 POINT NO. 4
BAKED POTATOES
HEAVY
ROAST CANVAS-BACK DUCK CRANBERRY SAUCE
CRABAPPLE JEL L Y
DESSERT
12 POINT NO. 1 HEAVY EXTENDE
PINEAPPLE ICE CREAM LADY FINGERS
12
POINT
12
POINT
12
POINT
NO.
2
NO.
HEAVY
3
NO.
EX
4
CIGARS
HE
ITALIC
12 POINT NO. 3
TEA
HEAVY
12 POINT NO. 1 ITALIC
12 POINT NO. 2
COFFEE
A sample of Copperplate typography reproduced from American Type Founders' 1912 Specimen Book. Notice the similarity between Copperplate E xtended and the "modern" extended faces so popular in recent years.
ITALIC
•
12 POINT NO. 4 ITALIC CA , November '5 I
THE MANY CHALLENGES OF
~ the biggest of which is trying not to be like Al Parker
In keeping with AI Parker's tongue-in-cheek parody of magazine illustrations on this month's cover, we decided to play along with a bit of satire on the uslick" magazine format, too. Herewith, the standards: a provocative title; a ((blurb" that leads you into the story; an illustration that doesn't give away the story but helps to sell it. All of which is to entice you into coming along with us to the delightful Carmel Valley and a visit with AI Parker-the dean of magazine illustrators.
THE MANY CHALLENGES OF he had spent 25 years one jump ahead . .. could he continue to meet the challenge?
Everybody knew that today was the day. The advance copies of the ((slick" magazines would be in the morning mail. In Westport, Connecticut, they would be stuffed into red, rural-looking mailboxes, most of them with the artist's famous signature painted on the side. In Greenwich Village they would be put in ventilated boxes in the foyer under a calling card with the artist's signature reproduced. In Carmel they would be deposited in post office boxes with just numbers. But they would not stay in any of these boxes very long. For today was the day to see if ((he" had done it again. In Westport, over his third cup of coffee, one of the younger members of the elite set of magazine illustrators was thumbing through a famous women's magazine. His wife was doing the morning dishes. Casually, (she
knew she couldn't appear too eager) she asked, ((What do the illustrators look like this month, honey?" Without looking up he reached for his cup and with an almost indiscernible sigh answered, ((They all look like Parker except Parker. This time he's used method #2." In a coffee house in the Village, two artists were staring at an illustration in another famous women's magazine. HI noticed he did it again this month," one stated. ((He sure did," replied the second, Hand he used method #3 this time". In Carmel he was greeted by one of his neighbors and contemporaries as he entered the post office. ((I noticed you did it again," commented the neighbor. ((Although you fooled me, you used method #1 this time." Parker smiled and nodded his head to acknowledge the compliment. He had met the challenges again.
• • • 20
Behind the facetiousness of the travesty above is a true story-and it is about the many challenges of Al Parkerthe enigma of being caught in his own web of popularity and originality. For during the past quarter of a century, Parker has been responsible for more trends and new approaches to illustration than perhaps any other single person. Most of these trends have become, and still are, the current styles of many artists. And once in a while Parker himself uses them. But the constant challenge of wanting to do something a little better, try something new, develop a fresh approach has always led the instigator of these trends to new fields. Indeed, by the time he is just beginning to become familiar with, and enjoy a new technique or approach, Parker begins to see it in use elsewhere and is off again on a new idea. The fact that he's still trying ((not to look like Parker" is the single, biggest reason why Al Parker is still at the top of a very competitive profession, why one magazine art director has said, ((His next picture is never the same as his last one." But how does he do it? How does Al Parker manage to keep one jump ahead of the field? This was the intent of our visit with him in his Carmel Valley studio. In the above burlesqued fiction we intimated that there are three methods Parker uses to maintain his originality. We ran into the first the minute we stepped into his specially-built studio in the ((heart" of downtown Carmel Valley (seven stores, two gas stations, a post office
and two restaurants). Lining the entrance hall to his studio are rows and rows of file drawers. This could be called ((Method# 1" -or Parker's painstaking attention to detail and authenticity, which he accomplishes by maintaining one of the largest research (scrap/ morgue) files in the country. In it you can find reference material on everything from 1911 aprons and 1920 boys' bathing suits (blue serge) to gold earrings worn by men in Cyprus in 600 B.C. (although Parker admits, assignments for illustrating stories written about men in Cyprus in 600 B.C. are a bit rare). His passion for authenticity carries Parker beyond the normal detail of background and props. It carries into the complete mood of the story or the situation he is illustrating. For an illustration of a little boy seeing his first circus, Parker spent countless hours finding a model who had never seen a circus. He then seated the little boy on a bench beside a projector loaded with actual circus film. Armed with his ((Rolle," he located himself on the floor next to the screen facing the boy and proceeded to shoot a roll of magnificent expressions and mannerisms. An illustration of a girl on a witness stand in a Canadian courtroom is another example of Parker's meticulousness for authenticity in mood. Although he was showing only a close-up of the girl and none of the background was to be illustrated, Parker had a photographer in Toronto make several shots of the inside of a Toronto courtroom to capture the feeling. The second thing you notice in Parker's studio are examples of, and the materials for, illustrations in every type of media. In our little saga above, this is ((Method #2" to stay ahead of the pack. For Parker has never stayed
CA, November '59
21
<<married" to one medium or technique. In the early thirties when he first started submitting material to the magazines, most illustrators were content to do their illustrations in ink or oil, used the same style in all their work. But Parker experimented, tried new mediums and constantly used new techniques with these mediums. His first fashion assignment for Ladies Home Journal called for a polka dot dress. He did the outline of the dress then used a nail punch for the dots and rubbed colored pencil over the drawing- presto, white dots. Not unusual by today's standards, perhaps, but in the thirties this was «way out," or as one director puts it, bizarre. But Parker kept right on being bizarre. Through continuous experimentation Parker now has at his command a complete range of media- pencil, tempera, oil, wash, water colors, pen and ink, air brushes, dry brush, pastel, colored ink, charcoal, crayons and gouache. And he works not only on paper and canvas, but on wood, gesso panels, glass and fabrics. The third and perhaps the most important Parker hallmark («Method # 3 ") is his abhorrence of the usual, the trite, the stale. This desire to always go an extra step to do the unusual (but plausible) is the one thing that has always distinguished Parker from his followers. For although others may use similar media or techniques inaugurated by Parker, nobody can imitate the unique Parker thinking. And this thinking usually results in that intangible something that always says Al Parker. Sometimes the Parker thinking shows up in the technique or medium, as demonstrated in the illustration he
did for a story of a young hermit who lived at the base of a redwood tree-he did it in oils on plywood and let the natural wood show through the bare portion of the man's legs. Sometimes the «Parkerism" is an object dropped into the illustration. He calls them stoppers, eye catchers to make the reader stop and pause a bit. One of the most famous examples (it won an Art Director's award in 1949) is his illustration for Ladies Home Journal of a Chinese girl taking a bath in a wooden tub. Perched on the edge of the tub is a very friendly praying mantis who has nothing whatsoever to do with the story or situation, but was added to «give a note of interest." In a circus story for Cosmopolitan, one of the situations to be illustrated called for a girl acrobat to be shown knitting a sweater for a seal (this is what the editor wanted). Not wanting to do the «tiresomely conventional," a girl sitting with knitting needles, Parker finally hit upon the idea of having her bending over the sweater stretched out on the floor, checking its length with a tape measure. But whatever form it takes - technique, stopper, medium or an unusual situation - the Parker «touch" is always the result of hours of thinking, of research, of getting in the mood of the story. One of the most outstanding examples of Parker not being Parker, or being all kinds of Parkers all at once, is found on the following two pages. Presented as a «guessing game" for the readers of Cosmopolitan, Al Parker illustrated all fiv e fiction stories with a different technique, each under an assumed name.
CA. November '59
THE MANY CHALLENGES OF
" ... For The First Time In Magazine History . .. " These were the words used by the editor of Cosmopolitan magazine in the September, 1954, issue to introduce their ~\l\rtist X" guessing game with the readers. uFor the first time in magazine history, every story in a magazine has been illustrated by the same artist ... who do you think Artist X really is?" And so Al Parker made another landmark in the magazine illustration field by doing the illustrations for five stories in five different styles.
22
She was ~ girl and he knew all about her, just as the whole town did. But because he loved her, he had to make sure . .. A SHORT SHORT STORY BY MARY KNOWLES tn Fo.tcr .. , on tht bu~ that would take hiM to St . Ann'• fi MP•tal. Hr "" te,.mteen and tharply drcutd. •• bdin ed lht ocut~iun, in na•y· bllle jac;Lct and pay .~<lad.JI, the narTOW red knit tie lnicht aaaintt tl~ t•laid thirt. Hit abort-cropped blond. hair wn damp from hl1 ree~t lltower, hit fact tmooth .nd de.n. He beiJ the •hlu:Aiii.IU!:·wra pped pft fOJ Syl•61.'~:~ baby
G
All day long he'd known it would happen-he'd be fired. But worse than that, he realized, he'd have to face his wife. That's when his impoaaible plan first unfolded BY RI C HARD YAT ES
F
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CA, N qvember '59
iDp oaParlt,andbe~berod a yearap.AWU18
tpri• 1•i1ht. Helud been U•reen bel Syl"ia fihaoa, aJtd ~had ta~tll her to the jt111iot prom. It ••• iatermiMioe., and the l)'m. deconted with P~-ptf" aprinJ flow~n. wu hOI'aod~uly,SyM•Irlhbcdboldoflut.._nd,laqhin"
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lovely do-gooder like AnNel ill poison to cynical" men. Sire could melt the Devil himself into a puddle of loving-kindneBB
W
hile Smith wu 11tlll In Kon:a. Henry wrote him about Ancel. "No wonderthe'acalled An· ad." he wrote fatuoudy. "'She limply livettodolo"elythinc:aforiN'Ople." Thia went on for pa.-, and Smith thousht d~ally, Probably buck teeth and a awiftl jaw, Wbala py ,bra11 1botn hM airl 'a cA.nJCier . . He felt ¥try torr)' for Hean-. But when he Jot home and rated IUa
a.lr.eptiul ere. ~»poa beT .:naeUc lo\oeU~helol..idJnOro~elytohl.ra.elf,Well,
ahe'aprobeblydlllllh,tMa. B1olt durinrlhe U• hour iD the ex· d u.i,-ec:lub .he ud Her~ry took him to on hbintnight b&ck In New York, he had toadmitAnael bad braina. Shewu 'tudyinc joumalltm at Columbia, and )OUC:OU id~CCthe'dbeatueeetot~.
