oct1961

Cover painting by George Akimoto 6 Letters to the edi tor 9 The time and the place 14 On the board 19 Advertisers' index 20 CA color charts 22 Design pirating 26 Print that matters 27 Materials, services, available li terature 28 nlustrated songs

VOLUME 3

30 Literature of the month

NUMBER 10

34 Cover story

OCTOBER

35 A studio profile: Fred Kopp, Inc.

1961 40 E xhibit 43

Typography

46

Visual Persuasion: Steve Baker

56 The New York annual 59 Designing aloud: Walter Landor

CA, The Journal of Commercial Art and Design , is published monthly by Coyne & Blanchard , Inc ., 809 San Antonio Road , Palo Alto, California . Subscription rates : U. S. A., possessions , and Canada, one year, $12; two years , $22 ; three years, $30; five years , $45 . Foreign , one year, $14 . Single issues : $ 1, except for AD show issue $2, Vols . 1 and 2 of CA annual $3 each . Copyright 1961 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 pnor to effect date . Send both new and old address . If possible , use imprint from CA mailing envelope for old address .

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

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

the first professional art flapping system ... no more ~ cutting

no more measuring' no more

an

The concept

gluing

Robert Blanchard, publisher Richard Coyne, AD/ editor

The graphics Jay McKendry, typographer Bert Bryce, associate typographer Henri Luyckx, litho cameraman

The office Carolyn Thompson, circulation manager Judith Ray, circulation Margaret Craford, accounting

Advertising David Hartman, manager, New York

seconds ... and it's ready to go

1.

4

2.

3.

Strip off pressure sensitive tape from pre-cut flap .

Attach to pre-cut illustration board.

Betty Fairbank, Palo Alto

ri

Contributing Editors William Condit, Denver Ira Goldblatt, Boston

<::#

Susan Karstrom Keig, Chicago

.

James Peck, Seattle Ted Poyser, Los Angeles

Fold over flap.

Robert S. Robison, St. Louis Wendell Davenport, Honolulu

IN THE CLIENT'S

J. Philip Jordan, Richmond

OFFICE: Prestige, uniform appearance

Tobias Moss, New York

to layout and art.

Emile Pirro, Canada Harold Quiram, Dallas

NEXT MONTH-Part One of CA-61, the second annual exhibition. Presented this year in two volumes, Part Two will appear in the December issue. Selected from 11,000 pieces submitted, CA-61 will be one of the most significant annuals of graphic art and design. Included as part of the regular CA subscriptions, the annual will be on sale at art stores for $3 per volume.

I

NATIONAL CARD MAT AND BOARD COMPANY

I

4318

I

Please send free sample and literature.

I I

I

I I

Carroll Avenue • Chicago 24, Illinois

NAME _____________________________________ ART TRAD E S H OP N O .1

COMPANY NAME _____________________________ ADDRESS ___________________________________

: CITY ZONE _ _ STATE I CA_ _ ..JI ' - - - - - ___________________

CA, October '61

NEW .. . FAST FLOWING.

GAMMA WHITE Whatever the job ...

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

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

Tubes ... 3,14" x 31;8" ... 35¢ Jars ... 1 oz. (by volume) ... 40¢ Jars ... 4 oz. (by volume) ... $1.25 Jars ... 8 oz. (by volume) ... $2.00

5

1 ANNOUNCING SYSTEM & INSTRUMENT

NEW • • • •

MORILLA, who brings you

: :;::::::

the world's finest papers

jjjjjjj!jjj:

Morilla ,~:;:~:~~ '~~~~!~:~~:~'

I LAYOUT PADS :~:~:;:.~!:*:::,;::~:·::I

i,il:'::::i.

"Crisbrook", "Marilla Board", : :i!j! )!)~!

The World's Finest Layout Pad Line No. 82 "TOWER" Tracing Pads

DETERMINE BE HELP CREATE P INTRODUCE , E MIN IMIZE y BA

Parchment type, very transparent, inexpensive. A leader in studios and schools for over a quarter century.

9 X 12, 11 X 14, 14 X 17, and 19 X 24 .

II

No. 550

• EASILY

"THB ADVERTISER"

Layout Pads

No. 666 II

L t us tell you more abo ' t it-NO OBLIGATION o the f irst 500 inqu i r'ie~ , we shall award a $10.0 onus Certificate which can be applied on any future purchases of the Kidjel Cali-Pro. from us ...

ART DIRECTOR"

.;~E~~~Ei~

\\..-!!!!Ill•-- durable.

WRITE· TO

KIDJEL-YOUNG DEPARTMENT 2

Honolulu 14, Hawaii, U

12-12

DISTRIBUTOR AND DEALER INQUIRIES INVITED Already in use by more thi:m 40 industrial design activities

CA, Octoher '61

All pad

sizes.