Hentr'a jutt • &q.6nrer uerelte for that 'daml!, Smhh Nid 1.0 hlnl.eelt He'a a<»natoneedmyhdptoptbu, Butbewua'tMireth.iawuth.e&irl fur Heni'J'. In 1.-:=t, he wa~~r~'taure .be ••~ theakl loran ybody.Gottobanaoato not Jiltina her, he ,warned bim..,lf. A
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Henrt He.audiedhel'utefullydlltincdinner, tnd ... ~abe Mid, .. C..paain?" u the mutkMIIrted, be.twok bhbMd. .. You kid• dtnce." he N.id. "Jut alt· tina hue lr.nowinc It'• rul I• cood enou&h lor me." The ftct ·wu, be needed the dlstt..cc totnalyseber. Oncetheaot . inlo hi» trmttnd look~ uptt him,hemi1h1 br uh.e.lpk-tl Ht.nrJ.
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BY RA. Y BRADBURY l was a warm July afternoon in the iee-ctearn parlor of Green To·wn, Illinois, when William Forrester drove up in his dusty Ford and stepped in hom the blazing street to ask ·for some extraordinary ice cream. Seated at the cool marble fountain, in the· arotto of eoda odon, in the smell of clean &tone and vanilla coldnessy he asked for a recitation of unusual ices, and when the fountain man said, .cOldfashioned )jme~vaniJJa ice-""That's. it!" said William Forrester: While. waiting1 he whirled slowly on the rotating stool. The
I
""'
79
CA, November '59
THE MANY CHALLENGES
OF
P a rt 2 -some more Parker "challenges." Specifically, the early days of his rise to fame. Told in his own words as excerpted from the introduction pages of Parker's Famous Artists fllustration course.
24
About his first artwork- Parker's first venture into art was an adjunct to his first love, the theatre ... <<My earliest art work consisted of painting wooden clothes pins to resemble movie stars, fictional heroes and vaudeville comedians. There were about a dozen characters, all of them named. The husky one was Tarzan, a small spry one was Douglas Fairbanks, Sr. I called an odd-shaped one «you know" after a vaudeville comedian who gave that answer each time the straight man asked his name. «This routine simply rolled me in the aisles, and inspired me to build a cardboard box theater, complete with marquee. Later the theater became part of a miniature city, New York's Chinatown. I had never been there, but the movies plus a little imagination supplied all the details I needed. I was really proud of a lamp post labeled Pell and Mott Streets which I believed gave the town an air of authenticity. «I abandoned architecture and returned to art when I began illustrating the lyrics of Mother's player piano rolls. These she would proudly play while guests peered over her shoulder to watch my pictures go by. At mother's prompting, I would reluctantly accompany the music by dancing a jig which I picked up from a vaudeville act." About his first fiction illustration- Having outgrown his make-believe theatre, Parker moved on to bigger and better things, namely crime magazines ... «By the time I was twelve, I had outgrown homemade toys and had read all the crime magazines which Uncle Ed kept beside his bed. I decided I could write detective fiction of my own and illustrate it too. Two of the fruits of my labors were <The Toe-less Foot Man' and <The Ghost of the House of Amberly.' Both enjoyed wide readership within the family circle." About his early interest in jazz-Still an aficionado (he has a set of drums and is a patron of the Monterey Jazz Festival), Parker first discovered jazz at age 16 in St. Louis; was inspired by Bix Biederbecke and Frankie Trambauer to become a musician ...
«My parents were delighted by this interest in music and one day I came home from school to find a shining silver sax in a blue velvet-lined case. My joy knew no bounds. I practiced constantly and everyone was pleased except Grandpa, who did not like the whole idea. But then, Grandpa did not like the girls with greasy eyelids and pouting lips which I drew. Uncle Ed did, though. Uncle Ed could just see me designing sheet music covers. Maybe some day there would also be a photograph of me on the cover holding the sax. This never happened and Uncle Ed felt pretty badly about it. «Having conquered the sax, I decided to organize an orchestra to play on the steamboats. This turned out to be a summer vacation with pay. The summer of 1923 found me on the steamer <Cape Girardeau' playing <Somebody Stole My Gal,' <Linger a While,' <you Gotta See Mama Every Night' and other hits of the day. We had a piano, a drum, a violin and the sax. It all sounded wonderful to me. To scrape up an acquaintance with a pretty girl, I would suggest that she pose for a portrait sketch. This, I thought, was living. And looking back, I still think so."
About his return to art- Parker's Grandpa Bender was a Mississippi steamboat captain and was more impressed with his grandson's art talent than his music ability, thus . .. «Grandpa was quite upset about this music foolishness and decided something should be done about an art career. He presented me with a year's tuition in the St. Louis School of Fine Arts, Washington University. But his gift failed to squelch all the music. During summer vacations
CA. Nov ember '59
KINFOLK Starting with a rough for composition and placement, Parker takes you through the various stages of creating his award-winning illustration that appeared in Ladies Home Journal. Photos courtesy Famous Artists Schools.
from art school, I continued to play on the steamboats, 'Alabama,' 'Keokuk,' 'Belle of Calhoun' and the 'Golden Eagle' which was my favorite and the last of this group to sink. The 'Cape Girardeau' is still afloat under the name of 'Gordon C. Greene.' Charles Eubanks, a buddy who played the drums, and I organized an orchestra and combined our names to give it the title of 'Parbanks' orchestra. Until 1930, the Parbanks played for proms, night clubs, country clubs, dime-a-dance halls and one-night stands in Illinois and Iowa. "Meanwhile, I discovered that all my fellow art students in school could draw far better than I could. I would have to bear down to prove myself to Grandpa and the folks. Bear down I did. I gave my all to art to the delight of everyone except my brother Edward, who could not understand why anyone would be content to study art when there were such sports as baseball and ice hockey waiting to be played. I had never been much interested in sports. "I had an awful time drawing hands and an even worse time with composition. My idea of composition was a girl sitting and a man standing by a window with a vase of flowers or a lamp. Variations of this theme kept popping up constantly on my charcoal paper."
About his first commercial art job- After a whirlwind courtship (lasting five years) Parker married another art student in 1930 ... "The day I left art school, a St. Louis department store needed an artist to do several backdrops depicting a circus and small town scenes for Christmas decorations. I got the job. Not having a studio, I decided to use the dining
room at home because it had the most wall space. I tacked the backdrops to the wall and began painting. When I finished the first one, I found the wall paper also had a circus scene on it-a rather diluted version. I received $:...30 for the job and it was promptly divided three ways-$50 for Mother's new dining room wall paper, $50 for a black fur coat for me and $50 for a clarinet. The clarinet was a must for any self-respecting sax player, the fur coat lent a collegiate touch when the top was down on the Ford. "By now I was committed to an art career. I got a job with the Wallace Bassford Commercial Art Studio where I felt like a lost soul at first. The staff of artists could turn out an advertisement while I was collecting my thoughts. It was here that I began to realize what was expected of a commercial artist. You were called upon to draw anything from Niagara Falls to fashions. And if you couldn't do it, out you went. It was rough going, but I stayed in. After a while I moved to another studio as did a fellow worker, Russell Viehman. Through him, I discovered the importance of layouts and lettering to illustration. We worked as a team. "In time we decided to set up our own studio which we called The Illustrators. The market crash had left a dismal outlook and 1931 found us just getting by. Evelyn and I became parents that year when our first son, Jay, was born. Russ was a great help and between us, we kept The Illustrators going. It became kind of a case of building a better mouse trap. I decided to use models to improve my compositions. In a contest conducted by House Beautiful I entered a decorative composition. Evelyn and I will never forget the thrill that night when we looked in the mail box after working late and found a check for $250.
CA, November '59
25
AI Parker (cont' d) ;
26
I had won honorable mention -and with it a determination to try harder than ever. ((I called on most of my friends and relatives to serve as models. Janet Lane, a grand fashion artist, used space in our studio. She used colored pencils at times, so I got a box. Unknowingly, she coached me on the fashion figure. I would watch as she trimmed the figure. I did not want to draw quite the fashion figure, but I did find that a certain elegance emerges by eliminating superfluous folds, by the attitude of the figure and by simple, easy handling. ((I was in dead earnest now about making the grade and grasped at every opportunity. Finally, I managed to make three samples of girls' heads. Through a fellow artist, I obtained the address of an agent in New York. I sent them to her, crossed my fingers and waited. The pencil drawings were sold to the Ladies Home Journal and beauty articles were written around them. This was a nibble, so now I really worked day and night to make a couple of illustration samples in colored pencils."
About his first magazine job- Parker was just beginning to develop his own style, which in effect was not a style, but an original approach to each problem ... ((Finally, Henry B. Quinan, then art editor of The Woman's Home Companion, decided to take a chance with me. He sent me an honest-to-goodness manuscript to illustrate. I was elated. In fact, I was so elated that I did the job three times before submitting it. I would have done it some more, but the month was up and I had to send it in. McCall's followed, then Collier's, The American
and Cosmopolitan. So, while I started magazine illustration with the leading magazines, I did have previous training in drawing almost everything else in the studios. We still lived in St. Louis and I kept the telegraph and express companies busy. While the bizarre treatment was unusual and attracted attention, I found it advisable to tone it down a bit."
About his first years in New York-After a visit in 1935, Parker was inspired to move to ((the world I was painting" ... HWe sold our furniture, which was just as well, because it was moderne with that final (e.' Zebra chairs, skyscraper bookcases, ankle-high coffee tables. We bundled Jay, now five, into our car and after tearful farewells, headed East clutching a fistful of auto club road maps. ((Now I worked harder than ever. I rarely saw Evelyn and Jay. I had a studio at 1 West 67th Street and often worked until dawn. The all night disc jockeys shut off their music and went to bed before I did. I would rather forget that first hectic year. Suddenly I became very tired and we decided on a vacation-a trip to London and Paris while I still had eyes to see. They couldn't last much longer, nothing could at the pace I was going."
About relaxing and fine art painting . .. ((Frequently someone asks why I do not paint for myself alone. I tell them that my free time is for relaxing-time for music. If I feel like experimenting in textures, abstract design or other fields, I find a suitable time and place in making an illustration to do this experimenting."
CA. November '59
I
27
THE M ANY CHALLENGES O F Part 3-some random Parker thoughts on ADs,
Editors, good design, story situations, fun and taste
~
On advertising illustration-used to do much more than today-there are probably more restrictions and limitations in advertising, not only in what you illustrate, but howthe~e are also more ubosses" - even though there is opportumty of doing more ccway out" things than for magazines they (agencies, clients) still expect mine to look lik~ Al Parker. On picking situations to illustrate- the established style an? format o~ the magazine determine general approach (gtrl-boy reahsm vs. stylized interpretation)-most situations are determined by editors, some by ADs-sometimes have free rei~- always read story over and over to get mood - sometimes do rough sketch and submit or phone and talk about it- if required, do a color comp.-a lot depends upon the illustrations that are scheduled before and after the particular story I am working on, choice of colors, style, size and so on.
On new talent- biggest mistake they make is to think they are ready before they really are, then they get discouraged-lots of talent coming up, see it in Famous Artist courses- as always, those that emerge from the rank
a~d file ar~ the uthinking" artists with broad familiarity w1th techmque, style and media.
On magazines who hold on to his work-thinking and style is always changing, would always rather see current work used immediately-might not even like it if saw it two years later. On pleasing art directors and editors-after a while you learn what they like and don't like, what their favorite colors are and what taboos to stay clear of-you give them what they like and try to include as much as possible of what you like, too. On his personal output-used to do eight to ten illustrations a month, now doing three-the extra time is now taken to think through an assignment, to do it more justice, perhaps. On being interviewed by art magazines-
CA. November '59
•
m
MARKETS
Number 2 in CA 's series of job descriptions . This one is based on interviews with illustrator Al Parker and art director Otto Storch of McCall's Magazine.
NiCE Gil[
. from
BO§IoN
Once she'd kno
28
MAGAZINE ILLUSTRATION some helpful hints
for "breaking in"
CA, November '59
light and roses and once was almo t too nturh \ C:ai"'un ~lan«'f-.:1 31 hi., \\atch. "':l" ht.· hJtl ju .. l wu~h timt> 111 ¥oa1ltht" '-1\. bJ,Hl.... tulht• hntd ~ouut
uJ, "llow ai.KlUI flinlh:r, L\diJ'! 'hall I pi<l \uu 1 at
\OUr api!rtmt•nt t•r 1lo \uu \<o.:IIH lu Ult"t'l lltt'
tiut~.lo'
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~L•· '!-aid ..}w\J met•t him "' Guifl,) ... ...,h<• .. aid .. 111 .1 t<~ f!H hacl ru tlrr f•tiH.:t· fir .. t • .tn\ "'..t' .... im.T "'IH J .. t·'\f)('( tm~ a ~all from B.l.. fwm dw C(ta .. t . L. lt.J .. tht.• hlt:J&r) ap,t·nt. hf' \\Orl..rfl rM. nrvl Jn~ ,..., t~nf' of lai'~ f'li'-·nl<... :\ot ont• of hi nwn· iruiH,r· nll•ru .... h' Itt ... urt~ .. till. B.L ,Jid rrpr~nt hun. d that wrt-.t>U ... L)dia "a~ ;tl\\on .. point in~ uut h1rn. meant ~Hm('thinJ!. .. I '' i .. h ) uu \\ou1cln ·, p:u:· .. he ;:.aj,J. ''Tht" IH' '' r1.k \10 curuintr along ~·autifull,, and tht' ma'
l
up t•t ~~~U-J U"'I "<'f'tng ht•r a~n i n. I mean."' Sh~.-• .. toppt11 and hi t lwr lip uruf fro\\ ned at him. ''8 .1.. ;.. u' t ,_:oin,z; to lilf"' it.'' "'ht· \\Drnet"l hilu. •·1ft"' hatr• ... lui' in~ hi"' '"ri11•r .. f(et nil "'l(·arued up t.>nwl itHlall~ "'l~t·n th.-~ 'rt• r ittht in tlw mirldl(' of au imtwrtant pi4"f'f' uf \\Orl..." .. \\ hat rnal..t· )OU tlunl." ' Ja, irutuir~tl « oldl~ .. that lam ,_:.orr•~ to j!:tt rtll .. tf·tuned up't Oo I act all
29
Coby Whitmore has created excitement by using dramatic scale and utmost simplicity.
.. lt',unf·rl up '(' " \ o." .. Ju• "'~ti«l, .. of ttnrr .. ,• \IHI dnn't, hut th ut tit" .. n't tnt':\11 \uu on·n't ·· ·· L,ttut. ( n·3lh hU\1· tu ~v." flf' lr•h . omP mont'\ un !Itt· red-arHI·\\hi tt•·c.:h{·c l t•d tnhl(•rloth to talt· t arf' uf tht• \l <~rlinr .. llufl rnad(.' lu \\ 8\ (JUt vf tht> har. rConttm,,.d on page lUJ)
LLE:.'\E CO RLI ·s
ILLUSTRATIONS COURTESY OF MCCALL ' S MAGAZINE
Introduction: Since it's fairly obvious that what you do as a magazine illustrator is illustrate stories, we've deviated from our normal job-description format to concentrate on the problem of «breaking in" to that elite group of highlypaid artists, the fiction illustrator. The answers to your questions about being a magazine illustrator can best come from: 1) an artist who is «in"- Al Parker-and, 2) a magazine art director who has exploded with a new look in visual treatment of fiction and text-Otto Storch of McCall's. (See page 66)
The market for magazine illustrators-Although, as in any profession or industry, relatively few magazines and illustrators are at the top, there are a surprising number of publications that do buy fiction illustration - the best way to get an idea of how many, who and what kind of illustrations are being used, is to go to the library or
magazine counter and thumb through them-Writer's Digest lists some magazines that buy cover illustrations, The Literary Market Place also lists fiction magazines among the 700-odd Consumer Magazines listed in Standard Rate and Data, are about 30-40 magazines that buy illustrations (excluding black and white spots) - tops among these are Women's and Women's Fashion (Ladies' Home Journal, McCall's, Family Circle, etc.), General Editorial (SEP, Reader's Digest, Holiday, etc. ), Men's Adventure and Fiction (True, Argosy, Cavalier, etc.), and the Sunday Supplement magazines (This Week, American Weekly, Parade, etc. )- another big market is the paperback fiction books (covers only).
Background and training-Obviously talent is the most important prerequisite-a real desire to draw is necessary, and adequate training and schooling in the fundamentals and refinements of illustration are important- familiarity
CA. November '59
Markets (cont'd)
with all the media is an asset, even though you do better work or would rather specialize in one particular medium, plain old experience is vital, draw, draw and draw some more-draw situations you see, photograph or sketchspecialize in people, but be familiar with backgrounds, scenes, and things - get as many qualified people as you can find to criticize your work-and be patient; as noted in the Parker story, most artists think they are ready before they really are, suffer disillusionment when they are told to <<come back later."
Where to start- Unless you are an exception, don't start at the top by sending your samples to the big-paying magazines the first shot out of the gun - there are lots of places to gain experience and develop your talent: advertising illustration in a studio or free lance; department store fashion illustration, either in the store's art department or with a studio; and, of course, fine art painting for fun or money.
30
What about production knowledge- Most of your illustrations will be reproduced by letterpress using process colors-the more you know of the limitations and workings involved in reproducing your art, the better you will be able to illustrate something that can be reproduced easily and economically. When you're ready- (and if possible, have someone corroborate your own opinion) Try and tailor your work to the magazine or paper-back publisher you want to sellspend time looking-see what they are now using; the style, the colors, the subject matter-start with the people who buy the most illustrations (probably the paper-back books) rather than the top few who use four to six illustrations per issue-but imagine yourself working on an assignment and do what you feel they would like to see and are buying now-one good tip is to pick the publisher or magazine you'd like to do work for, go through the magazine and pick an illustration that you feel you could tackle, read the story and find the <<situation" that is illustrated, t:iink about better way to show it, then sit down and do it - don't mimic or copy the illustrator who did the story, add something of your own and do it in your style.
An unusual boy- girl situation-illustration was composed with typography in mind. Bernie Fuchs is the artist
a
What about an agent- If you live out of New York and can't make a personal trip to show your samples, an agent is one way to get your work seen-agents charge from 25 to 50o/o, towards the high end if you're a beginnerThe Literary Market Place Annual lists 11 agents under the heading of «Illustrator Agents." What kind of samples- As noted above, include in your samples the kind of work that is now being used; romantic, adventure, sex, outdoors, etc., depending upon the market you want to hit-decide what style or media you CA, November '59
Top illustrator Austin Briggs uses exciting fine art approach.
Amy believed 111 love at lrrst srght. From the lime she frrst began to thmk of romance (when she was twelve) , she knew that one day she would look.rnto a man's eyes and a magnet1c w1re of attract1on suddenly would stretch taut between them. draw1ng them 1rres1Stlbly. helplessly together. Just the thought of 1t was enough to make her feel famt " He won't have to be 1mpor· tant or famous or e;en good look mg.·· she conf1ded to M1dge, her best friend and shadow 'My lovmg h1m w1ll set h1m apart ·· •· M1dge breathed a s1gh so deep 1t almost choked her. "'Oh, Amy. you talk JUSt beautiful!"" They were readmg ''Wuthenng Heights·· at the t1me. " Just th1nk' He could be some· where m town rrght now. th1s mrnute. It g1ves me goose p1mples JUSt to 1magme h1m turnmg the corner, strolling down th1s very street toward you. A fascmat1ng stranger, maybe-w1th a beard. Or someone you already know, but would never 1magme-someone you"ll suddenly see w1th new eyes, likelike the madman or the paper boy or the boy next door!"' ·· Howard?'" Amy exploded m laughter. collapsmg on the glider ·· Howard Garvm' I couldn't see t11m w1th a telescope!" Howard Garvm was short and pudgy, w1th b1g feet, b1g hands, and b1g ea1s. He wa"s mad for lab. One noon . he had chased Amy all the way home from school. dangling a mouse by the tad. '·He dissects thmgs, ··Amy sa1d. shudderrng. Sometimes Amy discussed love w1th her mother. too. (She was one of the lucky g1rls who could .) "' I wouldn't be 1n such a hurry."' her mother sa1d. ·'You're only fourteen.· · Amy protested, "'Juliet wasn't even as old as I am when she fell m love w1th Romeo! " Her mother sa1d mildly, "People d1ed m the1r th1rt1es 1n those days.'" ''It was the pace that killed them ," her father sa1d, lookmg contmued on page 116
by Eileen Jensen
31
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~turn
They were burying him. He watched and he listened.