:·:·:.:...:·:.;-:·:·:·:·:.:·:·:·=·····:·:· ··:.;.·.:.;.·-:.;·:·:·:·:·::;:~~

I

:i:it}

~~~~~~: :~:~~~~1 ..

Letters to the editor TIMA Dear Sir: I don't envy you your problems in editorial planning. The CA clientele represent a profession which resists satisfaction. But then, that state of mind should also keep them riffling the pages. Whatever else, don't let the warped semantics of hypersophistication obscure the really helpful meat the articles, demonstrations and sampling. Even the oldtimers can afford to review that which is directed to novices.

Good to see your August issue's concise recognition of Technical Illustration and its problems. Resolution thereof can be enhanced by exposure ... like in the pages of CA. (Wish you had included some organizational addresses of TIMA.) Best wishes, and please be successful. We need the journal.

Cordially, L. Wilson Ruid The Martin Company Denver

6

1240 N. HOMAN AVE./CHICAG0 51, ILL.

Dear Sir: Many thanks for sending us the numerous inquiries CA received about TIMA following your article in the August issue. Naturally we are very pleased with your readers' response. It shores up our conviction that TIMA fills a definite need for those in the Technical or Industrial Illustration field.

For those who might care to know more about its activities and organization, here is a synopsis of who we are and what we're trying to accomplish.

TIMA is an extra-curricular activity for its members and each has to give of his own free time to participate in its affairs. This has contributed to a "rough road" at times but the rewards have been great. We believe the broad field of Technical Illustration needs promotion and recognition for the vital role it plays in technical communications. It is the medium which simplifies the complex and makes it possible for today's sophisticated machines to be sold, serviced, repaired, and kept operationa!. We think that too often the illustrations and the illustrators are taken for granted instead of being recognized as an efficient means of communication while in the meantime hundreds of hours and thousands of words are saved; this translates into dollars real fast! To help correct this TIMA has sponsored eight annual exhibits of industrial art in Los Angeles and attendance has grown from 400 to 100,000. We have found this to be an CA, October '61

excellent means of acquainting the public and school people with the field of Technical Illustration. It also -provides an excellent means of informing students as to the opportunities offered by industry for qualified people.

TIMA is a non-profit, international association, founded in 1953. The parent chapter in Los Angeles now has more than 100 members and the recentlyformed chapter on the San Francisco peninsula has over 50 members and is growing rapidly. Full membership is limited to management personnel in the full time employment of companies directly concerned with the preparation, reproduction and production of industrial art necessary to support their own products. Also included are educators in the full time employ of a TIMA-recognized educational institution teaching technical illustration. Associate membership is open to technical illustrators with five years or more of technical illustration experience and to part-time instructors of technical illustration.

Those engaged in private business are not eligible for membership, eliminating the exploitation of TIMA as a means of promoting individual interests. Typical businesses excluded are private schools teaching technical illustration, vendors offering publications services (job shops), typographers, printers, art suppliers, etc.

Annual dues and revenue received from exhibit entry fees, etc., are used to defray expenses. Typical activities include the annual exhibit, artist awards, award dinner, teacher institute sessions, the "TIMA News Letter", etc.

Those interested in more information are invited to write to: TIMA, P.O. Box 1021, Hollywood 28, California.

We have a limited number of 1961 Exhibit Brochures which we will mail on request "as long as the supply lasts."

Many thanks to CA and its readers for the interest evidenced in TIMA. Vic Hansen Immediate Past President TIMA Hollywood, California

•

Gentlemen: Could you please send me the address of the trade magazine(s) dealing strictly with Television Graphics if there are such to your knowledge.

Thank you, Tom Martin Art Dept.

WILX-TV 1ackson, Michigan Our contacts net a score of zero.

"Publishing, anyone?"

----......;;;=::::::;·. ._ -···-·..···-·· ..... .... . ... .........

-.......

I

..._

·····-·--··-··..

--~-···

You probably kn:.ow the Kimberly-Clark line of coated printing papers. At least we hope so! But have you recommended Kimberly-Clark business papers-for your clients' office needs? It's the longest, strongest line of business papers going. Cotton fiber and sulphite both. Bonds, mimeos and offsets. Ledgers and onionskins. Duplicators, index and vellum bristols ... even postcard stock and envelopes. It's the full line of business papers that'll make you very big in office circles. FROM KIMBERLY-cLARK MERCHANTS. 8 10•bad~•CIIrk

Ever watch

She fixes herself comfortably in the chair.

She flips through a few pages and delicately smothers a ladylike yawn.

The picture for a story catches her eye, and she pauses an instant or two to speculate idly whether Mr. Tall-Dark-and-Handsome did-or he didn't.

Slap. Flip. Flip. Slap. More pages wander by.

Then it happens.

This woman is wide awake and vibrating. She sees something that buzzes her acquisitive sense.

She sees a product her man would like to eat, her kids would want to wear, her house would love to have, her face or figure would choose to put on.

She sees an ad that grabs her. You can almost feel the short hairs on the back of her neck quiver with buying desire.

*

*

*

Sure, that kind of wake-up ad has a product, and an idea in it.

But ten to one it's physically strong and attractive, too.

In these competitive days, why send a good product out into the selling world without a strong, vigorous, right type dress?

Especially since it costs no more.

Your nearest ATA member is a type specialist. He knows faces and has them. He understands selling problems and helps solve them. His craftsmen love their work-and it shows.

He does it better and sooner. You save two ways: typographical efficiency and stronger sales response.

Call him- this time !

It pays to set type right ADVERTISING TYPOGRAPHERS ASSOCIATION OF AMERICA, Inc .

Is she your

The Time and the Place

type? .. ~if you want to appeal to her call the nearest member of the Advertising Typographers Association of America EXECUTIVE OFFICES: 461 Eighth Ave., New York 1, N.Y. AKRON, OHIO The Akron Typesetting Co. ATLANTA, GEORGIA Higgins-McArthur Company BALTIMORE, MARYLAND The Maran Printing Co. BOSTON, MASSACHUSETTS The Berkeley Press Machine Composition Co. H. G. McMennamin CHICAGO, ILLINOIS J. M. Bundscho, Inc. The Faithorn Corp, Hayes-Lochner, Inc. Runkle-Thompsen-Kovats, Inc. Frederic Ryder Company CINCINNATI, OHIO The J. W. Ford Company CLEVELAND, OHIO Bohme & Blinkmann, Inc. Schlick-Barner-Hayden, Inc. Skelly Typesetting Co., Inc. COLUMBUS, OHIO Yaeger Typesetting Co., Inc. DALLAS, TEXAS Jaggars-Chiles-Stovall, Inc. DAYTON, OHIO Dayton Typographic Service DENVER, COLORADO The A. B. Hirschfeld Press Hoflund-Schmidt Typographic Service DETROIT, MICHIGAN Arnold-Powers, Inc. The Thos. P. Henry Company George Willens & Company INDIANAPOLIS, INDIANA The Typographic Service Co.. Inc. KALAMAZOO, MICHIGAN Mahoney Typographers, Inc. LOS ANGELES, CALIFORNIA Adtype Service Co., Inc. Advertisers Composition Company Bisch Typ·e, Inc. Nicholas-Preston Company MILWAUKEE, WISCONSIN Arrow Press, Inc. MINNEAPOLIS, MINNESOTA Dahl & Curry, inc.

Duragraph Inc. NEWARK, NEW JERSEY Barton Press William Patrick Co., Inc. NEW YORK, NEW YORK Ad Service Company Advertising Agencies' Service Co., Inc. Artintype, inc.

Associated Typographers, Inc. Atlas Typographic Service, Inc. Central Zone Press, inc.

The Composing Room, Inc. Composition Service, Inc. Diamant Typographic Service, Inc. Hur.ley House Ltd. King Typographic Service Corp.

Linocraft Typographers, Inc. Master Typo Company, Inc. Chris Olsen Typography, Inc. Frederic Nelson Phillips, Inc. Phiimac Typographers·, Inc. Royal Typographers, Inc. Frederick W. Schmidt, Inc. Harry Silverstein, inc.

Supreme Ad Service, Inc. Tri-A rts Press, Inc. Typographic Craftsmen, Inc. The Typographic Service Co. Kurt H. Volk, Inc. PHILADELPHIA, PENNSYLVANiA Walter T. Armstrong, inc.

Alfred J. Jordan, Inc. Progressive Composition Company Typographic Service, Inc. PITTSBURGH, PENNSYLVANIA Davis & Warde, Inc. PORTLAND, OREGON Paul 0. Giesey, Adcrafters, Inc. ROCHESTER, NEW YORK Rochester Monotype Composition Company ST. LOUIS, MISSOURI Warwick Typographers, Inc. SAN .FRANCISCO, CALIFORNIA Griffin Brothers, Inc. TORONTO, CANADA Cooper & Beatty, Limited

Chicago Dave Chapman, Inc., has extended its corporate name to Dave Chapman, Goldsmith & Yamasaki, Inc., Industrial Design.

Judges for the 29th Annual Exhibition of Advertising Art, sponsored by the ADC, and to be held in November will be: Earle Ludgin, Draper Daniels, Howard Zieff, Sam Fink, E. A. Adams, Tana Hoban, Georg Olden, Jim Cherry, Jack Zander, and Otto Storch.

Detroit W. B. Ford Design Associates, Inc., announces the appointment of two senior designers: Carl Benkert, former head of the architectural interiors department of General Motors; and Richard Isola, industrial designer, also from General Motors.

Los Angeles Nat Goldenberg is now associated with 11agoffin Typographers as representative and typographic consultant.

Reeds and Farris has moved to 7188 Sunset Boulevard-new phone: Hollywood 4-4006. The agency also added Max A. MacDonald to their art department.

Los Angeles County Museum ... Opening November 8, Flower Paintings by Ethelynde Smith. Continuing-Georges Rouault prints; Los Angeles, 1900 to the present; Folk Arts of Lapland.

Maplewood, New Jersey The Art Directors Club of New Jersey has new officers: Dick Basile, president; Alfred Scherr, 1st vice president; Philip Swift, 2nd vice president; Truman Toland, treasurer; Milton Glover, secretary.

Edward Calker, art director for WarnerLambert Pharmaceutical Co., has received a Guggenheim fellowship grant for his creative work in the fine arts.

Mr. Calker will travel here and abroad, and will undertake experimental designs relating plate to text. He is a charter member of New Jersey's ADC. CA, October '61

LUCYGRAF can

double your production!

Whichever you prefer, a shorter work week or more take home pay, or both, Lucygraf makes it possible and practical. Larger art departments add the full production of another man without the overhead! Save billable time scaling layouts, illustrations, photographs, lettering and logos, keyline strip-ins (no stats needed), as well as visualizing reductions or blow-ups and direct tracing to scale from three dimensional objects.

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

SPECIFICATIONS LENS, Wollensak Raptar F4 .5 (Same lens as in units costing $300 .00 more and up.); EIGHT DIAMETERS scaling range; FOCAL PLATE 18" x 24"; COPY BOARD 17"x 23"; CABLE CONTROLS of vinyl steel strand; HOOD, grey vinyl; DIMENSIONS, 42 " height to foc-al plate, floor area 26"x 24"; CABINET of heavy ply construction finished in neutral beige .

$198°0

MODEL A (As shown above) Complete, ready to operate.

_.. Full payment with order ....... ... $198.00 We will ship prepaid in U.S.A. PAYMENT PLAN ... $100.00 payment with order. Balance in two equal monthly payments (60 days). Send bank ref. Shipped F. 0. B. Los Angeles.

In California, add 4 % Sales Tax

LUCYGRAF MANUFACTURING COMPANY Dept. J, 3268 Motor A venue Los Angeles 34, Calif., UPton 0-0071

9

. -....-IJ I I BIG TRIAL KIT !

11CLIPAR, 1 r.

I 8.95 Value for $1~

Bargain introductory offer proves "Clip Book" art saves you time and money. Top quality ready-to-use art for ads, printing, publications, direct mail, etc. Offset, letterpress, silk screen.

Many art proofs from "Art Director's Clip Kit" and "Clip Book of Line Art"enough for dozens of paste-ups.

Satisfaction guaranteed-no obligation-no strings.

Merely attach $1.00 to your letterhead. (Only one to a customer-and new customers only.)

• •

II •

I. • • •• •

II

$ ' ., •• • •

l:Wile NeE; •1 Harry Yolk Jr. Studio -

..=__.._..

-------· 6,

PROJECTION ART • •

• • Ready-to-use art on translucent stock for projectuals. A specialized service for visual communications. Write above address for samples, prices.

-

10

,_,AIAA~A~~ /~K--

•• •• -

The Time and the Place (cont.)

New York

John A. Zeigler has joined Stephan Lion, Inc., as Project Director for the promotion and package design firm.

Pepsi-Cola Gallery, 500 Park Avenue ... Philippine art and crafts exhibition in November.

De Garmo Inc. has added to its staff; Peter N. Pappas as production manager; George A. Gomes, as art director.

Gallery 303, 130 West 46th ... Exhibition of ads, brochures, books and posters designed by The New York Times promotion department, through November 21.

Onofrio Paccione has left Grey Advertising to become executive vice president and Creative Director of Leber j Katz ; Paccione, Inc_

Museum of Modern Art, 11 West 53rd . _. Diogenes with a Camera V, featuring the photographic "search for truth" of Bill Brandt (American), Lucien Clergue (French), and Y ashuhiro Ishimoto (Japanese), Nov. 12. The Jerusalem Windows, by Marc Chagall, on display beginning Nov. 19. The Last Works of Henri Matisse, through Dec. 3. Tickets now on sale for winter series of Thursday evening films, lectures, music; galleries and restaurant will remain open until 10 p.m.

Visual Arts Gallery, 209 East 23rd ...

The Figure, Then and Now, an exhibition comparing the Social Realism of the 1930's with the New Realism of today-opening in November.

for the more difficult task of close work for Profession and Industry

THE CLIP-ON UNIT

THE HALF FRAME UNIT

FOR USE WITH REGULAR GLASSES

FOR WORKERS WITH PERFECT VISION

Martin Brown has been made an associate of the Lawrence Gussin Company_ Mr. Brown was previously studio manager of Grey Advertising.

Richard H. Flack has been appointed art director of Graphics Institute, visual presentation agency. He was previously art director of Graphic House, Inc., Boston.

Philadelphia The 26th Exhibition of the Art Directors Club opens November 21 at the Philadelphia Museum College of Art, Broad and Pine Streets.

Mel Richman, Inc., announces reorganization and major expansion to its staff and services. Recent appointments include: Donald E_ Ross, to the film staff-formerly sales manager for station WIP, Philadelphia; Carlos SierraFranco, former graphics art director at CCA, Mead Johnson&Co., and NEA; Walter Terbovic, designer and former owner of Gateway Studios, Pittsburgh.

Pittsburgh Seven one-man shows and the 42nd Pittsburgh International of contemporary arts continuing at the Fine Arts galleries of Carnegie Institute, through January 7.

Richmond, Virginia This latest addition to the Telesight group makes it possible to get the full benefit of the magnifying unit by attaching it to one's own glasses.

Has only a half frame for proper nose and skull adjustment. For workers who do not require prescription lenses. Available in two-tone black/ crystal.

Price, $1 5.00 (Except 3X, $1 8.00)

Price, $15.75 (Except 3X, $18.75)

FLIP UP . . .

FLIP DOWN. ~ole

LEAVES HANDS FREE TO WORK. Weighs only 1 ounce with lenses.

Clips on to your own glasses.

NO AWKWARD HEAD STRAPS. Finger-tip changeover from ordinary to tridimensional, magnified, perfect working vision. The modern method of doing precision work with minimum eye fatigue. A quick flip up with the finger and back to normal vision. Eliminates putting on and taking off.

'? Wholesale Supply. Houses : -

When ordering, specify working distance and model.

Approximate Work Distance

Power

1 %X .... . 20 inches 1%X . 14 " 2X .... .. 11 21,4X 9

2 1hX

7

"

3X

6

"

If interested in securing this new item for your territory, contact

'mmed1otely.

Order from WINGATE OPTICAL COMPANY 27 East 54th St., Brooklyn 3, N. Y.

I

WRITE FOR

IL~~i~~~J.ED

CA. Octobl'l· '61

Maxie D. Mason has been promoted to art director of Cabell Eanes, Inc.; he had joined the art staff of the advertising agency in 1957.

San Diego Deadline for entries in the AD jSD Second Annual Exhibition of Advertising and Editorial Art is Jan_ 1, 1962.

For entry blanks contact Ken Kitsen, Frye & Smith Ltd., 5304 Metro St. Seminar '61 AD j SD, an annual presentation on professional art for high school and college students, will be held at La Jolla Art Center, November 4. Noted panelists will include Stanley