And so did his wife
CA, November '59
Markets (cont'd)
'1~IE 1\I.L~NY "'-':C'\.YS O:J:i"""~ IIE.i~' 7.EN ltupsttT~ddyHamJ»hiretohavc h is fatherandmothcr go away so abru ptly. The: summer wu only half over when Russe ll Hampshire decided to hunt in Africa, and Pamela, his wife, decided to visit friends in California. He had hunted m Africa before, but in lhc winter. In summer, he had rt:mained at Litllc Harbor, rxetpt for short trips to New York. on busineu, and Pamela had been accustomed nOt tO leave at aU from early June until Otobcr. 0 They owned a fiftttn -room house, IC:t on some c1ghty acres with half a mile of shordront. h was a lonesome domain for a six-ycar~ld boy, though he shant~ it with his nurse, Sall y, and the cook, Mrs. Lambert, and the ~nnan shepherd dog, Fritz. Sally and Fritz had been his companions almost since the: day his cyrs had been opened on the world . Mrs. Lambert, cook. for the summer, lived at Little Harbor the year rou nd. She was the widow of a fisherman . 0 Teddy's retainers were attentive to him, but it wa.s not t.he same as having his mother and father there. He didn't think. about it, but he d id fed about it, and one of his feelings was that something alarming lay in his parenu' going off at one time, so suddenly, so far, and in diffe~nt directions. Sally showed him on the map where California is and where Africa is. They seemed a great dist.ance from Ma sachusetu. At night, after saying his ow-l-lay-me aloud as Sally listened, he prayed silently that God would send h is mother and father back. very soon . He prayed with conviction, for he had come to a period in life when God was real and present to h im, all but visible. At times, he fo und th is presc:nce agreeable ; at other times, he W1.4 le" satisfied, for he tended to make God ~sponsib l e for u nfavorable a.s well as favorab le happenings. 0 Every morning and afternoon, unless it rained, Sally took. him to the beach to swim. His mother, who was a good swimmer, always went into the water with him. But Sally only sat in an aluminum chair and read a book., glancing from time to time at him and Friu. 0 All in aJJ, he liked bcuer tO be alone. l-Ie was allowed to wander up and down the bcach with Fritz, collecting shells, starfish, and odds and end.s that washed ashore. W hen the tide was low, he sometimes ventured a mile or more from the house and met people and observed things that, ordinary enough in themselves, took. on a vast interest at the touch of his pristine imagination. One afternoon, he came u pon a boy throwi ng a boule into the ocean. The boy wa.s a stranger and perhap.s ten years old. but he seemed p leasant. Teddy began to question him . "Are you going tO th row nones at that bottle~" he asked. 0 "No." 0 " Are you going to shoot it with a gun?" 0 "No." 0 " I saw some bo,-s shooting at a boule once," Teddy said. 0 The boy did not reply. H e watched the bottle, which bobbed in the sun light and gradually floated away from shore. 0 "What did you throw it in for?" Teddy said. 0 The boy gazed at him, as though wondering whether it were worthwhile to try to explain deep matterS to one so young. Then he said, "There's a note in iL It'll float away maybt to the North Pole, and I'll get an answer (rom an Eskimo." When he saw that he had not been understood , he said, "A k.id I know sent one, and it wen t all the way to France, and some American lady there p icked it up and sent him a note. I've been to France." 0 " I haven't." 0 "Well ," the boy said, vaguely pointing out to sea, " it's off the~ . " 0 ''j et airplanes go there," Teddy remarked. He had heard his mother and father talking about iL "That's where Paris is." 0 " H ey, you're a smart k.id . aren't you?" the strange boy a.sk.ed. . 0 Teddy grinned . As a maner of fact, utt tin~d JNI.l' 13j
"*
WHAT WONDERS CAN BE WROUGHT IN THIS MOO£JlN DAY AN D ACE WITH A LJ'lTLE IMAGI NATION, A LITTLE MONEY, AND C OOl
- BY GEORG! LOVERIDGE
FLAIR ON A
Newcomer Robert Kelly draws a picture in lithographic pencil in combination with a subtle one color wash. 32
look best in and concentrate on it- show a rough or two, but have plenty of finish art - don't overpower them, include the best of what you have; they assume if you can draw a young couple kissing, you can draw them at age 35 and include a four-year old in the background in a living room setting- if you are adept at more than one style, include it, too, but don't send everything from cartoons for the high school paper to your latest oil painting.
In person vs. mail- If you live in or around New York, so much the better - sitting in reception rooms can become discouraging and time-consuming, but you do have the opportunity for personal contact and criticism - sending your samples by mail is acceptable if wrapped properly and return postage is included- a color slide of work you don 't want to take the risk of losing is acceptable, loses some of the impact of the original, however- in either case (personal call or mail ) remember, art directors and editors are busy, cannot devote too much time to being critics and advisors - make your visit short and to the point. Once you get your first assignment!- You'll be told what to illustrate and (if you're a beginner) most of how to illustrate it (colors, size, layout, etc.) -you will probably be asked to submit a sketch and in some cases a color comp - you will have from two to four weeks to complete the assignment- you will be paid upon acceptance- you will not get rich from the first assignment (don't tell your boss off, yet)- but you will be on your way!
• CA. Nov ember '59
BUDGET Extra color. Imaginative effects. Smooth ink coverage. All yours with ATLANTIC PASTEL OFFSET. In six exclusive shades with matching cover stock to spark your creativity. Distinctive suede finish. See these delightful shades yourself. Send today for [1·ee artist 's sketch pad containing all six.
ATLANTIC EASTERN FINE PAPER AND PULP DIVISION STANDARD PACKAGING CORPORATION • BANGOR . MAINE
This is EASTERN's Atlantic Pastel Offset, Dustie Pink, Basis 70, Suede Finish. Other colors: French Cream, Ocean Green, Mistie Blue, Smokie Gray, Daffodil Yellow. For extra copies of this insert, write to Eastern Fine Paper and Pulp Division, Standard Packaging Corporation, Bangor, Maine.
EXHIBIT
Recently, somebody classified CA as a Hservice" book. As such, we believe one of its biggest services is found on these 16 pages. For Exhibit ((serves" as an inspiration -for new ideas, to do better work, to try something new. But it requires your ((services" to keep it inspirational and representative- send examples of your own favorites to-CA, Exhibit.
Does Fine Art automatically become Commercial Art when it is used to sell a product or service? We don't think so. It's still Fine Art-an example: Charles Schorre's painting for Hughes Tool Company. It was the top illustration prize winner in the 1959 Houston Art Guild Show.
35
HALF CENTURY OF DRILLING RESEARCH HAD ITS BEGINNING IN A UNIQUE LABORATORY
T~:~~~:~r:~o~:~;a7o~e ::rd~~ t~:d~~ compared with the blaze of light that shines today, a hair century later, from the block-lo ng Resea rch and Engineering Laboratory in Houston , Texas.
That firs t laboratory was housed in a small wooden derrick, erected alongside the company's first plant. Corrugated iron enclosed the lower part or the derrick. Ivy and moon flowers covered most of the st ructure. The machine set up in the laboratory to si mulate rotary d rillii"'g was steamdriven . The holes it drilled in blocks of rock made possible the firs t analysis of the performance or rock bit!. Research sta rted SO years ago has continued
without interruption and has grown from year to )ear. For many years, the o nly drilling research bei ng done was that carried on by Hughes. And in those early years of rotary drilling, oil companies frequen tly used the Hughes research laboratories for metallurgical , chemical and physical analysis of materials. The present two-story H ughes Research and Engi neeri ng L-aboratory building, built in 1952 and furt her enlarged in 1958, houses the largest drilling laboratory in the world . But the policy that guides its operations is the same as that set forth at the start of Hughes research: " never to be satisfied ... and to continue to anticipate the ever· changing requirements or the drilling industry."
lnthrpaintirtlotthtlt/t. thtortist,iflth•srtilhiiJUflt,hosolttmpudto capwrtsomtthinfoftlttlonl'linruondmyJ/tryoftltt••orlc cotritdOI'I in thtfotst Hughrs laborotory. £nfar1nl prints irt /111/ color arravatlablt for tht nsA.m1. Wriu: Advutisin1 Dl'portmrnt, H1•1ht1 Tool CompartJ, P. 0 . Box 1JJ9, /IOIIJIOn, Tuos.
I
HUGHESTOOLCOMPANY j
CA, November '59
Exhibit
THE JFOUR SEASONS The Four Seasons is a Tiffany among New York restaurants. Four times a year they completely redecorate the interior to match the season. The change in decor is centered around the interior planting, including trees, and their gardening budget alone is $50,000 a year. Also seasonalized are: waiters' uniforms, napkins, chinaware, ashtrays and even matchbooks. Shown above are the graphics used to tell the story; these are used in advertising, menus and chinaware. Emil Antonucci designed The Four Seasons' four seasons. Koehl, Landis and Landan is the agency.
36
BEsT This logo for the Wichita Association of Homebuilders ''missed, only by a whisker, ending up in the waste basket" according to creators McCormick-Armstrong Co., Inc. After the client had already ''bought'' a more conventional design, the artist-designer, Zona Wheeler, and the art director, Ted Hawkins, did a last ditch selling J·ob on the bird design and convinced them it would be a more distinctive symbol and a real conversation piece. The account executive added the slogan. CA, November '59
FOR ~
THAT OFF-BEAT
!OFF-
APPROACH TO SALES PROMOTION'
YOU CAN COUNT ~N .
ON
ED CARINI CREATIVE DESIGNER
37
the
ad gatne Two examples of art studio direct mail solicitation, each with an interesting "gimmick." Above: Reproduced 60% actual size, Ed Carini's "switch pitch." It is one piece of stock, folded at top, scored and glued at switch ''hinge.'' Below: A clever adaptation of a current click~' reproduced 40% actual size. No. 11;2 (Phoebe Moore) did the design for Jack Kapes' studio. Spinner is metal, grommeted on 4-ply coated chip board.
no chances in this game every name a winner with ..JACK KAPES & ASSOCIATES
CONTACT ~ ,
jim moahier jack kapea
159 e. chicaco avenue
CA, November '59
Exhibit
The Princess and the Herdboy
38
Ifyou've gone through the "read-me-a-story-Daddy" routine and been forced into staring at some of the current crop of children's books, you'll enjoy these four excerpts from "Japanese Children's Stories" published by the Charles E. Tuttle firm of Vermont and Tokyo. A beautifully bound and produced book, it is a translation of some classic Japanese fairly tales. The illustrations by Yoshio Hayashi reflect the refreshing Japanese brush style and the stories themselves are interesting reading. The fourth generation of a famous New England publishing and book collecting family, Charles E. Tuttle maintains a complete staff in Tokyo and has published other children's books in addition to a wide range of adult books from Japanese gardens to the famous post-war ''Baby-San'' books written especially for the occupation servicemen.
The Fairy Crane
CA, November '59
Tbe Fairy Crane
CA, November '59
Tbe Magic Mortar
Exhibit Our own Contributing Editor in Dallas, Harold Quiram, comes up with a mailer to a select list ($25,000 a year and up; one-Cadillac owners not considered) announcing the appointment of Kay Cobelle as the local representative for Thos. Cook & Son. Quiram created a rich effect with colored stock (Rhododendron), 3-color lithography and used silk screen for the white. Being his own art director, designer and illustrator helped Quiram stay within budget. Piece is 10' x 11/, folded to 5' x 75/s'. Preferred of Dallas were the printers.
TRAVEL . . . . . E iii(i"$-i~6C)K- k"
f.-1
virh..t! ,,,.J 1-l-;:,,\,i u.••i"UIH., l'l.t'l•o{r,t' KAY C' 1
"'-.;lumt,
:1"1\'tiHH.,. J'C•~<••nru:.l.
of h1~· All 11J
~~~~'[t;: ]•'kfo•.~·n·~
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~~-~!~=~;~~, .....:il()f\r'
7-ld
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40
CA, November '59
any tune.. any ttm6. yOU see, U10s cook & son 6 a complete aavet ~ce.
an~.
n: means ~- atone. one way OR Rount> oup, wtae1:he1t fbJt a ~ eus1~ JAunt 'BY Jet, OR the 1'nORe O~htoneb Oc-7, OR
Re5¢ully BY stup
41
CA, N ovember '59
Exhibit
John G. Kemper had about a week to design a new seal for Western Michigan University. The ingredients: 5 stars to represent the 5 original schools of the university; the tree with roots to show growth since 1903; the uncompleted arch to symbolize the never-ending growth of the school; the flame to suggest enlightenment.
WINFIELD PAPERS
to a new distributor,
DENST & SODERLUND, INC. who will now show the Winfield Foil and Architectural ColleCtions in:
42
next month, fOl' points North, South and Eastsome exciting ~wallcoverings
by
WINFIELD DESIGN
ASSOCIATES
The Object: announce a new distributor appointment; establish a format suitable for repeat use in making future product and distributor announcements. The Solution: a man actually taking the company's product to the new distributor. The Solvers: G. Dean Smith, art director and designer; Winfield's agency-Kennedy-Hannaford in San Francisco; Robert Dolman, photographer who used soft natural light in a loft to simulate train station lighting. The Media: interior decorator trade publications.
CA, November '59
there are no trade secrets
We'll tell anyone how we achieve success for our clients ... because it's a long, long way between the th inking and the doing.
xxxx THE C HARLE S BRUN E LLE C O MPANY I HARTF"O R D
H': ': , .,. .
THINKERS
~
~
If you were a medium-sized agency and located smack in the middle of a whole raft of prospective clients (like being in Hartford, Connecticut, with its predominance of insurance companies) you could run intriguing small-space newspaper ads on the financial page and reach your whole market. A n d that's j ust what The Charles Brunelle Company is doing. Joseph L. Baum designed the ad series.
e•
~ • • •
• • •
43
•
•
Not for one minute
•
• • •
do we suggest that we are the best advertising agency for all companies . Over the years we've developed, like t he nose for news in our publicity operations, a sense of smell adapted to the f ragrance of agency-client r elationships. We know enough about some other agencies to be able to refer to them (without t heir knowledge) prospective clients who would be best suited by them. We've done it several times.
•
But not for an instant will we ever admit t hat the ones who are right for us-and vice versashould go anywhere else. Th is ad, like all t he others we've been running, is intended to help companies decide whether they should even come near us. If you've missed any of them, and want to see the earlier ones, let us know. We'll send proofs. And not bother you unless you ask to be bothered.
We asked a marketing man with a cli ent's organ iza tion for his d e finit io n of ma rket ing. " Ha! " he sa id , fo r t his q ue stio n is a lways g ood for a la ug h a mong honest men .
But if you ask to be bothered, and belong with us, look out.
The n, sob eri ng , he sa id , " It's everyth ing that ha s t o d o with ma ki ng a sa le, incl ud ing bu yi ng t he p rospect a dri nk."
T HE CHARLES BRUNELL E COM P AN Y
Tha t's a g ood e no ugh definitio n for anybody , in cl ud ing us. We do ma rke ti ng.
TH E C H AR L E S BRUNELL E CO M P A NY
I
HARTFOR D
CA, November '59
I HARTF"ORD
This ROP color newspaper ad was done by Hazel Hatfield for Sakowitz Bros. Clothiers of Houston. All Sakowitz artists draw from live models to gain originality. Ann Leftwich, art director.
I NEWSPAPERS under 300 linea
CLOSING DATE
space adYertisiag
FEB
DESIGN OF COMPLETE UNIT
7 POSTERS 24 aheet, INiinted bulletino
Subm1t for entry proof or tear aheet of
complete advertieement or graphtc untt. ReproductiOna only will be exhibited. For twenty-four aheet PMtera aubmtf
lOth
colour tranapal'enciea or black and white pr.nts. Only4 x 5colour traf\lparenc•es Wtll be .exhibited. Awards wtll be made to the Art Director for deSign merit.
1 CONSUMER. MAGAZINES
full INIQe or double INIQe apread a one colour
It twocotoura
I POSTERS • omall pootero ~car carda c window bannen
space advertising art DRAWINGS, PAINTINGS, PHOTOGRAPHS
c three or more coloun
Submit for entry proof or tear aheet of complete advertieement. Indicate
Z CONSUMER MAGAZINES
ART DIRECTORS CLUB, TORONTO
leaa than fuiiiNIQe • one co!our
It two colouro c three or more oolourt
exact entry tf more than one piece of art a,ppean on aame proof. The origtnal art or photograph and a mounted proof
of ita uee will be exhibited. On twenty-four 1heet poaten and painted bulletins subm•t black and white print or colour transparency. The original art or 4 x 5 colour transparencies will be uhibtted. Awards will be made
to the art11t or photographer for
£l£V£HTH
I TRADE MAGAZINES full page
• one colour It two colouro c three or more coloun
ANNUAl fXHIBITIOH
' TRADE MAGAZINES haK INIQe
• one colour
lt twoootouro c three or more coloura
APRIL 6·26 I NEWSPAPERS over 300 linea • one colour
It iwocolouro c three or more coloun
C. B. Wilton's poster announcing the Toronto 11th Annual A. D. Exhibition was to be ''something other than a graphic rearrangement of 'AD-11.' "And it certainly is! It also fulfills his desire to ''bring the people and visual environment of Toronto into an unusual area.'' The method could be called a ''typographic photograph. '' Poster was reproduced on children's coloring stock and is shown about 1,4 size. The prospectus, also on colored stock and with coated cover, is 91h' x 41Js'· Photographer was Walter Curtin. Lithographer, Rousemann Press.
CA, November '59
artistic merit.
Pink' i ssimo! • • • • • •
Exhibit
Revlon's Pink'issimo! Pronoun(e it - yoo're a linguist - if's the superlative way of saying pink, pinker, pinkest in Italian! It's summer's new sensation -a heady, double-strength pink . Pink on on Italian spr&e - pink in the
Med iterranean manner - oceans apart from any other. Pink, pink, Pink' issimol
The bright, bl ithe, Italian accent far lips, fingertips and
toe-tips, too! New " Frosted" lipstick, 2 .00. Matching " Frosted" Nail Enamel, .85.
And Pink' issimol comes in regular lipstick, 1.35, and nail
enamel, .65, of course. Prices plus tax. Cosmetics, Downtown; Gulfgate and Post Oak.
Pink'issimo! fash ions from our Copezio Shop.
(
45
SAKO-wiTZ CA, November '59
Exhibit
46
Henri Bergson ... on mal~ing gods Humanity is groaning, half-crushed under the
whether they want merely to live, or to make the
weight of the progress it has made. Men do not
further effort necessary to fulfill. even on our
sufficiently realize that their future depends on
unmanageable p lanet, the essential function of
themselves. They mus t first decide whether they
the universe, which is a machine for making gods.
wish to con tinue to live. They must then ask
Les deux sources de la morale et de la religion, 1932
THE RAND CORPORATION, SANTA
MONICA, CALIFORNIA
~
In keeping with last month's CA editorial about "Art" in advertising and its influence and impact on the nation's cultural standards, NBC -TV sent us the truly outstanding example shown on the opposite page. It is a woodcut by Leonard Baskin, hand-printed on Sekishu, a handmade Japanese rice paper. Baskin's "Football" is the first of a series that will include work by Misch Kohn, Jacob Landau and Antonio Frasconi. Each will interpret a different sport. As stated by Andrew Ross, NBC-TV's Sales Planning Art Director, ''Their purpose is to stimulate interest and awareness in televised sports." Actual size is 12 3/4' x 17'.