The intuitive designer can feel many mood possibilities suggested by the subtle, undefined color of Pine Tree Text.

A rural scene, a dusty Civil War battlefield, a desert missile launching base, an ethereal backdrop for a contemporary chair ... into whatever realms his skillful design intends to lead the reader's imagination.

Pine Tree Text can add that something extra to the modest-budget job-giving a feeling of color, yet costing only slightly more than equivalent white stock.

This is #91 Brown. Pine Tree is also available in #90 Rose, #92 Blue, #93 Green and #94 Rainbow.

This unusual paper is now offered in both text and cover weights. Sheet sizes for text are 23 x 35, 25 x 38, 35 x 45, and 35 x 46.

For cover: 23 x 35 and 26 x 40. Both weights are suitable to any printing process.

For samples write to: Arthur Schroeder Paper Co., Inc. 420 Lexington Avenue New York 17, New York

--

PIKE T!lEE TEXT AND COVEll This is #91 Brown. Pine Tree is also available in #90 Rose, #92 Blue, #93 Green and #94 Rainbow.

This unusual paper is now offered in both text and cover weights. Sheet sizes for text are 23 x35, 25 x 38, 35 x 45, and 35 x 46.

For cover: 23 x 35 and 26 x 40. Both weights are suitable to any printing process.

ARTHUR SCHROEDER PAPER CO., Inc. 420 Lexlneton Avenue, New York 17, N.Y. Agents for Pejepscot Paper Co., Inc. 91 years of quality, dependability and progress in paper

-

LUI

The Time and the Place (cont. ) Hodge, chief of art direction, General Dynamics Astronautics; Geoff Relf, Barnes & Chase Advertising; Bill Clark, art director of Image.

San Francisco The 12th Annual Exhibition of Advertising and Editorial Art to be presented by the Art Directors and Artists Club will be held in the new International Building, St. Mary's Square, beginning November 17.

y

c

David J. Lepore, former design and architectural supervisor for the Sheraton Hotel chain, Boston, has joined the staff of John S. Bolles, Architects and Engineers.

S.F.'s newly-formed Society of Illustrators will exhibit contemporary art

by Bay Area commercial artists, beginning October 27. Open to the public, 40 Belden St., 9 a.m. to midnight, daily except Sundays.

San Francisco Public Library ... an exhibit of italic handwriting, as used in advertising, book publishing, job printing and personal correspondencethrough November 15.

It is no accident that many of advert is i n g 's best creative ideas make their first visual appearance on pads of Strathmore Alexis Layout.

Universities/Schools Long Beach State College, Long Beach, Calif. ... announces the appointment of James Van Eimeren to the design staff.

Mr. Van Eimeren was formerly head of Advertising Design and Illustration Departments at the Layton School of Art in Milwaukee.

Pratt Institute ... recent graduate Beverly Golbin of Brooklyn designed the latest direct mail piece for Newton Falls Paper Mill, Inc., as part of their continuing sponsorship of talented design students.

Rochester Institute of Technology ...

Color Control Seminar, presenting color problems 1solutions 1methods in commercial printing, publishing, advertising, design, packaging-Nov. 13-15. For further information and application write Harold M. Kentner, Extended Services Division, R.I.T., Rochester 8, New York.

Syracuse University . . . Enamels, a Smithsonian Exhibition, November 15 -December 15.

University of Illinois . . . Twentieth Century Drawings from the Museum of Modern Art (NYC ), Krannert Art Museum, November 11- December 3.

13

For artists have learned to depend on the quality of Alexis Layout ... its range in substance and transparency and its tooth ... its adaptability to graphite or wolf pencil .. . its ability to take ink, wash, pastels, or felt-tipped dye markers with equal facility ... the careful top binding on the pads that allows the sheets to tear off clean and keeps wastage to a minimum.

When an idea sparks, that fleeting moment leaves no time for second best. With initial layouts on Alexis costing no more, doesn't it make sense for you to insist on these pads?

Ask for them at your favorite art supply store.

STRATHMORE ALEXIS

PADS

STRATHMORE PAPER COMPANY, WEST SPRINGFIELD, MASS. CA. October '61

On the Board

14

CA's cover may give the impression that we are going in for science fiction. The painting was created for CA

by George Akimoto, foremost of the ((space" artists, and the subject matter is definitely non-fiction. ((Outpost II" is a space laboratory, designed by Krafft A. Ehricke, being built for the the National Aeronautics and Space Administration by General Dynamics Corporation, San Diego.

The crew's quarters provide sanitary facilities, a recreation area, sleeping quarters and a control room. The ((dish" antenna is for communication.

The reactor will provide power for housekeeping and communication; heat will be dissipated by the cylindrical radiator structure.

The station would be boosted into orbit by the Air Force Atlas as the first stage and by the Centaur as the second (top) stage. In orbit, the space laboratory and the atomic reactor will slide outward on telescopic rails.

Then the whole structure will be slowly rotated end-over-end to provide artificial gravity.

George Akimoto was born in Stockton, California, attended Stockton Junior College and the Art Students League of New York City. He worked at Beacon Studios and later was a partner in Paul George Studios, both in New York. Then to Miami, as art director with the August Dorr Advertising Agency, where he was elected vice president of the Advertising Artists Guild of Miami. Returning to California, he was senior art director for the Edwards Agency in Los Angeles and worked for Douglas Aircraft and Ramo-Wooldridge Corp. before joining the staff of Fred Kopp Advertising Art. We asked George to save the sketches as he prepared the cover.

For a pictorial record of the ((stages" as a CA space cover goes into orbit, see page 34.

0

The new Saturday Evening Post has now been out with several issues. The launching took place in a publicityladen atmosphere. Ads proclaimed: ((Color runs riot. Imagination is king.

SAUL BASS

CA, October '61

EVOLUTION: POST

REVOWTIONI Suc&deflly, TbeS.turdliy E Y'efti-.:Pc.tuplod.witb e b4uint:rww-s;Nrit.Co1or-N.n t:riot.lfN11inlltionbm..

Theprintedwon:lrl..torwwllory. A,....,cn&tho'a !~ comft to m.,..m. - end tM tolot ol Pdte-mentcanbllh..rdroundthei'Mdlncand.tYef'tiai,. wotlci.Viwlarivoh.•tion!InthenewS.turdllyl!:veninc Po-t.IUddenlyl'flld.in•~•new-.iv.ntun:!

The printed word rises to new glory.

A new creative freedom comes to magazines- and the roar of excitement can be heard round the reading and advertising world. Vive la revolution! In the new Saturday Evening Post, suddenly reading becomes a new adventure!"

Nearly every magazine in the ad and art field carried a story of the redesign ... mostly in glowing terms of a major design breakthrough.

SEP is in great need of a shot in the arm and they're trying hard to create it. The expectations that were built up for Art Editor Ken Stuart and the guest designers to fulfill constituted a tall order. Considering that the plans called for retention of the most popular features of the old Post, and that the new adventure in reading had to be created with little change in the reading matter, the order became very tall indeed.

The ((outside-designed" spreads are interesting, new solutions to story interpretation and illustration. A lot of effort obviously has gone into giving

80 is a magic number

Philadelphia Art Supply Co.

in the art world!

Philadelphia's most complete stock of art and drawing materials • BOURGES SHEETS • CRAFTINT • KEMART MATERIALS • ZIPATONE • ALL GRAPHIC ART SUPPLIES

Thousands upon thousands of artists and students use Bainbridge #80 Illustration Board regularly-they insist nothing else will do. They like its clean uniform "tooth" that takes pencil, watercolor, tempera, pastel, or chalk.

They know that its quality is dependable-always the same, always the best.

For magic results try Bainbridge #801

SEND FOR OUR 200-PAGE CATALOG ON YOUR LETTERHEAD

PROMPT DELIVERY AND MAIL ORDER SERVICE

25 South Eighth St. Philadelphia 6, Pennslyvania Phone MArket 7-6655 15

FINEST ALL PURPOSE

CA, October '61

On the board (cont.)

WITH THE NEW

the magazine a new-certainly a bolder -look. Published descriptions of the long days and nights of studying dummies, weighing values, making decisions and compromises, are probably understated rather than overstated. It will be a continuing task, far more demanding than the older SEP. For all the effort, the revolution is confined to Post's boundaries, showing little as yet to reshape the appearance of other publications.

The ((designed" editorial page is not new; using a number of the bestknown designers, many of whom have never been involved with editorial design, is new. Stuart's having them work independently to avoid influence or similarity represents a departure in concept of a ((design team" (as it has been described) from the

corporate design teams such as Eliot Noyes organized for IBM. The semantical complexity of this is interesting. When is a designer illustrating or an illustrator designing?

Where lies the demarcation within the internal staff between art directing and designing?

Post is taking a calculated risk, conceding the loss of many old subscribers in a gamble to gain new subscriptions. The gamble is currently supported with a million-dollar circulation and advertising drive. It will be interesting to watch the results. In any event, we feel this is only an experiment in presenting a given type of editorial content in a changed manner-not a test (as it had begun to sound) of the pulling power of design.

0 HERB LUBALIN

-G-~

''1000'' 16

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

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

See Your Art Supply Dealer OR WRITE TO: 5 . NEIL FUJITA

ART·O·GRAPH, INC.

4837 Emerson Ave. S., Min~eapolis 9, Minn.

...,HI -·· --·- ·· -··l

--·

• .awa

CA, October '61

The most exciting part of our day is always the morning mail. We don't have to pick it up from the post office in a station wagon as we did in the CA-61 entry period, but it's usually a good Volkswagen -seatful and wellloaded with goodies. A real fringe benefit of publishing an artist's magazine is more exposure to ideas and work of other artists in one week than we probably got in a year in our studio and agency days. Our big frustration is constantly being so far behind in our correspondence. We can only beg for the tolerence of contributors as our limited staff struggles to get an issue of CA out every month (earlier in the month, soon, we hope) and also sit on the accompanying problems and activities as personally and conscientiously as possible.

We don't mean to imply that we'd enjoy a lessening of letters, ideas or submitted material- the more we've received, the more voracious our appetite. Keep sending.

Among the recent mail arrivals have been these interesting items: A direct mail piece from the Large Lamp Department of General Electric, Cleveland-one foot-candle.

Two trademark symbols. One for the Assured Horne Ownership, a division of the Equitable Life Assurance Society was designed by Frank Macri, ELAS Art Director.

17

HOW MANY WAYS do you think a precision knife with interchangeable blades (originally developed for surgery) can be used in industry? Frankly, we don't know, either.

We do know that since industry discovered our X-acto knife 26 years ago, it's been found invaluable in firms doing everything from aeronautics to zippers, to CUT everything from gaskets to patterns (especially costs!) • STRIP insulation • SCRAPE emulsions, inks, specimens • CLEAN burrs, oxides, extrusions • ERASE errors in drawings and printed circuits • ENGRAVE plastics, plexiglass, metals.

New uses are discovered every day, and that suits us fine.

We'd like to invite you to join the hunt: discover new uses for X-acto in your own company. We'll be happy to provide the knives and blades-just fill in the coupon below and clip it to your letterhead. No obligation, of course.

X-acto Precision Tools, Inc. Dept. C-1 48·41 Van Dam St., long Island City, New York Please send us an X-acto precision knife and a package of X-acto assorted blades.

Name_ _ __

_

Title, _ __

Company

A symbol for the Committee for Economic & Cultural Development of Chicago, designed by Carl Regehr Design, Inc.

Address, _ _ _ _ _ _ _ __ City,_ _ _ _ _ Zone.,---State _ _

CA, October '61

On the board ( cont' d)

~ream 11e of fair couers for catalogs,

parts, price, sa~s & tedrnical manuals? 'lfiooseleaf couers in uin11ls, lexioe£1, fahrikoios? ~rr not -fue make tqe finest! ~ohle rouer oecoration, too- JJfast seruicefqone our soo±Irsa11ers in lfios J\ngeles:: ®~erhrook 5-7600, ~an Jtfrancisro:: ~®uglas 2-2174, ~an ~iego:: Qllpress 8-6386, fortlano:: QIJ\pital 8-8508, ~eattle:: 2fl!lJ\in 4-7997_ ~rite: 2930 ~outlr ~ail, Ifios J\nge~s 54_ COAST BOOK COVER: a ~ammermill suhsiOia~

0

A few requests that we'd like to make for information and samples: Maps. We're particularly interested in maps as elements of brochures, annual reports, etc., that function decoratively as well as informatively.

Professionals devoting a part of their far too limited free time to teaching a course in art, design, or advertising.

We'd like to work up an article on the experiences, problems and ((rewards."

Mostly, we'd like to give credit where a great deal is due.

A repeat of last month's call for fine art by ((commercial" artists.

0

The Russians seem to be in orbit graphically speaking too; at least they are on the ball, according to reports from Edward Rondthaler, president of Photo-Lettering in New York. Mr. Rondthaler, recently returned from a trip to observe the European graphic arts scene, says, ((The Russians appear to be giving almost as much attention to stepping up the velocity of their verbal missiles as their space missiles." He finds they are doing more publishing than any other nation in the world-mostly educational material-indicating their intense preoccupation with furthering their proficiency.

Of particular interest was a Russian encyclopedia of the graphic arts, containing comprehensive coverage of every phase of the printing industrythe like of which we don't have here.

Also of interest was the Russian adaptation of a script designed by J. Albert Cavanagh (in Photo- Lettering's Alphabet Thesaurus), to which they added cyrillic characters to round out their 31-letter alphabet.

18

•••

•••••••••••

• :m • : Jlj~ ~~:: Qlouer 1r Ianning : • ~uioe .-"lfilinoers for ~usi- + + ness" sent fuitqout obligation_ •

l

• • alcdf/jh!)~lmn •: 0 f~ase seno hooklet • : ••+ ~arne ••+ ~~r-tJfupw.r,;; •: lfilusiness •: •: aCU~l;?#e~J :• l~Hrone • HH.4.$H(}n~cmrr •:• Qli±u ~tate__ • :

.

~

c-~ooress

.

•••••••••••••••••••••••••• •

JCA·1061

•

¢~/(~~~l/d/(}9 CA, October '61

Item from the Bulletin of the Studio Association of Southern California: ((There would be fewer unemployed artists and art directors migrating west if they realized that although Los Angeles is a large population center, it is a very small advertising center. It has been estimated that one large agency in New York buys more art and photography than all of the Los Angeles agencies combined. New York has almost 50% of the country's advertising agency business, Los Angeles 5% and San Francisco slightly over 2% (U.S. Dept.of Commerce)."

The large agency, which theoretically buys one-tenth of the advertising art and photography in New York, wasn't named.

The warning of the message is worth heeding. Figures can be misleading. Though all the published forecasts indicate that in 1962 California will pass New York as the number one consumer market, large allowances have to be made for the geography. California is a relatively isolated market: Actually it is two markets, the Los Angeles or Southern California area and the San Francisco Bay area. These are a long, hard day's drive apart, further than New York to Pittsburgh. Reaching other major population centers could best be likened to a trip between New York and Chicago or St. Louis.

This geographical spread of markets is not conducive to a rapid shift of advertising volume to theWest.

The greater volume of western art is in corporate literature programs with the artists servicing directly or working for companies. Light, highlytechnical industry is pouring into California-and other western statesalong with the migrating population.