Reprints of the above full page ad were made available by the R and Corporation on 80 lb. Early American Text. Triangle Lithography Co., L os Angeles, reproduced the reprints, shooting from the engraver's proof Art Director, George Rappaport; Artist, Neal Boyle; Fletcher D. R ichards, Calkins & H olden's L os Angeles office is the agency.
CA, November '59
47
CA , November '59
Exh ibit
Don Kapp and James Cross were ''art directors, designers and, at times, photographers'' for the award-winning UCLA Yearbook. Shown are three of the nine division (department headings) inserts. With music as a theme, Kapp and Cross used ftdl-page musical instrument photographs to introduce each division spread. The work was done free lance and alumni Kapp and Cross had a "designer's dream; complete control over all graphics." Wayside Press was the printer.
48
-1111111
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Ill
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Ill Ill
-
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II
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Ill
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CA, November '59
THE YEAR
49
AS UCLA
CA , November '59
Exhibit Unit Engineering specializes in designing prototypes of parts or the whole unit. Wallace B atterton translated this function into a graphic symbol. His budget was held on the blind embossing by using one die for letterheads, envelopes and business cards. Designer B atterton carried variations of his design through everything graphic including building and truck signs, office forms and even the engineering drawing sheets.
I 023 West First Street
ENGINEERIN G COMPANY
los Angeles 12, California MAdison 8.0178
1023 West First St., Los Angeles 12, Calif.
,
UNIT
ENGINEERING COMPANY
MAdison 8-6178 1023 West First St., Los Angeles 12, Calif.
,
1 ------------------------------------~----------------~
UNIT
50 ENGINEERING COMPANY
Clair Killen
Morton Goldsholl Design Associates started with a familiar but anonymous package of"a raucous shade of orange" (that had a tendency to fade), a conventional lion, a family of paper fastener products, and came up with these packages chosen by AlGA for nationwide exhibit. The lion became stylized with staples and other paper fasteners forming the face, a massive M forming its chest and clawed feet. The boxes became white with color-keyed dots and logo area. The package ends carry the description and are color-keyed. Printing is in a light orange-red to carry over the orange tradition to the new family.
CA, November '59
m
MORGUE
Children at Play to literally cover the above subject title, we should show them sawing a dining room table leg, spilling milk and setting fire to the laundry. So specifically, these are "Children at Play" during 45 minutes in a playground. Photography: Bill Arbogast
51
CA, November '59
52
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53
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54
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55
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56
CA, November '59
(a MANAGEMENT
Time .... and your
Like playing the horses, putting, and reading Reader's Digest-everybody has their ownfavorite system for a Morgue or Scrap file . On the following pages, the 53-category system used by DePauw Studio in Peoria.
HANDS
R. C . DePauw says of his system, << ... having spent years refining this to its present simple presentation, I look upon it as an author looks upon a manuscript." Because the DePauw Studio is swinging over to photo-mechanical illustrations from general advertising (layout, lettering and illustration), they have asked CA to <<plug" the sale of their now not-needed morgue. The file is <<neatly trimmed and systematically filed" into Pendaflex folders which fit any standard file drawer. It fills ten file drawers, is for sale complete with Pendaflex carriage frames ready for insertion, packed in storage file cases. Price: $2,000. Write: R. C. DePauw, 18 Edgewood Hills, Peoria, Illinois.
1 CHILDREN 1-1 Baby 1-2 Baby Carriage 1-3 Baby and Parent 1-4 Child and Parent 1-5 Boy and Girl, under 12 1-6 Boy and Girl , over 12 1-7 Boy, under 12 1-8 Boy, over 12 1-9 Girl, under 12 1-10 Girl , over 12 1-11 Hairbraids 1-12 Playing, Playground 1-13 Scouts 1-14 Child and Pet 1-15 Misc. Children
HI-ART Illustration Board saves you creative time that might otherwise be wasted in extra work due to indifferent materials. HI-ART is consistently right ... a fine surface for each medium. Start with the finest ... start with Hi-Art.
57
Nothing Photographs Be'tter than
LQ ~ :ll)J REPRODUCTION WHITE
2 MEN (Body) 2-1 Action 2-2 Anatomy, Muscle Men 2- 3 Bath, Shaving 2-4 Fashions 2- 5 Group 2- 6 Kneeling 2-7 Old 2-8 Rear View 2-9 Reclining 2-10 Sitting 2-11 Standing 2-12 Walking, Running 2-13 Misc. Men
Weber Reproduction White photographs true , that's why it's the favorite of photo-engravers , retouchers and illustrators! And it contains no lead . .. is opaque . .. stays white indefinitely ... is perfect for air brush work.
CA, November '59
Available at all zood art supply stores.
F. WEBER CO. PHILADELPHIA 23, PA., ST . LOUIS 1, MO . Manufa cturing Artists' Colormen Since 1853
Management (cont'd )
3 MEN (Expressions) 3-1 Anger 3-2 Fear, Surprise 3-3 Laughter 3-4 Pained, Elation 3-5 Sorrow, Crying 3-6 Stern, Aloof 3-7 Thoughtful, Puzzled, Worried 3-8 Misc. Men Expressions 4 MEN (Heads) 4-1 Angle 4-2 Full Face 4-3 Old 4-4 Profile 4-5 Rear View 4-6 Misc. Men He·ads
5 WOMEN (Body)
58
5-1 Action 5-2 Bath, Cosmetic, Dressing 5-3 Fashions 5-4 Group 5-5 Kneeling 5-6 Old 5-7 Rear View 5-8 Reclining 5-9 Sitting 5-10 Standing 5-11 Walking 5-12 Misc. Women (Body)
6 WOMEN (Expressions) 6-1 6- 2 6-3 6-4 6-5 6-6 6-7 6-8
Anger Fear, Surprise Laughter Pained, Elation Sorrow, Crying Stern, Aloof Thoughtful, Puzzled, Worried Misc. Women Expressions
7 WOMEN (Housewife) 7-1 7-2 7- 3 7-4 7- 5
Cleaning Cooking, Dishes . Laundry, Ironing Shopping Misc. Housewife Activities
8 WOMEN (Heads) 8- 1A Angle (Lips Closed) 8-1B (Lips Parted) 8- 2A Full Face (Lips Closed) 8- 2B Full Face (Lips Parted) 8- 3 Hair Styles 8- 4 Mirror 8- 5 "Miss Average" 8- 6 Old 8- ?A Profile (Lips Closed) 8- ?B Profile (Lips Parted) 8-8 Rear View
8-9
Misc. Women Heads
9 WOMEN (Anatomy) 9-1 9-2 9-3 9-4 9-5 9-6 9-7 9-8
Action Kneeling Rear View Reclining Sitting Standing Walking, Running Misc. Women Anatomy
10 PIN-UPS 10-1 Action 10-2 Kneeling 10-3 Reclining 10-4 Sitting 10-5 Standing 10-6 Beauty Queens 10-7 Misc. Pin-ups
11 FAMOUS PEOPLE 11-1 Arts 11-2 Entertainment 11-3 Fictional 11-4 Industry 11-5 Politics 11-6 Science 11-7 Sports 11-8 Misc. Famous People 12 HANDS 12-1
Men
12- 2 Women 12-3
Misc. Hands
13 ROMANCE 13- 1 13-2 13-3 13- 4
Elderly Couples Him and Her Kissing Misc. Romance
14 FAMILY 14-1 Misc. Family Scenes 15 CROWDS 15-1 Assembly 15- 2 Parade 15- 3 Strike, Riot 15- 4 Misc. Crowds
16 INDUSTRY, PROFESSIONS 16- 1 16-2 16- 3 16- 4 16-5 16- 6 16- 7 16- 8 16-9
Artists, Studios Baker, Bakeries Building and Trades Crafts Dressmakers, Fashion Show Factory; Lathe, Drill, etc. Fishing Finance, Bank Home Services
CA. N ovember '59
16-10 Lumber 16-11 Mining (Coal, etc.) 16-12 Newspaper, Newsboy 16-13 Oil, Gas Station 16-14 Photography 16-15 Printing 16-16 Salesmen 16-17 Saleswomen 16-18 Science, Laboratory 16- 19 Steel , Foundries 16- 20 Tailor, Clothing Industry 16- 21 Telephone, Telegraph 16-22 Misc.
17 FARMING 17-1 Activities 17-2 Building 17-3 Farmer, Farm Wife 17-4 Implements 17-5 Produce 17-6 Misc. Farming
18 GARDENING 18-1
Misc. Gardening, Yardwork
19 AMUSEMENTS 19-1 Circus 19- 2 Fairs, Carnivals 19-3 Gambling, Cards 19- 4 Hobby Activities 19- 5 Magic, Spiritualism 19-6 Movie 19- 7 Ni ghtclub, Burlesque 19- 8 Parties, Party Games 19- 9 Picnics 19- 10 Radio 19- 11 Restaurant, Chefs 19- 12 Television 19- 13 Theatre 19- 14 Misc. Amusement 20 DANCING 20-1 Ballet 20-2 Ballroom 20- 3 Folk 20-4 Stage 20- 5 Misc. Dancing 21 MUSIC 21-1 Instruments 21-2 Majorette 21- 3 Orchestra, Band 21-4 Singing 21- 5 Misc. Music 22 EDUCATION 22-1 Maps 22- 2 Schools, Museum 22- 3 Student, Teachers 22- 4 Misc. Educat'on
23 MEDICAL 23-1 Ambulance, Stretcher 23-2 Children, Waiting Room 23-3 Dental 23-4 Doctor, Nurse 23-5 First Aid, Bandage 23-6 Hospital, Bedside 23-7 Laboratory, X-ray 23-8 Optical 23-9 Surgery 23-10 Transfusions, Donors 23-11 Wheelchair, Crutches 23-12 Misc. Medical 24 OFFICE 24-1 Equipment, Interiors 24-2 Executive 24-3 Typist, Stenographer 24-4 Misc. Office 25-STORES 25-1 Barber, Beauty 25-2 Department 25-3 Drug, Soda Fountains 25-4 Grocer, Butcher 25-5 Ladies Shops 25-6 Old Fashioned 25-7 Pawnshop, Auction 25-8 Self Service 25-9 Shoe, Shines 25-10 Misc. Stores 26 WAR EQUIPMENT 26- 1 Amphibian 26- 2 Armored Vehicles 26- 3 Artillery, Guns 26-4 Jeep, Truck 26- 5 Misc. Equipment, Activity 27 WAR PERSONNEL 27- 1 Annapolis, West Point 27-2 Airborne 27- 3 Army 27-4 Foreign 27- 5A Historical-American 27- 5B Historical-Foreign 27- 6 Marine 27-7 Navy 27-8 Service Women 27- 9 Training, Fighting 27- 10 Misc. Personnel 28 WEDDING 28- 1 Bride 28- 2 Misc. Wedding 29 SPORTS 29-1 Archery 29-2 Auto Racing 29- 3 Baseball 29-4 Basketball
29-5 Billiards 29-6 Bowling 29-7 Boxing 29-8 Bull Fighting 29-9 Camping 29-10 Fencing 29-11 Fishing 29-12 Football 29-13 Golf 29-14 Gymnastics, Exercise 29-15 Hockey 29-16 Horse Racing 29-17 Horse Riding 29-18 Hunting, Shooting, Trapping 29-19. Mountain Climbing 29-20 Skating, Ice Shows 29-21 Tennis 29-22 Track and Field 29-23 Water Sports 29-24 Winter Sports 29-25 Wrestling 29-26 Misc. Sports 30 AFRICA (COSTUME, etc.) 30-1 African Negro 30-2 Congo, Pygmy 30-3 Egypt 30-4 Mlsc. Africa 31 ARCTIC REGIONS, (COSTUME, etc.) 31-1 Misc. Arctic 32 ASIA (COSTUME, etc.) 32-1 Arabia 32-2 China 32-3 India 32-4 Japan 32-5 Mongolia 32-6 Palestine 32-7 Persia (Iran) 32-8 Russia 32-9 Siam 32-10 Turkey 32-11 Misc. Asia 33 EUROPE (COSTUME, etc.) 33-1 Albania 33-2 Austria 33-3 Belgium 33-4 Czechoslovakia 33-5 Denmark 33-6 England 33-7 Finland 33-8 France 33-9 Germany 33-10 Greece 33-11 Holland 33-12 Hungary 33-13 Ireland 33-14 Italy 33-15 Norway 33-16 Poland 33-17 Portugal
CA. November '59
33-18 Rumania 33-19 Scotland, Wales 33-20 Spain 33-21 Sweden 33-22 Switzerland 33-23 Yugoslavia 33-24 Misc. Europe 34 ISLANDS (COSTUMES, etc.) 34-1 Australia 34-2 Bahamas 34-3 Bali 34-4 Bermuda 34-5 Borneo 34-6 Cuba 34-7 Dominion 34-8 Easter Island 34-9 Fiji 34-10 Formosa 34-11 Gilbert Island 34-12 Greenland 34-13 Haiti 34-14 Hawaii 34-15 Iceland 34-16 Jamaica 34-17 Java 34-18 Luzon 34-19 Marshalls 34-20 New Caledonia 34-21 New Guinea 34-22 New Zealand 34-23 Philippines 34-24 Puerto Rico 34-25 Solomon Island 34-26 Tahiti 34-27 Yap 34-28 Misc. Islands 35 N. AMERICA (COSTUME, etc.) 35-1 Alaska 35-2 Central America 35-3 Canada 35-4 Mexico 35-5 Misc. N. America 36 S. AMERICA (COSTUME, etc.) 36-1 Argentina 36-2 Bolivia 36-3 Brazil 36-4 Chile 36-5 Colombia 36-6 Ecuador 36-7 Peru 36-8 Venezuela 36-9 Misc. S. America 37 UNITED STATES 37-1 East 37-2 Midwest 37-3 West 37-4 South
59
Management (cont'd )
37-5 37-6
38
Regional Misc. United States
COSTUME
38- 1 38-2 38- 3 38-4 38-5 38-6 38-7 38-8
Character Costumes Future Historical American Historical Foreign "Prince Valiant" Prehistoric Royalty Misc. Costume
39 ANIMALS
60
39-1 Bear 39-2 Camel 39- 3 Cat 39-4 Cattle 39-5 Deer 39-6 Dog 39-7 Elephant 39- 8 Elk, Moose 39-9 Fox, Wolf 39-10 Giraffe 39- 11 Hippo 39-12 Horse 39-13 Insect 39-14 Lion, Lioness (Wild "Cats") 39- 15 Monkey, Ape 39-16 Prehistoric, Extinct 39-17 Rabbit 39- 18 Reptile 39-19 Rhino 39-20 Rodent 39-21 Sheep, Goat 39-22 Squirrel 39- 23 Swine 39-24 Water Animals 39-25 Misc. Animals
40
BIRDS
40-1 Chicken 40-2 Chicks 40-3 Duck 40-4 Eagle, Hawk 40- 5 Game Birds 40-6 Goose, Swan 40-7 Owl 40--8 Parrot 40-9 Rooster 40-10 Stork 40-11 Turkey 40-12 Misc. Birds
41
FLOWERS
41-1 41-2
42
Roses, Orchids Misc. Flowers, Florists
LANDSCAPE
42-1 42-2 42-3
Atmosphere (rain, fog, etc.) Cave, Cavern Cloud
42-4 Country 42-5 Dessert, Dune · 42-6 Mountain, Rock 42-7 Road, Highway 42-8 Snow, Ice 42-9 Spectacular 42-10 Town, City 42-11 Tree 42-12 Water 42-13 Misc. Landscape
48
43
49
TRANSPORTATION (Land)
43-1 43-2 43-3 43-4 43-5 43-6 43-7
Automobile Bicycle, Motorcycle Bus, Truck Cart, Carriage, Coach Railroad Streetcar, Subway Misc. land Transportation
44 AIRCRAFT 44-1 Army Bomber 44-2 Army Fighter 44-3 Commercial 44-4 Foreign 44-5 Helicopter 44-6 Historical (Before '41) 44-7 Jet 44-8 Lighter-than-Air 44-9 Navy 44-10 Personnel 44-11 Private 44-12 Rockets, Future 44-13 Misc. Aircraft
45
BOATS
45-1 Canoe, Rowboat 46-2 Liner 46-3 Merchant 46-4A Power Boats, Commercial 46-4B Power Boats, Sporting 46-5A Sailboat (seagoing) 46-5B Sailboat (sporting) 46-6 Steamboats 46-7 Warships 46-8 Misc. Boats
46
ARCHITECTURE
46-1 46-2 46-3 46-4 46-5
47
Bridge, Dam Historic Homes Public Buildings Misc. Architecture
DISASTER
47-1 47- 2 47-3 47-4 47-5
Accident Fire, Firemen Flood Storm Misc. Disaster
CA, November '59
FOODS
48-1 48-2 48-3 48-4 48-5 48-6 48-7 48-8 48-9
Dining Bakery Goods Beverage Dessert, Candy Fruits, Vegetables Liquors Meat Sea Foods, Fish Misc. Foods
FURNISHINGS
49- 1 Appliances 49- 2 Bathroom 49-3 Bedroom 49-4 Dining Room 49- 5 Game Room 49- 6 Kid 's Room 49-7 Kitchen 49- 8 Living Room 49-9 Patio, Terrace 49- 10 Period 49-11 Misc. Furnishings
50
GOVERNMENT
50- 1 Buildings 50- 2 Mailmen, Police, Prisons 50-3 Political Scenes 50-4 Misc. Government
51
HOLIDAYS
51- 1 51- 2 51-3 51- 4 51- 5 51- 6 51-7
52
Christmas Easter 4th of July Halloween Thanksgiving Valentine Misc. Holidays
RELIGION
51-1 Christ 52- 2 Christmas Scenes 52-3A Churches (Exteriors) 52-3B Churches (Interiors) 52-4 Mary, Madonnas 52-5 Religious Garb, Activities 52-6 Saints 52-7 Scenes 52- 8 Misc. Religion
53
SYMBOL
53-1 53- 2 53-3 53-4 53-5
Animate Cupid Flag Inanimate Misc. Symbol
•
fa MATERIALS CA's work-tested review of both new and existing materials available to the artist. Whenever possible, the actual product was tested by both "outside" artists as well as CA's own artists.
For the past few months there has been an intriguing deluge of news releases, letters, books, and boxes full of many rare and wonderful materials. The thought has even occurred to add ourselves to our own dealer list. We're extremely pleased to see that the artist and his welfare has been given so much thought. Very few of the actual products have failed to live up to their press releases, although some of the copywriters might re.. member that artists are constantly dealing with astonishing, colossal and irresistible products . . . we even have to letter the words occasionally. Although we are unable to comment on all the products as they come in, we are glad to know there will be grist for the Materials' mill for quite some time. As an invitation to others who have been experimenting with the problems of translating a piece of art or a photo into a printed reproduction, we hope the following letter will bring into focus the need for additional information.
as far as we have gone, which is certainly not very comprehensive. May I suggest that CA would be performing a real service by making complete tests along these lines? Yours very truly, Raymond A . Fisher Art Director Herbick & Held Printing Company Pittsburgh, Pa.
We would be glad to, Mr. Fisher, although the thought of cleaning (one gallon of Pen Sparkle, please, Mr. Steig) the airbrush that many times is somewhat shuddering. By the January issue we hope to reproduce a complete comparative reflection test of all the whites, grays and blacks available to the artist.
For better work .. . for quality·true color and rich· ness on the brush . . . try SARGENT TEMPER-A POSTER COLORS next time. At all art supply stores.
AMERICAN ARTISTS' COLOR WORKS, Inc. 200 Fifth Avenue. New York 10. H. Y. laboratones & Plant: Hazleton. Pa.