This is where many of the Californialiving artists have turned to as a market for their work. The effect has been a rapid increase in the status and pay of company and company-servicing artists and a high level of quality, sophistication and expenditure in the corporate promotional literature programs.

Here, too, there are plenty of applicants for the more lush jobs and assignments. The sun may be brighter, but, at this moment, the grass is not likely to be any greener in California .

It is highly advisable to have a job located or strong contacts established before becoming California-bound. If you have serious inclinations to locate in a growth area, it might be a good suggestion to also investigate the current opportunities in other rapidly-expanding areas such as Florida or Houston, Texas .

• Index to advertisers Advertising Typographers Association of America . . . . . .

8, 9 American Type Founders . 22 . 23 Anco Wood Specialties Inc. Art·O-Graph , lnc. . . . . . 16 Charles T. Bainbridge's Sons . 15 Blair Art Products . . . . 27 Coast Book Cover . . . 18 Crescent Cardboard Co . . . 6 Cullen Rapp Studios . . . 2C Eberhard Faber Company, Inc. . 3C Esterbrook Pen Co . . 19 Ewing Galloway . . . . 23 Grace Letter Co ., Inc. . 25 M. Grumbacher, Inc. .

5 Johnstone & Cushing 16 Kidjei·Young & Associates .

5 Kimberly-Clark Corporation 7

Fred Kopp Advertising Art . . . . 4C 9 Lucygraf Manufacturing Co. . .

McGraw-Hill Book Company, Inc . . . 26 5 The Morilla Company . 4 National Card, Mat & Board Co. 15 Philadelphia Art Supply Co. . 21 San Francisco A. D. Club . 22 Saral Paper Co .

11 ,12 Arthur Schroeder Paper Co. 25 Rik Shaw Associates, Ltd. 22 Shiva Artists' Colors .

16, 22,25 Steig Products . . .

13 Strathmore Paper Co. 15 Talens & Son, Inc. . .

10 Harry Volk Jr. Art Studio 10 Wingate Optical Company 25 Winsor & Newton Inc. 17 X-Acto Precision Tools, Inc. 0

0

0

0

•

0

0

0

0

Address advertising correspondence to New York: David Hartman, Advertising Manager

19

The Journal of Commerial Art 15 West 44th Street New York 36, New York (MUrray Hill 2-1438) Chicago:

Joseph Lambin, Sales Representative 4037 N. Mozart Street Chicago 18, fllinois (JUniper 3-3325)

Palo Alto: Betty Fairbank, Advertising Dept.

The Journal of Commercial Art 809 San Antonio Road

Palo Alto, California (DAvenport 6-6040)

STATEMENT OF OWNERSHIP, MANAGEMENT, CIRCULATION, ETC. Required by the Act of Congress of August 24, 1912, as amended by the Acts of March 3, 1933, July 2, 1946, and June 11 , 1960 (74 Stat. 208, Title 39 , United States Code , Section 233) of The Journal of Commercial Art and Design, published monthly at Palo Alto, Calif., for October, 1961. 1. The names and addresses of the publ isher, editor, managing editor, and business manager are : Publisher, R. M. Blanchard, Palo Alto , Calif. ; Ed itor, R. S. Coyne , Palo Alto , Calif., Managing Editor, none. Business Manager, none. 2. The owner is : Coyne & Blanchard Inc., 809 San Antonio Road , Palo Alto, Calif. The names and addresses of stockholders owning or hold· ing 1 percent or more of total amount of stock are : RichardS. Coyne , 3033 Price Ct., Palo Alto , Calif.; Robert M. Blanchard, 404 Donohoe St. , Palo Alto , Calif.; Frank Chambers , 2700 Pacific Ave ., San Francisco, Calif.; Maurice G. Hanafin, 64 Rebecca lane, Atherton , Cal if. ; Robert l. Stratton , 3379 St. Mary's Plaza , Santa Clara, Calif. ; Joseph F. Pickering, 3954 Nelson Ct., Palo Alto, Calif.; Victor Schmidt, 1174 lincoln Ave ., San Jose, Calif.; Norman R. Anderson , 19700 Farwell Ave ., Saratoga, Cal if.; Hans Goldschmidt, 1 Flood Circle, Atherton , Calif.; Robert 0.

Candee , 2 Grove Court, Portola Valley, Calif.; Bernard C. Gardner & Ruth A. Gardner, 667 Paco Drive, los Altos, Cal if.; RobertS . Symons, 880 Roble Ave ., Apt. 3, Menlo Park, Calif. ; Clarence G. Philbrook & Barbara D. Philbrook, 592 St. Clare Dr., Palo Alto , Calif. ; Harold T. Newton, 4541 E. 55th St. , Seattle 5, Wash .; Lynn R. Hildebrand & Jeanne C. Hildebrand, Palo Alto, Calif.; Jay A. McKendry & Patricia D. McKendry, 1719 Van Buren, San Mateo, Ca lif.; Emil B. Pardee , 130 Garbada Way , Menlo Park , Calif.; Wm . H. Arbogast, 820 lorna Verde Ave ., Palo Alto, Cal if.; leonard Marks, Jr., 4034 Ben lomond Dr., Palo Alto , Calif. ; Paul J. Crabille, 18 Magnolia Ave ., Millbrae, Calif. ; C. R. McKendry, 1000 Geary St. , San Francisco, Calif.; Jerry Steimle, 205 W. Floresta Way, Menlo Park, Calif. ; Floyd langsev, 2121 Sharon Rd ., Menlo Park, Calif.; Chester Johnson, 317 Westridge Dr. , Menlo Park, Calif. 3. The known bondholders, mortgagees, and other security holders owning or holding 1 percent or more of total amount of bonds, mortgages ot other securities are : None. 4. Paragraphs 2 and 3 include in cases where the stockholder or security holder appears upon the books of the company as trustee or in any other fiduciary rela· tion , the name of the person or corporation for whom such trustee is acting; also the statements in the two paragraphs show the affiant's full knowledge and belief as to the circumstances and conditions under which stockholders and security holders who do not appear upon the books of the company as trustees , hold stock and securities in a capacity other than that of a bona fide owner. 5. The average number of copies of each issue of th is publication sold or distributed , through the mails or otherwise, to paid subscribers during the 12 months preceding the date shown above was 10,142. Robert M. Blanchard, Publisher.

Sworn to and subscribed before me this 29th day of September, 1961. (Seal) . George Evans. (My commission expires January 3, 1964.)

CA, October '61

ca.

COLOR

DUOTONES 20%

30%

10

20

30

40

50

70

100

CA, October '61

50%

70%

One-color halftone

21

Duo tone

r-------~~~I Art Directors & Artists Club of San Francisco, 609 Sutter St. San Francisco, Calif.

Please rush me (post free) _ copies of your first AD Annual "San Francisco '61" as soon as it comes off the press . I understand the Annual has a vivid 3-color cover, over 149 pages replete with 237 reproductions of the greatest stuff produced on the San Francisco scene . enclose $3.00 for each annual

I I II I

Name ______________________________________

·------Address

CA, October '61

I I I

il

Design Pirating

by JACK WALDHEIM, Waldheim-Koepke Associates Based on a statement in support of S.1884 before the Subcommittee on Patents, Trademarks and Copyrights of the Senate Judiciary Committee, Washington, D. C.

VERB

22

CQ ... CQ ... CQ ...

ATF seeks you graphic arts designers who aren't getting our regular (and free) mailings of type s pecimens . You need them-they're indispensable tools of your trade-we have them.

Send your name and address (home preferably), on business letterhead to American Type Founder s, 200 Elmora Avenue , Elizabeth, New Jersey.

Throughout history, pirating has been an attractive area of enrichment-and pirating has always grown until laws with force were exerted against it. This was true when our country was young, and now in young manhood our country is still passing laws to stop the newer techniques of the pirates.

Design pirating has long existed among a limited few.

But a Sheraton wouldn't borrow from a Chippendale, nor an early American from England. Then, pride was great and America designed and invented its own furniture: the rocker, laminated furniture, built-in furniture, upholstered furniture, the wing-back chair-ad infinitum. Those who pirated were outcasts in their time. The danger todayand why we need the law today-is that pride has diminished and stealing the product of another man's mind is too frequently accomplished without the condemnation of society.

Our society is based upon rules of conduct. These in turn are based upon protection of the majority. Truly the question before us is, <<Is the majority being protected by the permission of wholesale design piracy as now practiced?" I think not.

I would like to illustrate this by three specific examples. Not too many markets ago, a manufacturer came out with a new line of furniture into which he had put considerable thought, energy, money. Before the market he did a sales test at a Chicago store to acquire retail knowledge before presenting it at the wholesale level. A competitor learned of the technique, went to the store and bought one of the examples; then, with impunity, he showed this example as his own at the Exhibitor's Mart and solicted orders for it. Had the proposed design bill, S.1884, been law, it would have prevented this manufacturer from pirating the item to fill his orders.

The design pirate has found the relatively new manufacturing technique of vacuum forming an ideal area of

TRANSFER TRACING •

ERASES LIKE PENCIL

SEND $1 for an introductory pack of 5 sheets (8Y2 x 12)

The Barwa tilting chair, designed by Waldheim, won three national design awards.

Shown here with a specially woven rattan cover, it is more frequently seen upholstered in rep-cloth with a spring understructure.

GRAPHITE-for dark on light surfaces YELLOW-for light on dark surfaces WHITE-also for light on dark surfaces BLUE-for mechanicals (non-photographic) RED-for glossy surfaces (acetate, photos, glass)

Boxed Rolls (12 ft. x 12Y2 in.) $3.50 SARAL PAPER CO., 5 Tudor City Pl., N.Y. 17

CA, October '61

Earl Koepke and author Jack Waldheim of WaldheimKoepke Associates, Milwaukee industrial design firm.

Before going into full-time practice, Waldheim was associated with the late Moholy Nagy in design research at the Institute of Design and an associate professor at Florida State.

operation. This provides my second typical example of what hurts small offices such as ours. A new vacuum forming company was established in our state. They decided to employ a design service, and after several interviews we were retained for a preliminary six-month trial period.

All was going well, products were developing very nicely, and our office had made scale prototypes for study.

Then it happened. Our infant manufacturer was «wisened" by a firm which guaranteed sales-all they had to do was make copies of products the sales group brought in. And how did they make these copies? Right from the competitor's line! Existing as healthy parasites they have moved in on tote pails, planters, cake covers- any number of items-all at no design expense, mold costs, or hours of concentration. All at great damage to the originators.

The third example I wish to give concerns the first contour chair, the Barwa. I wish to cite this in that it offers a dual lesson: (1) When a designer is given greater protection for his efforts, the whole level of creation accelerates; (2) the small independent designer is frequently at the mercy of unscrupulous, unethical predators because of the lack of anti-pirating laws.

When the designer is given greater protection, his work is protected against direct copy by others. Equally important, other designers can be freed from having to copy his work! This sounds equivocal, but I will explain it as it developed in the case of Barwa.

After designing Barwa, I went to two pace-setters in American furniture. Neither showed any interest. I learned a basic fact of design life: until greater design protection becomes available, little progress can be made in the furniture field. These manufacturers could remain pleasantly occupied and apparently unique enough for their own press relations by moving conventional lines rather than coming up with something really new. I realized that creative life in American furniture was no longer bold. It was, in fact, quite limited-if these two manufacturers could be successful with a revised ice cream chair in one case and an updated Morris Chair in the other.

Not finding a manufacturer for the Barwa, I decided to manufacture the chair myself. I took in a partner and,

FREE! BRAND NEW STOCK PHOTO CATALOG Speed up ad production with our spanking new catalog. Our wide variety of creative photos in every category are sure to give your artwork a big assist. Write today for your copy of this helpful, new catalog-it's yours free.

EWING GALLOWAY Dept.CA-10 420 Lexington Avenue, New York 17, N.Y.

23

NEW! improved channel anodized (no-smudge) aluminum edge drawing boards

7 sizes at reduced prices!

Made of the same fine grade of smooth sanded select lumber as in all ANCO boards, for cleaner more accurate drawings.

SIZES: LIST PRICE No. 710M·l 12"xl7" ....... ........... ............................................ $2.00 No. 710M-2 16"x21" ............................................................... 2.95 No. 710M-3 18"x24" ............................................................... 3.85 No. 710M·4 20"x26" ................. .. ............................................ 4.45 No. 710M-5 23 11 x31" ............................................ ............... .... 5.80 llo. 710M-6 24"x36" ...... ...... ................................................... 7.25 No. 710M-7 31"x42" .... ...... .. ................................................... 11.65 Available through Art Materials, Drafting Supplies and Stationery Dealers.

ANCOWOODSPECIALTIES,INC . I

CA, October '61

;,rHHll•\'n.tt.'"'''''

••

''"

the Color~~ Developed from CA's Color Chart feature, this book is specifically designed as a working tool for artists and designers (and printers).

Part one explores and discusses the entire area of duotones, screen combinations and special treatments to gain maximum use of uthe second color." Experiments and samples of commercially produced work are included.

Part two is a carefully selected range of 36 colors, their screen tints and combinations with screens of black. Added features are halftone and duotone samples and color swatches.

Part three is a selection of screen combinations of two colors other than black.

Printed by 150 line screen, lithography, on heavy stock under close production control, bound in a sturdy vinyl covered multi-ring binder (charts may be removed when necessary), the Second Color is designed to be the most useful and useable color guide-modestly priced at S

12

Publication date is DECEMBER 1Oth

----, CA, 809 San Antonio Road, Palo Alto, California I would like to place an order for "the Second Color."

0 Check or money order enclosed for $9.50.

0 Please bill me for $10.50 plus postage.

Name - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Company - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - -- - - - - - - - - - -

SPECIAL PRE-PUBLICATION OFFER You can order the Second Color now and take advantage of the special pre-publication price of $10.50 plus postage ... we'll bill you with the shipment. Or send a check or money order and save the billing and handling costs. Get your copy of the Second Color for only S 50 postage prepaid.

9

Quantity prices on request.

Address - - - - - - - - -·- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

If" the Second Color" is not everything you expected, return it within ten days and your money will be refunded.

California residents add 4% for state sales tax .

.

Design Pirating (cont.) for the next three dedicated and broke years, Barwa was launched- only to be stolen right out from under us. A manufacturer (we did not know nor suspect his intentions) wrote in for a Barwa and later visited us in Chicago to rave about the chair. He came as a friend of the chair and as such we welcomed him. He stayed at the hotel next to our studio and every evening he would drop in and rave about how happy he was with his Barwa. Unsuspected by us, he was picking our brains and also making lists of stores who were selling the Barwas.

He then called upon our clients in cities throughout the western states, where his plant was located, telling them he was a friend of Waldheim's and that he would be handling all West Coast orders. He sold thousands of exact copies before we were aware of what was happening.

The loss to us was immeasurable.

The whole design business is desperately in need of design protection for innovators. Only by such leaders having this protection can the designer be given the freedom to create. Otherwise he must frequently, intentionally or unintentionally, copy another man's work. I have had gifted students come back and tell me their disillusioned, lugubrious tales of woe- ((I am spending all my time copying X Company's work. What shall I do?" This is the intentional.

An example of unintentional copying occured in our own office some time back. We were employed by a desk manufacturer. He wanted something really exceptional and outlined the path he wished us to explore. We were impressed with his thinking. At every meeting the client would, although we did not fully realize it at the time, steer us into lines and measurements we did not necessarily want. If we objected too strenuously, his model maker always ended up doing it the client's way, not ours.