61
Dear Sir: Your "Materials" feature in the October issue listing blacks, grays and whites is fine as far as it goes. However, the ultimate comparison or evaluation of these paints should be based on their reproduction characteristics. The fact is that all paints do NOT reproduce uniformly. A 50% gray in one will not necessarily reproduce in halftone as faithfully as a 50% gray in another. Our hunch is that these variations are due primarily to the base pigments (lead, zinc, titanium, etc.) which react in different ways to the lights used in shooting halftones. Our experience seems to indicate that hue (warm or cool) does not have much bearing on variation or fidelity. Enclosed is a print of a reflection test using warm and cool Marabu grays, Marabu White and Pro white. We know now what to expect with this set of paints and can specify their use when ordering artwork. But this is CA, November '59
Materials (cont'd)
tapered points can be made by adjusting the length of the lead inserted into the sharpener. Manufactured by the C. Howard Hunt Pen Co., of Camden, New Jersey, it sells for $2.95. Abrasive refill cups are 3 for $1.
a few drops of this solution, India ink will slough off a pen or out of a brush and leave them completely clean. A few drops in an airbrush cup for several minutes, followed by water and a thorough spraying does an excellent job of dissolving hardened inks or paints. Made by Steig Products of Lakewood, New Jersey, it sells for $1 per 1 oz. bottle.
PEN SPARKLE Pen, brush and instrument cleaner
PICTURE SOURCES A list of picture sources
BOSTON LEAD POINTER Mechanical pencil lead sharpener CA's comments ...
A lightweight, rotating plastic unit that can be screwed into place or used as a portable sharpener. It can be taken apart easily for cleaning or replacing the abrasive refill, which is a complete unit in itself. Short, medium, or long and extremely sharp,
CA's comments ...
CA's comments ...
A fluid cleaner in a plastic squeeze bottle. After a five minute soaking in
A 115-page book listing 398 sources of pictures and fully describing them
62
NEUTRAL RETOUCH GRAYS
TAKE THE "GUESS-WORK" OUT OF RETOUCHING Warm or Cold? ... It makes no difference with GAMMA~- because GAMMA Grays are Neutral uniformly accurate equivalents of photographic tone values-and reproduce with perfect fidelity Tubes 35c each and 1 oz. jars 40c; 4 oz. jars $1.25
liMBACHER 460 W. 34th St., Ne¥1 York 1, N.Y.
lJA, .t.ovember '59
with addresses, size of collection, type of material included, subjects, and dates covered. Entries are arranged in 14 major subject categories with detailed indexes. Available from the Special Libraries Association, 31 East lOth Street, New York 3, New York, at $3.50 per copy.
It is especially suitable for glossy or semi-matte photos when a surface is needed for pencil, stomp, or ink work. Although it slightly grays the deep blacks, a moist cotton swab can remove the spray in any area, if desired. It can also be used on color prints, transparencies, or black and white negatives. For the photographer, it does an excellent job as a dulling spray. Made by the John G. Marshall Mfg. Co., Inc., 167 North Ninth Street, Brooklyn 11, New York, it sells for $1.50 for a 6 oz. can or $2.50 for a 16 oz. can.
"BEST-TEST" never wrinkles - curls - shrinks. Excess rubs oH dean. FOR THE GRAPHIC ARTS A MUST A size for every purpose. Sold by Stationery, Artist Supply and Photographic Dealers every· where. UNION RUIIU & ASIUTOS CO. TRENTON, N. j,
MAKES PASTING A PLEASURE
~A~~@P
CHECK-SCALE A translucent plastic sheet with ruled squares
FAJI~~~000
... CA's comments ...
An 11" x 17" grid, printed on .005 Mylar base and calibrated in Vs". Due to the dimensional stability of Mylar and the sheet's transparency, the Check-Scale is an ideal device for checking paste-up alignment. Scaling art and cropping photos can also be done. It lies flat, has a surface similar to matte acetate, will take pencilling, and erases easily. Manufactured by the Check-Scale Products Company, P. 0. Box 15781, Los Angeles, Calif., it sells for $4.95.
the one about . .. the girl Thursday
SCALEOGRAPH A mechanical cropping and scaling device CA's comments ...
A simple, efficient, precision instrument that will crop and scale photos quickly and accurately. Made of translucent vinyl plastic, stainless steel and aluminum, it has two adjustable L's that can be locked into the proportion desired. Enlargements or reductions can be made automatically without computation or error by merely sliding the L's on a diagonal bar. If a layout has already been established, it is just as easy to crop the photo to fit. The Scaleograph is another case of an artist designing a product to answer his own problems. Robert C. Brandt, AD of Bauerlein Advertising, is the inventor. The company is The Brandt Corporation, P. 0. Box 465, New Orleans, Louisiana, and the instrument sells for $12.50.
Oncet there was an art studio with 6 artists, a salesman and a girl Thursday. She had been hired as a girl Wednesday but had done such an outstanding job keeping the coffee cups clean she had been promoted, She had ambitions to to be a girl Friday. One day (probably Tuesday) on an errand at the art supply store, she saw a copy of CA and immediately had the man put it on the studio's account. All 6 artists thought this was a good magazine and she was a smart girl to think of it, so they promoted her to a girl Friday with a $10 a week increase.
Moral ... Unless you want to increase your overhead $10 a week, subscribe to CA yourself and save money.
-- -- .. ------- -- --------------------
MATERIALS PHOTOGRAPHY , BILL ARBOGAST
MARSHALL'S PRE-COLOR SPRAY A transparent matte-finish spray CA's comments ...
A very fine matte finish can be given to any shiny surface with this spray.
lntermixable with all other shades of Rich Art Poster Colors.
For further information concerning this department, write to: Materials Editor, The Journal of Commercial Art, 809 San Antonio Road, Palo Alto, California. CA, November '59
Makers of Fine Artists' Materials
lL!H Rill" COlD.R
co
---------------- ---- -- -- - -- .. - -31 WEST 21ST STREET, NEW YORK 10, N.Y.
63
m
HUMOR
It's &hat &ime of the 'Year f{gain ... "It's no trouble at all, we'll have a comp to show your wife tomorrow ... " With little variation, these are the words that her ald the arrival of the Annual Client's Christmas Card Game so enjoyed by all artists. As you can tell, it has been played before by . . .
~ ·\
64
(( ... you had time to do a Xmas card for the president of the agency - you had time to do a Xmas card for the account executive-you had time to do a Xmas card for ... "
((
j
I
__.J_
(( ... now the president of the company wants you to stick pretty much to the kind of layout his 14 year old daughter has here."
((I was telling Mr. Crawford that you're the only artist in the city I would trust to do his Xmas card!"
CA , November '59
~.
I :
(( ... and he wants an aerial view of his home showing his wife and five children standing in the doorway with a christmas tree in the living room and mistletoe hanging from the chandelier with ... "
65
((I want an Xmas card that's sort of Saturday Evening Postish-the sort of drawing Norman Rockwell might do. 1' !I
,,..
:'
(Tm afraid you haven't quite caught the spirit of Christmas in Mr. Basome' s card! "
((Mr. Bixbie just called and wants to know how your coming along with his Xmas card." CA, November '59
m
ON THE BOARD
True talent will triumph
Having a wonderful ti me ...
An interesting sidelight to our conversation with Otto Storch of McCall's (See Markets, page 28) is the story of McCall's recent emergence as a magazine that's exciting to look at, as well as to read. With its ''new look" (since July) in illustrations, layout and typography, McCall's is the ''hot" magazine in the women's and family service groups. A ''new look" in magazines is not necessarily news . But when a whole new visual treatment is the product of the same art staff that did the ''old" magazine, that's news. The catalyst in this case is Herbert Mayes, the editor. Mayes is permitting Storch and his talented staff to operate creatively in their own bailiwicks. Good taste and good-of-the-book are Mayes' criteria for decisions. There's probably some deep-seated philosophical aspects to this change-like carrying coal to Newcastle or bringing the mountain to Mohammed or truth and talent will triumph. We like to think so, anyway.
We received a card from Warren Hunter in the mail. In the vernacular of the day C' ... that magazine is mad, mad, mad!") Mr. Hunter expressed his pleasure with the October issue. Which is all well and good, but the card was imprinted with a ''Camp Kohahna for Girls'' letterhead. At first glance we became all worked up when we saw the letterhead-CA is now ''reaching" the teen group (over 80 million)! But we rather imagine that Mr. Hunter, like all of us, is using confiscated stationary and there's no connection between his ''mad, mad, mad" and Camp Kohahna, after all.
• Pictures to the editor
66
Hank Chisolm in Van N uys, Calif. believes that ''when in Rome ... " so if you're writing to an artist's magazine ...
•
By popular dem a nd ... In last month's issue we offered a special $2 and $3 price (a saving of $1) for the standard and deluxe Chris Cuts Kits. As noted, these are a wonderful medium for layout and design and an attractive Christmas present for children with an artistic bent. Because of demand, and because we never did state a ''closing date" for the offer-we are extending the offer. Send check or money order only. Price includes shipping, tax.
• A man af t er our publ ishe r' s hea rt ...
Mr. Harry]. Stevenson, Jr., Director of Technical Publications for the Ken Fox Company in Toledo writes'' ... build a fire under your space salesmen. We cannot buy supplies and equipment unless we know about them."
• In dex to advertisers
- - "' '
' •'
' I
American Artists' Colo:r W arks, Inc.
. . 61
Charles T. Bainbridge's Sons
. . . . .
. . 3
Crescent Cardboard Company . . . . .
. . 61
Eastern Fine Paper & Pulp Division (Standard Packaging Corp.) ..
. 32, 33,34
M. Grumbacher, Inc.
. . . . . 62
. . . . . . · ..
National Card, Mat and Board Co.
. 55
Para-Tone Incorporated
. 4
Rich Art Color Co.
..... .
. . . . . .
Trace-Rite Sales Corporation
.
Union Rubber & Asbestos Co.
. 63
F. Weber Co . . . . . . . . . . . .
. 55
Winsor & Newton, Inc. . . . . . . . . . . . .
. 17
Advertising Correspondence: David Hartman, Advertising Manager, The Journal of Commercial Art, 15 West 44th St., New York, N.Y.; or Advertising Department, The Journal of Commercial Art, 809 San Antonio Rd., Palo Alto, Calif CA. November '59
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BE GREEDY!
Save your copy of CA for yourself! Let us send a sample copy of CA to someone whose been "borrowing" yours! Here's your chance to be a hero - to share CA with a Hdeserving" artist (or advertising manager, or copywriter) without losing your copy. Any subscriber may fill out and mail the enclosed ((Be My Guest" card. We will mail a free copy of CA and your card to someone you think will enjoy it - someone you think can benefit from it-someone you kno w is stealing your copy each month. And, if you really want to get in the spirit of Christmas, give a year's subscription to someone on your list. *maybe even you