What we did not know was that the desk we were designing was already designed by an obscure manufacturer not familiar to us. Our chagrin in this situation was exceeded only by the frustration of the small producer who was powerless against the man who had pirated from him.

I despise any philosophy which stunts the mental growth of students, a lurking disaster directly related to the practice of permissive piracy.

We designers styled the radio to fit a hand, a car, a house. We are, in our time, just another step on the chart of creativity. The radio was given to us by a creative man, Marconi, who sent the first message. Marconi in his time was excited by Hertz, who proved it could be possible to send a message. Hertz in turn would have found it impossible to theorize without Clerk Maxwell, who conceived the idea of waves in a magnetic field. His work was to him an exciting challenge because of calculus~ the new toy designed by Newton.

If these men had become mentally involved in trying to cheat on the originators instead of working on to the next step, they would have hamstrung the whole process of creativity.

Pirating is a disease that robs us of the exercise of creativity-an exercise man needs in order, in the eternal sense, to preserve the country he loves in time of crisis.

CA, October '61

~ "GV'AZZO!" (Italian for gouache)

Like the Italian Renaissance masters, anyone can make his own colors ... but to make the most vivid and opaque water colors possibleWINSOR & NEWTON's

Designers' Superfine GOUACHE

COLORS"h~tps to have 129 years of experience ... like

....__ _ _ _ _....., WINSOR & NEWTON!

Superior to any other poster or gouache colorfor brush, airbrush, ruling pen and lettering pen-they produce even and consistent washes.

76 colors, from .50 to 1.25 per tube.

With Designers' Colors, W N Series 8 & 3A pure red sable brushes are recommended.

Ask your dealer for new W N catalog or write (enclosing .25 to cover cost of mailing) Dept. CA 10/61

WINSOR&. NEWTON INC.

881 Broadway, New York 3, N. Y

Canadian Aeents : Tho Kuchts Owons Co., Ltd., Montreal Californian Distributors: The SchwaUcllor·Frer Co., San Francisco

25

WE PRODUCE SLIDES, PLUS VUGRAPHS?

ALSO SLIDE-SHOWS. write for RSA glossary of 181 photographic services

RIK SHAW ASSOCIATES, l TO. 50 W. 57 St, N. Y. 19, PLAZA 7-3988

Grace Letter Co., Inc. 77 Fifth Avenue, Dept. B NewYork3 , N .Y. Watklne 4 ·08ri0

ALPHABETS

Print that Matters

the effect of pictures on the subconscious

The artist behind the pins, Russianborn Alexander Alexeieff, was profoundly moved by this story which is laid in his own native region. Wishing to re-create the scenes he remembered so well, he chose to use a method he had invented, with his wife Claire Parker, for motion pictures in 1931.

Alexeieff's resulting illustrations impart an additional sensation of a cold, harsh, rigorous Russia in civil war. (Samples and the story behind the illustrations are in Exhibit, page 42. )

VIsual Persuasion

Klaus Gemming designed the book, which is boxed, in a format of 6,Y2x9% .

The edition is limited at 5000 copies this year. 784 pages.

0

'61/62 Graphis Annual

written and designed by

International Yearbook of Advertising Art

Stephen Baker

26

Ed ited by Walter Herdeg.

Hastings House Publishers , Inc. , 151 East 50th St., New York 22. $15

Though artists are intuitively aware of the subtleties that give their illustrations and photographs power, they often find it difficult to explain them to clients. In a remarkably articulate presentation of words and pictures, Stephen Baker has analyzed the art of "visual persuasion" ... and ·he has substantiated much of the artist's insight and intuition with fact.

Among the subjects he covers: the peculiar taste of the American public; the changing face of models; subconscious associations; sex in advertising; making the reader feel a part of the picture; the mysterious minds of women; the art of building a corporate image.

If your success depends on your ability to influence people, you'll want this book. Available now, $13.50.

10 DAYS' FREE EXAMINATION

I McGra;Hm Book Compan;lnc~Dept. c"AR-1ol 327 West 41st Street, New York City 36 Send me Stephen Baker's VISUAL PERSUASION for 10 days' examination on approval.

In 10 days I will remit $13.50 plus a few cents for delivery costs, or return book postpaid.

(SAVE. We pay delivery costs if you remit with coupon; same return privilege.)

The yearly arrival of the Graphis Annual marks a bright day to us in the artjdesign business. This year's Annual, the lOth, meets all expectations and gave us the impression of being the finest yet. Walter Herdeg, editor of Crap his magazine, presents the work of 560 artists and designers from Europe, the Americas and Asia. 853 pieces ( selected from over 10,000 submitted ) are shown in fifteen categories. Though we haven't done any statistical comparisons, it seems that there is greater representation of American artists than in previous issues. The selection tends to the bold and powerful designs and features the largest poster collection available in any annual. Layout is clean and handsome with 60 pages of full color spread throughout the book.

The fine Swiss printing goes without saying.

The foreword is by Professor Richard Guyatt of the Royal College of Art in London. Case bound, 232 pages.

PLEASE PRINT

D

Name ________________________

Doctor Zhivago The Illustrated Edition

Address - - - - - - - - - - - - - - - - - - - - -

Company---------------------Position - - - - - - - - - - - - - - - - - CAR-10 For price and terms outside U.S., write

L __ ~cGraw-Hill lnt'l., ~ Y:::_ _

and white illustrations were all done with pins- about a million of them.

_

_j

by Boris Pasternak Pantheon Books , Inc. , 333 Sixth Ave. , New York. $12.50

Of Pasternak's novel itself, much has already been written. Our concern is with this illustrated edition utilizing an art form which is unique to say the .least. For the 202 full pages of black CA, October '61

A Japanese Paper-folding Classic Interpreted and edited by Julia and Martin Brossman.

The Pinecone Press, 4201 Massachusetts Ave. N.W., Washington 16, D.C. $10.50 postpaid

Here is a collectors item: first of all for those who have become all wrapped up in the intricate art of paper folding; secondly, for those who would rather add another fine book to their collection than eat a choice steak (maybe some can do both? ) .

This book reproduces a heretofore lost classic of Japanese paper folding. The Brossmans (who are also proprietors of the Pinecone Press ) have had the unique experience of tracking down the lost manuscript and then preparing the first translation for publication.

Scholars of Japanese culture will find the book an exciting addition to public domain. Others will appreciate Hubert Leckie's design-in which he retains the original size and format of the classic, adds translation material without destroying the visual treat of the black, white, grey, and red drawings and characters. 72 pages, limited edition of 500 copies.

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

Spectacolors A vinyl-type paint developed for the animation industry. Will not chip off the eels and dries quickly. Can be used on any surface including glass, poster board, plastic. Will cover dark surfaces with one stroke or overpaint without bleeding or pulling through. A complete range of colors is available plus a service for manufacturing special colors. Packaged in plastic squeeze bottles with spout tips in 2 oz., 1 pint or 1 quart sizes. For samples, prices, colors, write Richard Thomas, Spectacolors, 723 North Myers St., Burbank, California.

Literature for your files •• ... as mentioned in CA" A request on your letterhead to the following companies will bring you the literature described ... free, unless otherwise noted.

-

I

... _ ........ _,.,../ __ _ _

"Mead Black and White Offset Enamel and Coated Cover, and Mead Black and White Letterpress Enamel and Coated Cover" ... two 6 X 9 sample swatch books of Mead's top-quality, blue-white glossy and dull-finish enamels. Available from Mead merchants or write Mead Papers, Inc., 118 West First Street, Dayton 2, Ohio.

"Uses of Univers" ... a 20-page reprint from the Swiss publication Typographische M onatsblatter by ATF showing 15 examples of graphic design using the Univers type faces. Write American Type Founders, Dept. 260P, 200 Elmora Avenue, Elizabeth, New Jersey.

D

Grumbacher Retouch Varnish Spray A 16-oz. can of spray varnish used to bring out dull or sunken-in areas of dry color on a painting while in-process.

Also used to protect the painting during its drying -out time and recreate the "drag" of fresh paint. At dealers for $1.75 or write H. Grumbacher Inc., 460 West 34th St., New York 1, N.Y. D

Ad master Viewer A 9 ~ -lb. portable, executiv~ attache case viewer designed to hold 40 overhead projection slides. The accordion type unit sets up in seconds, using 110 volt ACJDC current. The slides activate a micro-type switch which lights up an 11-inch square viewing panel.

Available from Audio-Visual dealers at $42.50 or write Admaster Sales Corp., 425 Park Avenue South, New York 16.

0

Madison Attache Easel A combination attache case and presentation easel in black or brown Texhide. Consists of a snap-in easel bind!tr with ten acetate pockets mounted on a multi-ring binder and fastened to an easel board which folds back after a demonstration and drops into the case.

Additional space is provided for supplementary material. Available in four sizes and priced from $20 to $42. For additional information and literature write to Allied Brief Case Co., Inc., 186 Fifth Ave., New York City.

"Flemish Wove" ... a sample sheet of a soft, natural color, letterpress antique book paper for theater programs or church announcements that can be handled without rustling or crackling.

Write Tileston & Hollingsworth Co., 211 Congress St., Boston 10, Mass.

27

"Pantone Color Swatch Cards" ... a sample sheet showing a new method of producing color swatch cards. The presses, both litho and letterpress, have specially designed split-fountain mechanisms which will print up to 25 accurately matched colors in each impression with only ~-inch separation. Color matching is controlled electronically and the inks set immediately. Swatches can be printed in any size or shape, gloss or matte. Write Pantone, Inc., 461 Eighth Ave., New York 1, N.Y. "Tracing Paper Characteristics" ... a 16-page illustrated booklet describing the key steps in the manufacture of fine papers including an explanation of rag fiber selection, beating, cooking, and final processing in preparation for papermaking. Also covered are quality control procedures, achievement of uniformity, reprint speed, tensile strength, smoothness, primarily as they apply to tracing papers. Write to 500 Tracing Paper, Charles Bruning Co., Inc., 1800 W. Central Road, Mount Prospect, Ill. "Art Archives" ... an illustrated folder describing a new clip-book of over 500 old-time illustrations compiled by Harry Coffin that can be used royalty-free.

The Butler Clinic, West Washington Road, Mendota, Illinois.

CA, October '61

"I do many pencil preliminaries before starting a drawing, and I use Blair Spray- Fix ® to hold each one.

My final drawings often embrace several media, from black ink, colored inks and dyes, to casein tempera, and I use Blair Spray-Fix to isolate each stage. I find I can work over it perfectly."

~ Robert Fawcett

Blair Art Products, P.O. Box 8648, Memphis 8, Tenn.

· . !LJ( V~'ri\ATI!~ ~®J~' &~ •

:

28

•

~

-

•

. .' . - ~

~

:

•

:

•

I

~

:

•

~

One of the few art forms native to America enjoyed a brief but unforgetable craze during the first years of this century.

In 1910, the illustrated song was featured in practically every one of our 10,000 nickelodians (before the term was given different meanings) and plush, 10c cinema palaces.

Originally conceived as a device to plug songs in those days of no mass communication media, the graphics consisted of 12 to 16 glass lantern slides (one for each line of the lyric). Two additional slides completed the set: a replica of the title page of the sheet music and the words of the chorus. Color film non-existent, each of the slides was individually hand-colored.

A song plugger, called ((the illustrator," would usually sing two verses and two chorus and then signal for the chorus slide, inviting the audience to join in a community sing. The hope-that they would whistle and hum their way to the nearest music store after leaving the theatre.

Properly illustrated, a new ballad stood a chance of becoming a success in a few short weeks.

The first of the illustrated songs was The Little Lost Child, copyrighted in 1894 by Edward B. Marks and Joseph W. Stern who went on to head one of Tin Pan Alley's largest publishing companies. The ballad was a typical tear-jerker of that era. A policeman finds a lost child, discovers she is his daughter.

For you were a babe in arms When your mother left me one day.

Left me at home, deserted, alone, And took you, my child, away.

The scenes were shot in a Brooklyn police station using actual policemen for models.

From this beginning, illustrated songs went on to become the rage. To the nickelodian operators, they were a cheap filler ideally suited to that interminably long wait of ((one moment please" while the operator changed reels or repaired film.

Marches and comic novelties were successfully illustrated, but the ballad was generally considered best suited.

These were usually on the ((corny" side, but corn was the thing that touched Americans, was congruous with the popular social activity of the time-song sessions around the parlor piano. Lovers were the typical theme, but children were also successful subjects as long as they were unhappy, unwanted, crippled, or in failing health.

From its original function as an ((advertisement," the illustrated song went on to become an entertainment medium in its own right. In 1908 slides were offered on rental through a film and slide exchange. For the small nickelo-

:

•

i

:

.'

. ,. _ .•

~

t

. ." ,:

~··

•

I

·.:

•

~

~

~

dian operator, songs became available on cylinders or discs, blaring their slide accompaniment through giant low-fidelity metal horns. Vaudeville singers (i.e. Jessel, Cantor, }olson) utilized the medium, generally had their own projectionists. An upside-down or wrong slide could ring down the performance in a disastrous hail of laughter. At times, this gimmick was used deliberately.

With the coming of the player piano, the improved phonograph, ragtime, and longer and better motion pictures, the illustrated ballad faded from the scene. Only a few private collections now remain of this once popular and fascinating art.

To produce the slides, models were photographed (with a 4 x 5 view camera) against appropriate backgrounds. From the glass plate negatives, positive black-andwhite transparencies were made by reduction-projection to the U.S. standard 3 Yz x 4 lantern slide size. A master colorist tinted the first (master) set of slides. Girls working at piece rates colored the run of the order, usually fifty sets for a new song. Water soluable tints or dyes were commonly used in America. Varnish or oil colors were standard in England.

Production of a set of 4 x 5 dry-plate negatives was usually accomplished in one day. Most songs called for a cast of two, lover and girl as they were known in the trade. Model fees were $3 to $5 per day, no credits. Many of the future screen stars had song slide posing in their backgrounds- among them: Norma Talmadge, Mabel Normand, Anita Stewart, Helen Chadwick.

Though many firms went into production, 75% of the slides produced in the nickelodian era (1906-1913) were from two New York firms, De Witt C. Wheeler and Scott & Van Altena. The latter, referred to by Max Morath as ((the Currier and Ives of the slide business," were the originators of the ((effect slides." These were a solution to the difficult problem of readying promotion for June songs during the winter months. Slidemakers were obliged to work with stage flats and drops for scenic effects until Scott & Van Altena revolutionized the art in 1909 with composite negatives. They hit upon the idea of posing their models against a black drop and adding an outdoor negative which had been stripped as required. Though these composite slides became the talk of the trade, their pure photography specimens of 1905-1909 were perhaps more significant, being classics in genre studies.

Scott, the master colorist, and Van Altena, the photographer, are both now retired. Van Altena, in his eighties, retired from active slide making this last year.

CA, October '61

Wait Till the Sun Shines, Nellie Words by Andrew B. Sterling; music by Harry Von Tilzer Slides by Chicago Transparency Co. (1905)

On a Sunday morn sat a maid forlorn With her sweetheart by her side;

Through the window-pane they looked at the rain We must stay home, Joe, she cried;

29

There's a picnic, too, at the Old Point View, It's a shame it rained today;

Then the boy drew near, kissed away each tear, And she heard him softly say:

Wait till the sun shines, N ellie, When the clouds go drifting by,

We will be happy, Nellie, Don 't you sigh;

Down lovers ' lane we 'll wander, Sweethearts you and I;

Wait till the sun shines N ellie, Bye and bye.

A slide by Scott & Van Altena from a three-negative composite.

CA is indebted to John W. Ripley, Topeka, for the background information and the use of slides from his unsurpassed collection.

CA. October '61

Max

KollaTH

Literature of the Month

31

This month CA selected a promotion kit, well thought out and completely charming in both execution and content. The designer is Charlie Plumb of Denver and the product is ragtime ... more exactly, a colorful purveyor ofthe music, the history and the atmosphere ofragtimeMax Morath.

Like so many things in this business, the .kit is not an isolated element that began and ended with its design and execution. It is part of a design project that encompassed a brochure, stationery and other collateral material all developing as a unified whole.

Our own experience in pursuing the background of this story was rich in serendipity. We were exposed to the production, for educational television, of some of the most fascinating TV entertainment it has been our pleasure to watch and we were introduced to Mr. Ripley and his collection of illustrated song slides that resulted in the preceding story.

The container is a hinged telescope box, 1/2" x 9" x 12". The box wrap is printed in two colors on Kromkote Label.

Open, the box has an overleaf tipped to the right side and covering the inserted promotional material. The leaf was handled as a part of the box wrap printing run. Produced in a small quantity ( 1500) for selective use, the hand labor cost was permissible and the box proved a dramatic and worthwhile departure from the usual practice of die-cut folders with pockets.

The kit was designed to be as flexible as possible. Its principal functions are: follow-up to qualified inquiries stimulated from either accidental exposure or the brochure; mailing to a selected few ((hot" prospects; publicity material for the client who has booked Morath for an engagement.

Max Morath has a highly unusual ((ragtime" repertoire which includes his piano playing, singing, narration of background (historical data, anecdotes, explanation of the hows and whys of the music he loves to play that is equally as entertaining as the music itself), and illustrated songs. He plays night clubs, conventions, private parties, country clubs, universities- ((anywhere I can take a battered, old-fashioned upright piano."

CA, October '61

Max

MoaaTH

Max

MollftTH 32

Front cover and last spread of the brochure . The copy at left of the spread describes Morath's television show, " The Ragtime Era," produced for National Educational TV and one of the finer bits of entertainment we 've seen on TV. At right, spots from the stereo mats.

Ma' Morath figures he's a lud.y iU) .

He pla}s r:~atime piano and sing old'"'"~"· nnd he wouldn't lr<~dc it ror the world

CA, October '61

Max performs in the costume of the era, stiff collar, bright vests, pin-stripe suit, derby hat and-always-with a big, black cigar.

From this visual wealth, Plumb had no trouble selecting the graphic symbols.

li .

Usually the promotion kit contains a brochure, a stereo mat and proof sheet (examples of some are shown), glossy prints, a biography, news releases, a 7-inch, 45 rpm record, and frequently a personal letter.

Morath functions as his own agent and controls everything himself, including the mailings, their content and known use.

Max

1010 Eut E•nm•n /

E~?.~~~~do

SUn••tl-13!11

The brochure is eight pages, 7% x 9, printed in 4-color plus two special colors (red and ochre) on 110# Pearlsheen dull finish. The printer was Pikes Peak Litho in Colorado Springs.

Charlie Plumb is a native Californian who, 11 Seeing the invading hordes claiming his homeland," succumbed to the propaganda for 11colorful Colorado" -found it was true.

Having grown up in the art business (his father was the creator of the comic strip Ella Cinders), Charlie tried to make his way in almost everything else. At the end of the long string of jobs he was a litho salesman.

In helping his clients 11visualize," he wound up frequently having to do the art. When he realized that he was running a studio during the wee hours, and weekends were a thing of the past, he gave in and went into art full time. ~~The hours haven't improved much, but it's a rewarding business ... variety, challenge, and, even in Colorado, you can make a pleasant living." His clients have ranged as far, geographically, as a German airline, Mexican Christmas cards and a Canadian construction firm.

~<

The stationery is one color, black, on Allied Impulse Bond, buckskin. The second-sheet (not shown) has the small spot drawing in the lower right corner and no type, was also used for the publicity releases in the promotion kit.

CA, October '61

. ; ~

.

The cover 1. Pencil thumbnail sketches working from a photo of scale, mock-up model.

2. Full-size pencil layout and chalk color comp worked out a little further in de tail, making minor changes from the original idea to show the satellite at its best functional angle.

3. Accurate pencil drawing for final art, one-half up.

4. First stage of the rendering. Moon and satellite have been masked off and background painting started.

5. Second stage. Most of the area has been covered and the painting proceeds, working back and forth from satellite to background to solve lights and darks.

The last stage will be the painting of the smaller details.

I

One of the many factors in producing industrial art is a sound knowledge of the technical aspects of the subject matter. This can be attained only by working closely with the engineers and scientists on various projects, and by keeping up -to-date with the ever-changing missile and space scene.

6. George Akimoto in his studio, CA's cover art on the board.

34

3

2

PHOTOGRAPHS BY SAM CALDER

6

4 5

CA, Ortober '61

''This past year has been a period of change throu ghou t the industry,'' states Fred Kopp. "The recession made a lot ofus stop and think. As I looked back, I felt that I' d been slow in recognizing the changes that have been taking place in the business. The reason-a studio sells artists like products. But they are not products, they are people . .. and they become friends . After years of selling them, you become so sold on them yourself that you refuse to recognize a change that may put your friends in an adverse light. So-you say to yourself, 'There is a trend toward design illustration and photography, but the pendulum will swing back, as it always has.' But if the artist gets old-fashioned, so does the studio.''

CA visits Fred Kopp, Inc . in Los Angeles; this studio president speaks very frankly about the many subjects that concern a studio-the rise of photogTaphy and the fall of illustration; a year of Univac cost-accounting and the facts it pToduced, including a most surprising figure for required productivity from the individual artist; TV commercials, studio procedure; and even about a Mexico City venture that blew up ... literally.

FRED KOPP~

Through our persistent sample selling, mailings, and our representation of Cooper, we became erroneously known as an "illustration studio." Actually we were providing (and, we'd hoped, promoting) a complete service. Illustration has never accounted for a major portion of our volume.

In_ c.

Following the war, artists from the various art services took off in many directions and formed small free-lance groups. This forced art directors (myself among them) to buy a project in parts, from many sources. Whe11 Western Advertising Artists closed in 1947, Los Angeles lost the last source that was large enough to complete an advertising campaign in a competent manner in a reasonable length of time. To fill this need, Fred Kopp Advertising Art was formed in 1948.

Due to the growth of the business, we failed to heed the downward :rend in realistic illustration. Between 1956 and 1959, illustration dropped from 23% to 14% of our gross volume. Even though the percentage was dropping, the overall studio growth offset the loss. Three of the illustrators showed yearly gains until the latter part of 1960. Then there was a noticeable drop and a larger one in early 1961. In May, we made a complete re-evaluation of the illustration market and many changes have taken place within the studio.

The desire for young, creative talent was answered with Hector Huerta, fresh from the Art Center School with new ideas and a strong sense of design. Today, Hector is vicepresident of the corporation and backbone of the studio with a proven ability in the difficult area of artist management.

Today, we carry figure illustrations in our portfolio that are well-drawn and convincing, but non-photographic.

Our market is in creative painting, decorative illustration, humorous illustration and the industrial illustration that cannot be duplicated by the camera (as the current CA cover ) . Those of us close to sales feel that the conventional illustration, center of attention for so many years, has been dying, is nearly dead.

Illustration Soon after the studio was started, Charles E . Cooper offered us the West Coast representation of his artists. We immediately adopted their ideas of sample selling and artist exhibitions, holding shows of the work of the Cooper artists along with our own. This gave Western art buyers their first opportunity to see the original art of the best-known Eastern illustrators, e.g. Whitmore, Whitcomb, Bowler and DeMers.

These exhibitions had a decided influence on Los Angeles illustration. The photographic figure, then in vogue, was soon replaced in popularity with one that was more loosely painted, in a shallow picture dimension with a strong, simple composition.

Due in part to America's strong position in easel painting, advertising design and illustration is being more and more influenced by the fine arts. We encourage the artists to attend openings of the art galleries and the museum shows, to draw their inspiration from the contemporary easel painters or from the reproductions of the masters in our library rather than be unduly influenced by contemporary advertising and magazine artists. To support this, we display original fine art in the studio. Currently we have paintings or drawings of Rico Lebrun, Rodger Kuntz, Newell and Howard Warshaw.

CA, October '61

35

Experiments in related fields We constantly make business experiments. Many have failed but the successful ones have helped to increase our business 1000% in 10 years. Our only venture into the international field unfortunately blew up. With the encouragement of an advertising agency in Mexico City, we entered into a partnership with Jose Luis Cao to form the studio of Kopp y Cao. Cao was considered the best art director in Latin America, had been with McCann Erickson and J . Walter Thompson and had worked in both Mexico and Cuba.

To open the studio, we shipped samples of our art to Mexico and rented the beautiful Galeria Proteo. We held an exhibition of the artists of both studios and gave a cocktail party. The party was attended by agency personnel, art directors and Mexican movie stars. (Cao's brother-in-law, Olalla Rubio, is a motion picture producer. ) It received spectacular TV and newspaper coverage.

To put the studio on a firm business foundation, we brought all of our accounting and business forms to Mexico and wrote a manual on studio operation. Our location was on Calle Genoa, on restaurant row, over one of Mexico's finest restaurants. One night, gas accumulated in the basement, there was an explosion and the building was barricaded by the police for 31 days. It was too late to pick up the pieces (no pun intended ) and start over.

To give the designers and iII ustrators a royalty income , we formed another company known as International Gallery Hand Prints, producing framed prints for home, hotels and offices.

Below: package design for Photorapid Corp. and a sample of "1 to 10 printing" showing alternate color schemes for a package design .

In 1955, to broaden our market, Norman Weiner (a vice-president in the studio ) and I alternated flying to San Diego each Monday and returning the same day with work from Convair, Barnes Chase, Armstrong Fenton & Vinson (now D'Arcy ) and Phillips-Ramsey, Inc. Two years later we opened a San Diego studio and moved some key personnel from the Los Angeles operation.

The studio was very successful for three years but the 1960 depression in San Diego, along with the enlargement of in-plant art departments, forced us to cut our staff. We finally decided that it was better to close than to offer an incomplete service.

Nine years ago, we added a photographic department, primarily to give our illustrators a competitive advantage of fast, convenient model shots. Later a photostat machine and a copy camera were installed to speed up delivery on production jobs. In the past two years, with the drop in illustration and the growth in photography, the department has developed into a full fledged photo studio under Sam Calder. We estimate that it will account for 25% of our business in the near future.

We have also developed a line-color reproduction process which we call "1 to 10 Color Printing." This is an inexpensive process for the extremely short runs that fall between by hand and silk screen. This process is excellent for presenting multiple color schemes for packages or comprehensives, or making duplicates for testing.

Television Believing that artists with an advertising and productselling background were better qualified to produce TV commercials than artists with a motion picture background, we also entered the TV commercial field. Dealing directly, we produced commercials for Convair and Relaxacizor and made the first TV use of the stop-action technique which CA, October '61

Alden Milmet, Bob Schow, Herb Rasche and Fred Kopp (foreground) discuss the samples. Behind them is a tempera painting by Rico Lebrun , part of his Crucifixion series.

a

l

c:

OfFICES

c::I

Qo

later became so popular. Finding that most art directors (our sales contacts in the agencies) had very little interest or involvement in TV, we dropped the whole project. To develop new sales contacts with the TV director and the account executive would be too expensive and time consuming. We still feel that the TV commercial would be a stronger selling medium, with greater visual interest, if more were in the hands of graphic art directors and graphic designers. We did continue with TV art and developed new photographic methods and a gray scale for TV package reproduction. For a time, story boards were a good percentage of our business.

38

Electronic cost accounting Another experiment of ours involved cost accounting. For a year, all of our posting and accounting was done on a Univac. We ended up with more information about each artist and each operation than we could possibly digest.

This included monthly figures on how much each artist billed during the month and his new work in process difference (which adds up to the art billing he produced). Then the machine deducted his salary, payroll tax, salesman's commission and our standard overhead figure. (The overhead was based on total costs less commissions and art salaries and pro-rated on a per man basis.) This gave us a profit and loss statement on the individual. The machine went further into the analysis-gave us figures on the possible non-overtime working hours for the month, the overtime the man worked, his total applied hours, and his cost per hour and what we billed him at per hour. The experiment, which lasted for a year, did give us a knowledge of the business and costs that were invaluable for future growth and development. One figure particularly stuck in our minds and it will probably apply to inside art departments as well as art studios: An artist must be 85% productive to show a profit.

The studio Upper left. Designer Carlos Huerta with his brother Hector Huerta, discuss a problem with Clyde Mershon in charge of packaging production.

Center. Posing a photo for illustration of a scientist. Left to right, Joe LaGrotta, Sam Calder, Terry Smith, George Ivanyi.

Below. The job card file.

After being forced to move four times in four years, we decided to find space that would take care of our growth.

Like all artists, we wanted north light. We also wanted low rent, to be close to the freeways and reasonable parking.

Since we go to the customer rather than the customer coming to us, our choice of location was flexible. The space we found was a large, undivided loft-a former brassiere factory.

CA. October '61

D

c

[

AND

M~UNTING

I ,, .:;:l

IT ARTISTS

f} t=J

[}

DESIGNERS

~

(/

t=J

Do Er DD OD CJ

c=J

It had 120 feet of north light, 5200 square feet of space and was only three blocks from the Hollywood Freeway.

We carefully planned the partitions and built a model.

A final check revealed that we had allotted space for six left-handed artists. So we went back to the drawing board and finally developed a floor plan that should meet our needs for years.

Studio promotion and image Perhaps we have too many designers with a desire to express themselves. We no more than print a letterhead or trade mark than one of them comes up with another idea and we have another conflict in "image." We have also been through name changes. The business grew much larger in scope than exclusively advertising art and we are currently in the process of changing the name from Fred Kopp Advertising Art to Fred Kopp, Inc. We believe in the product we produce, advertising and promotion, and we have allocated a high percentage of our income to advertising our artists and the studio. Space advertising, direct mail and exhibitions have all been effective in developing recognition.

If the artist is cooperative in making samples, it is possible through promotion and advertising to get him the work he likes best, that he's best suited to produce. Without a directed sample program the artist develops in a hit-andmiss manner and often ends up doing work that he personally doesn't like.

Sales Art selling is not taught in any school. All of our salesmen have come from the ranks of experienced artists or art directors. Bob Schow has a background of lettering and design, was art director for the Dixie Wax Paper Company in Dallas. Alden Milmet is a graduate in industrial design, worked in the studio in prodction and layout. Herb Rasche, with the studio for over 10 years, was a freelance artist and, during the war, was liaison engineer between Connors-Joyce and Lockheed Aircraft.

Besides our advertising and direct mail program to help the salesmen, the studio maintains an up-to-date list of future prospects. We photograph illustrations, booklets, ads, and packages in 35mm and on 4x5 Kodachromes. We obtain

Though we closed the studio, we still feel that San Diego is our second home. We still keep a boat there and spend many of our weekends fishing off the beautiful Coronado Islands.

proofs of ads and booklets and mount them in standard 13x18 folders. We also photograph art in 8x10 black-andwhite and compile the photos in a book for each artist along with his photograph. We mat, acetate cover and bind original samples to leave with art buyers and we frequently hang a showing in an advertising agency.

We try to keep the salesmen's paper work as simple and efficient as possible. He must assign the job a number, write up a job ticket, job card and put the number and identification on a job envelope. The job envelope and a duplicate of the job ticket stays with the work as it progresses through the studio. The job cards are color-keyed to each salesman and are placed in a rack designating the working days of the week. Extra files hold cards with due dates after the current week. The production manager can see the amount of work in the studio at a glance and the salesmen can easily check on their deliveries.

Design and layout Even in the early years of the studio, partly due to my own background in art directing, the business revolved around layout and design. A working method was evolved which we still use today. Rather than employ "jack-of-all-trades" layout men, we break a layout or design project into parts, utilizing the specialists in each field. One man keys the layout, sets the style and supervises the job. He assigns the comp lettering to a lettering man and illustrations to the artist best suited to the style of the illustration. This way we are not only able to turn out a better layout or comp, but in less time and at less cost. Because of this method, both the lettering and the illustration artists receive a good portion of their volume from layout and design.

Packaging In the past ten years, we've handled over 2000 separate packaging projects. They ranged in size from a label design to a line of 110 products. Even with this amount of work, we do not want any of our designers to work on packages exclusively, fearing that their designs could become stereotyped. By doing a variety of work, the designer approaches package design with interest and inspiration, uninhibited in his thinking.

CA, October '61

39

Exhibit In Phoenix ...

This baby's footprint was planted on all of the collateral material proclaiming the First Annual Exhibition of Advertising and Editorial Art by the Art Directors Club of Phoenix.

Award winners (five of them shown here) were printed in a 16-page exhibition brochure designed by Lou Doerzbacher, exhibition chairman.

Entries were limited to work produced in 1960 by artists, agencies and organizations in the State of Arizona.

The Art Directors Club of Denver judged the exhibition.

We've always been fascinated by graphic use of technical patterns. Above: a moire pattern used as a background for the title slides of filmstrips. Bradley Stevens designed, William Ditzel photographed, George W. Houk art directed for L. E. O'Neil & Associates, Inc. Dayton, Ohio.

40

Below: a symbolic use of a pattern by NBC TV Sales Planning. The stress pattern, by polarized light, is by W. M. Murray, M.I.T. Stan Stubenberg was the designer, Bob Greenwall the art director.

First Place: Photography Art Director : James ]. Barrett Photographer: Herb McLaughlin Client: Motorola, Inc.

CA. October '61

Quick identifw:adon mnket caahint.t checka 10 muc:h--euier. qukker. more pleuanL Enjoy the convenience and prestip of Pt•n«urahml. Clw!clt.. Your name and addrP.Ia imprinted in dicnified, euy·to ·read type . Available l n rive attractive atylea. Aak your tell er.

Help mend a broken life

.I

First Place : Poster Art and Design Art Director: John Fondrisi Artist : Design Associates Client : Th·e Arizona Bank Agency: The Curran-Morton Co. 41 First Place: Newspaper Advertising Art Director: Ernest Cabat Agency: Cabat-Gill Advertising Client: United Community First Place: Letterheads & Trademarks Art Director: Elmo Sears Artist : Elmo Sears Client: Graphic Group, Inc.

••• •••

First Place : Corporate Image Art Director : E. Willis Jones Artist: E. Willis Jones Client: Arizona Brewing Co.

CA, October '61

Exhibit (continued)

ILLUSTRATIONS FROM DO CT OR ZH I VAGO - PANTHEON BOO K S

L'ecran d'epingles The screen of pins is a unique and exciting technique used by Alexander Alexeieff in his illustrations for Doctor Zhivago.

One-inch steel pins, a million of them, are set in holes pierced in a 36" x 48" screen of thin, white plastic. Loose-fitting, the pins can be pushed back and forth from either side of the screen. Using specially designed, hard surfaced tools, Alexeieff forms his images by regulating the degree of protrusion of the pins and directing oblique lighting on the board. The multitude of shadows, cast by the pins of varying heights, produce an effect much like a soft etching. A sequence of scenes, as shown here, may be formed by pushing different pins. New figures can be added, or the mood or the season changed.

Alexeieff and his wife, Claire Parker, developed the technique for motion pictures in 1931. Although it took six months to insert the million pins initially, the artist and his wife created the 202 full-page illustrations for Doctor Zhivago in less than three months. Each illustration takes perhaps three hours to create. Only a minute is required to prepare the board for a new composition - just push all the pins.

CA. October '61

c The "Feeling" of Type Faces by ]AMES E. BRINTON, Associate Professor Department of Communication- Journalism, Stanford University This Collection of Type Characters Imperfect _

: _ : _ : _ : _ : _ :_

Perfect

___ ___ _ :

_ _ _ __ :

:

__

:_

Strong _ : _ :_ Light _

:_

:

:

:_

___

:_

:_

:_

:_

: _ : _ Weak

: _ : _ : _ : _ :_

Dark

Comple x _ : _ : _ : _ : _ : _ : _ Simple

Feauti!ul _

:_

: _ : _ :_ : _ :_

Rounded _ : _ : _ : _ : _ : _ : _

Expensive _

:_

:_ : _ : _ :_

Meanirgful _ : _ : _ : _ : _

Rugged _ _ Tight _

:_

Ugly Angular

:_

Ch eap

:_

Meaningless

____ __ :_

Delicate

:_

:_

L oose

:_

Clean

:_ :

:_

:_ : _ :_ :

:_

:_ : _:_

Dirty _ : _ : _ : _

:_

:_

The selection of a type face or a combination of faces for a particular job - an ad perhaps - would normally indicate that the type face was complementary to the message of the ad. In someone's judgment, that face was feminine, or masculine, or expensive, or rugged or whatever was appropriate for the message and the audience of the ad.

Other than just intuition, what was the basis for selecting a specific type face? Verbal descriptions do exist.

Most artists, designers (type specifiers) have been exposed to literature with such descriptions. Program speakers, typographers, other specifiers have added to these descriptions, building up a common body of knowledge that we might call the ((lore" of type faces.

In investigating a method of measuring the aesthetic characteristics of type faces-one that might provide an adequate description of these qualities-it appeared essential to ascertain possible differences between the opinions of the professional equipped with this lore and the layman whose only type contact was reading. Therefore, we decided to use two groups of subjects- one professional and one lay.

Aesthetics, in a broad sense, have to do with judgments made by people about the qualities of objects. Asking a man on the street (or even a professional) to verbalize on a type face would be out of the question. What was needed for this study was a test instrument that would make it possible for subjects to make judgmental responses about type faces. The semantic differential, developed

by Osgood and Tannenbaum at the University of Illinois, appeared to be an appropriate method.

In the semantic differential, the subject is presented with a stimulus (in this case, a line set in the type face) and is asked to check his responses in a series of scales.

A sample is shown at right, one-third of actual size. The CA . October '61

43

Cheltenham Bold 1) Plain, strong, dark, simple, masculine, usual, rugged

2) Active, honest 3) Imperfect, hard, constrained, old, ugly, old-fashioned, cheap

Garamond

G

Tempo Bold 1) Hard, plain, good, strong, dark, simple, masculine, rugged, honest

2)-

3) New, modern

1) Perfect, good, clean , harmonious, honest 2) Plain

3) Light, rich , beautiful, rounded, expensive , meaningful, delicate, graceful, formal

Garamond Italic

G

1) Soft, light, expensive, feminine, delicate , graceful, clean 2) Ornate, weak

3) Rich, beautiful , rounded, meaningful , harmonious, honest

Garamond Bold

1) Light, delicate

1) Perfect, strong, dark, masculine, clean , harmonious, honest

2) Soft, feminine

2) Hard, plain, usual, rugged

3) New, active, modern, informal

3) Old, meaningful

Bodoni Book 1) Soft, ornate , light, complex, rich, rounded, expensive, feminine , delicate, graceful, clean , harmonious, formal

2) Weak, beautiful

G

1) Perfect, good , clean, harmonious, honest

2) Soft

3) Old-fashioned

3) Light, rich, beautiful , expensive , meaningful, graceful, tight, formal

Flash

Bodoni Book Italic

1) Dark, rugged, informal

2)-

1) Good, rich, beautiful, rounded, expensive , graceful, clean, harmonious

3) Free, new, active, strong, rounded, modern, cheap, masculine, relaxed

3) Perfect

COPPERPLATE

Ultra Bodonl

2) Soft, plain, feminine

1) Hard, plain, strong, simple, masculine, clean

2) Honest 3) Constrained, old, dark, rugged, stiff, formal

1) Hard , strong, dark, masculine, rugged 2) Ugly

3) Active

scale consists of seven intervals bounded on each end by polar adjectives, e. g., graceful- awkward. Adjective pairs were selected on a basis of apparent relevance to the problem. A check in the center interval indicated a neutral response to the opposing adjectives. Leanings to one or the other could be indicated by checking one of fhe stage intervals closer to the appropriate adjective. A strong feeling would be checked in the interval closest to the adjective.

We were limited in the number of faces used in this study by the time that could reasonably be demanded from the subjects. Thirteen faces were used. We wanted a variety, but we also wished to study some type families. We selected Garamond and Bodoni because of their widespread use. The tests were administered individually to the subjects who were instructed to check ~very scale on each of the thirteen pages.

After completing the tests with all of the subjects in each of the two groups, means were computed for the scales. Examination of the results revealed similarities and differences in the judgments made by the professionals and the laymen. There was a general over-all similarity on most of the faces. The greatest difference lay in the greater number of adjectives that the professionals attributed to a given type face. This can be seen in the chart on the facing page.

The professionals gave an average of eleven adjectives to a type face; the laymen only eight.

In the Cheltenham Bold appraisal by the professionals, we can see the appearance of professional ((disfavor."

They say it is imperfect, hard, constrained, old, ugly, oldfashioned and cheap as well as the points of agreement on plain, strong, dark, simple, masculine, usual and rugged.

The laymen, on the other hand, saw it without the derogatory adjectives and as active and honest.

Karnak provided an interesting contrast. On no single adjective is there agreement between professional and lay values.

The semantic differential devised for this study proved to be a sensitive instrument for providing verbal descriptions of the aesthetic qualities of type faces. This study included only 20 pairs of polar adjectives. Later studies could and probably should include additional pairs that are relevant to type faces. The potential for further work in this field appears to be great.

The findings of the study. Line 1 lists the common adjectives selected by both the laymen and the professionals. Line 2 lists the adjectives that only the laymen found appropriate.

Line 3 lists the adjectives selected by the professionals.

CA, October '61

G Karnak Intermediate The professionals said it was hard, constrained, strong, masculine, rugged, awkward and stiff.

Laymen said it was good, simple, clean and honest.

45

]. E. (Jim) Brinton grew up as a printer in his father's weekly newspaper plant. From the time he was old enough to hold a job stick, he handset type after school-learned Linotype at 12. After high school, he worked as a printer for four years before going to college, graduating in Journalism from the University of Oregon. From 1939 to 1948, he was a reporter and city editor on the Bend, Oregon, Bulletin. He edited a weekly paper and ran a job shop in Bend from 1948 to 1951 when he returned to college at Stanford University, receiving his M.A. in Journalism in 1952 and his PhD. in Mass Communication Research in 1956. Brinton joined the Stanford faculty part-time in 1952, full-time in 1954, teaching advertising and research methods.

Why don't women like this picture?

Most men will find it amusing. But it makes a great many women feel uncomfortable.

They do not like to mix humor with sex.

-vlsual Persuasion

by Stephen Baker Editor's note: Steve B aker has written an important book. Perhaps written is a misleading term, f or thi s i s a book heavy with pictures ... about pictur es. It i s loaded with colorful (and con troversial) material.

"Visual Persuasion"- the ejj"ect ofpictures on the subconscious- is a subject that m any of us have had cause to think deeply about, one that we are constantly involved with. Our solutions are gener ally described (by ourselves and otheTs) as intuition, and n othing is more difficult than articulating about one's intuitive insights to people who are used to dealing with haTd, tangible facts. "Visual Persuasion" could be extTemely helpful to aTtists, WTiters and otheT CTeative advertising people in explaining the subtleties of ad making. " I think the poweT ofpictuTe-communication is sti ll not fully realized in industTy," Steve told u s, " not even in the communication field . A fee ling sti ll exists that diTect communication is always m oTe potent than implied communication; that eveTything must be spelled out in order to be understood. In the man y years I have spent in the advertising business, I've found that this one-track-minded thinking i s r esponsible joT the destruction of much good adver tising."

L isting a f ew of the chapter headings gives an idea of the area Baker has covered: The peculiar taste ofthe AmeTican public; Sex in adveTtising; The m ysteTious minds of women; The art of building a coTpoTate image; and many other equ ally intriguing su bjects. Our jiTst Teaction when we saw this material was to ask Steve, a membeT of our CA -61 jury, to pTesent part of it in an aTticle. The following pages an based on on ly a poTt?:on of the information in his chapteT ''For the subconcious only" and aTe presented here with the kind peTmission of the publisheTs, McGTaw -Hill.

To an advertiser, or any other visual communicator, the illustration per se has little value. What he is interested in is the effect of the picture, which may be totally different from one's logical assumption.

It's unfortunate - and often the cause of a waste of vast sums of money- that in trying to evaluate pictures (be they paintings or corporate symbols) the critics tend to underestimate significance of subtleties that create associations. Businessmen usually judge the effectiveness of visual devices on a purely rational basis, forgetting that people react to images as automatically (and unanalytically) as a small child to a piece of candy. Of course, it is easier to pass judgment on the more obvious, explainable aspects of an illustration (perspective, accuracy in rendering) than on such intangible factors as ((mood," psychological effect of colors, and the implication of deliberate distortions. Appreciation of these latent qualities in a picture requires not only high intelligence but also sensitive artistic intuition.

To demonstrate the importance of association, lines can assume a ((personality" of their own. A horizontal line, reposing quietly on imaginary ground, evokes feelings of tranquillity in the beholder. The same line, turned on end to a vertical position suggests impending activity.

People viewing this line agreed it was going ((uphill."

In our western culture we are conditioned to reading from left to right. Our eyes instinctively travel that way.

Symbols are created through a process of association.

The cross has been the symbol of high purpose through the ages. It helps in reflecting the image of such meritorious organizations as the Red Cross.

Associations can change with the times.

The swastika is one of the most ancient and widespread of all ornamental forms.

It generally stood for well-being and good luck. The activities of Adolf Hitler have altered this image.

Stephen Baker, a creative director of Cunningham & Walsh is a member of the Planning Board and Vice President in charge of Special Projects of that agency.

At 6'-6" and speaking in a quiet, incisive manner (with a slight Hungarian accent ), he commands attention and respect. What he's accomplished commands even more.

He's well known in the advertising field for his uncommon talent in both visual and verbal expression. His illustration, deCA , October '61

sign and art direction have won him innumerable awards. Baker's Advertising Layout and Art Direction, published by McGraw-Hill, has become widely accepted as a text. He also writes a monthly column for Art Direction magazine and recently entered the consumer book market with his hilarious How to Live with a N eurotic Dog ( Prentice-Hall) which is being made into a movie. Due out this winter is How

to Play Golf in the Low 120's.

47

The rough texture of a potato helps make it a masculine article. A tomato, soft and pretty, has become a symbol of femininity. An apple has no sex (it grows on "masculine" trees, but in the Bible it served as a symbol of feminine beguilement.

Trees (and wooden textures) reek of masculinity. Delicacy of flowers (and girls' liking for them) assures their place in a woman's domain. Grass, on the other hand, has no claim to any particular gender.

Almost every object has a sex of its own.

This fact is impor· tant to keep in mind when choosing sym· bois or props for an illustration.

Black has strength and opacity, more masculine than feminine. The translucency of white (and its virginal quality) gives it a maidenly appearance. Gray is neuter.

A train is ((he." It suggests power, adventure, energy. A ship, sleek, graceful in appearance, is a ((she." The car used to be more masculine than feminine, but in this modern world it is rapidly becoming bisexual.

Wool (tweedy textures ) is associated more with men's suits than ladies' dresses.

Silk has a different connotation altogether; its softness and pliability make it more ((feminine." Cotton can be either gender.

A dog is usually ((he." A cat-characteristically a calculating animal is ((she." A horse can be ((he" or ((she," depending on the anatomy.

The harsh, angular edges of square objects suggest masculine temper.

A round shape implies the gentleness of a woman. A triangle stands undecided.

MASCULINE

POTATO

0 FEMININE

'

TOMATO

0 NEUTER

APPLE

GRASS

AUTOMOBILE

CA . October '61

LINEN

The sex of a "neuter" (an automobile in this case) can be manipulated.

The picture on the left has strong masculine connotations even though a driver is not visible. The vehicle is moving across rough terrain, dominating its environment. l.t suggests (like the car going uphill) a forceful, active personality.

The automobile on the right is presented in a more tranquil environment.

It is standing still. Both doors are open, implying that the two passengers -presumably a man and a woman-have gone for a walk ; this possibility suggests romance. Here the automobile (like the one going downhill) assumes a quiet, passive disposition.

49 Shapes, too, have definite sexual implications. As a rule, round objects seem more feminine while angular articles suggest masculinity.

DOG

SQUARE

CAT

CIRCLE

HORSE

TRIANGLE

This psychological principle has important commercial applications.

A manufacturer must, during the early stages of merchandising, decide upon the "sex" of the package in which his product will be put.

Should a man's hat be packed in a round box, for example? (A hexagonal shape is more acceptable .) Should detergents be packaged in square boxes? (Yes. Detergents have been found to move faster if they connote masculinity- power and action-mindedness -even though the buyers are mainly women.)

CA , Octo her "61

Every reader (or television viewer) is sensitive to the ((mood" of pictures. He may not always realize his own feelings; the average respondent is seldom able to be articulate about such a delicate and complex subject as this. He may be intellectually unaware of it. But this does not mean he does not feel its effect.

50

An outstanding example of selling with ccmood" is shown on the right-hand page. This color photograph was used in a magazine advertisement for Lucky Strike to suggest the relaxing aspect of smoking. This kind of unobtrusive advertising can carry a tremendous wallop, its quiet, understated quality notwithstanding.

The two pictures on this page show how mood of pictures can be manipulated by cropping procedures. The tall, vertical photograph gives an illusion of the car's standing still. The horizontal photograph helps to Create an illusion of the automobile's moving along the road.

CA. October '61

young

old

The mood of pictures is determined by many subtle factors.

One of them is the subject matter itself, of course, but often this is not the most vital aspect. More important is a photographer's intuitive skill in choosing props, controlling lighting, and finding the right invironment in which to display the object. Movie directors have long been aware of these factors, but advertisers have not. Businessmen, less cognizant of the «hidden" characteristics that lend pictures a certain atmosphere, still tend to believe that a picture of a rose is a picture of a rose is a picture of a rose. Nothing could be further from the truth.

On these pages, variations of a single pictorial theme: a chair. Through manipulation of the background, the moods of the pictures vary.

Like an analyst's patient, the chair goes through a complete change of personality.

The magician is photographer Alfred Gescheid t.

sociable somber

happy

elegant

down -to-earth forlorn

cozy

One of the most important rules in visual persuasion: the public tends to receive a total image of an advertisement.

Those responsible for advertising often forget that consumers do not study each element of an advertisement (be it in print or on television ) with the same painstaking care as do those who make an ad. The consumer does not analyze. He (or she ) f eels.

Seeing an advertisement for the firs t time is much like meeting a person. We may not (( see" the color of his eyes, the pattern of his necktie, the kind of shoes he is wearing, but we do receive a strong, distinctive impression of his total personality. In the same manner all the various elements of an ad (illustration, text, type faces, signature, colors, layout) work together to make a total impression.

a

b It is not only the interplay of parts that gives an ad distinction. The environment in which it appears also has an important effect on the image it creates.

An advertisement appearing in a fashion magazine such as Vogue may strike the reader differently from one on the pages of The Saturday Evening Post.

This consideration becomes especially important in choosing time slots for television commercials. A commercial that would be right at home in the framework of one show might be jarring in the context of another.

54

c

d Everything else being equal, the composition of an advertisement- arrangement of elements on a page-is important in attracting readers.

e

f

The content of an advertisement is by far the most important single factor in making it effective. Execution of the art work comes a close second. A third still significant factor is the layout itself.

Here are some interesting findings: (a) A single dominant illustration on top of a page gets a high unoted" rating for the ad. Putting the text above the picture may make the ad ((different" but not necessarily increase its readership (there are many exceptions, of course). Mill Shepard found in his study of the 36 bestread ads featured in 12 magazines that only one among them did not follow the horizontal picture format. (b) Vertical split (picture on one side, text on the other) discourages some readers. Conditioning plays an important part in this response. We are accustomed to seeing pictures over text. When photographs of girls lathering their faces were used vertically on the left side of the page, the advertisers of Dove soap saw almost a 50 per cent drop in readership. (c ) Bleed pictures, little or no text, usually get high noting and readership. The size of the picture makes an impact and so does unusual format.

CA, October '61

(d) When scattered on the page, pictures tend to play havoc with readership figures. Lincoln National Life Insurance Company boosted readership of their ads fivefold by combining three pictures into one. (e) Pictures of equal size, arranged regularly on a page, sometimes produce commendable readership. The reader accepts this format as a «single-picture" ad. (f) Close-up of face (or object) gives optical illusion of larger picture. Both noting and reading usually go up.

If there is any one conclusion to be drawn from these findings, it is this: readers do not want to make an effort to decipher ads. Simplicity pays off

Eye movements are based on conditioned reflexes.

Left-to -right reading habit makes our eyes travel clockwise in exploring an advertisement. The optical center of a page, too, is slightly to the left. Once the exploratory trip is over, there is no telling what the eye will do. More likely than not, it will jump back and forth over the page with incredible speed. Over-optimistic indeed is the advertiser who hopes that his readers will scan his layout in an orderly fashion, starting with the picture and finishing with the signature at the bottom of the page.

About the only generalizations that can be made about ocular tendencies are these: The eye prefers to move horizontally. Vertical movements are tiring. Clear vision takes place only when the eye is fixed; it is temporarily blinded when in motion (look in the mirror and see if you can detect your eyes moving). We can scan about 1.25 words per fixation. But exceptionally fast readers (over 500 words a minute) are capable of taking in five or six words per fixation .

The movement of eyes reveals much about our subconscious tendencies when looking at a picture. Ocular photography shows that viewers see more of the upper portion of the body (tells more about the man's character) than the lower half. One-third of the time is spent in detailed study of the face. Necktie and collar earn considerable scrutiny, almost as much as the face. There is a tendency to glance up and down the body at least once; however, a different situation exists when we actually meet a person-good manners and habit keep our eyes on the face.

In photographs, the tendency is to focus our attention on a person's eyes more than any other part of his (or her) face. The reason is obvious: from experience we have learned that eyes mirror one's emotions with fair accuracy.

But is this really true? Ocular reactions of the average television viewer show that in this medium it is the lips that receive the closest study. It seems that a moving, active mouth can tell a great deal about a person's mood - and personality. Besides, lip watching helps the audience understand what a person is trying to say.

CA, October '61

55

The New York Annual In the forty New York Art Directors Club Annuals, published consecutively since 1922, lies the finest single historical record of the development of art for commerce and advertising. In these is the quickest and most positive response to the perennial critics of exhibition selections, for it is impossible not to be impressed with how good (and how durable) the selections, particularly the award winners, have been.

56

It is amazing how many of these pieces have stood the test of time ... are precedents for today's best ... would still be good today. Browsing through the annuals (a highly recommended bit of time spent) takes a great deal of the potency out of the currently much-used adjectives "new" and "unique." Some of the photography of thirty or more years ago could be successful on today's pages. The medal for design of complete unit in periodicals in 1949, for example was awarded to a ten-page editorial presentation, "The A Color of India," art directed by A. Liberman and Priscilla Peck for Vogue, that would rival today's finest. These precedents offer many solid suggestions for development of something good today. Being "different"... unless you're talking about different from last year ... would appear to be a difficult task.

There has been a lot of very good and very imaginative art and design produced over the years and the annuals reflect it.

Shown here is an extremely small fragment of what we mean. c

B

CA, October '61

D

G

E

H

F

A. Artist-Linn Ball; Agency-Dauchy Advertising Co.; Client-Genesee Pure Food Co. 2nd Annual, 1923.

B. Photographer-Grancel Fitz; Agency-N. W. Ayer & Son; Client- Fostoria Glass Co. 7th Annual, 1928.

C. Photographer-Anton Bruehl; Art Director- Harry F. O'Brien; Client-Columbia Broadcasting System. 15th Annual, 1936.

D. Photographer-Charles Ogle; Agency-J. Walter Thompson; Client- Pennsylvania Railroad. 9th Annual, 1930.

E. Artist-Peter Heick; Art Director-Lester Jay Loh; Agency-J. M. Mathes; Client-York Ice Machinery Corp. 20th Annual' 1941.

F. Photographer- Ralph Steiner; Agency-W. L. Brann; Client-Oxford Paper Co. 8th Annual, 1929.

G. Photographer-Paul Outerbridge, Jr.; Agency-McCann-Erickson; Client-McCann-Erickson, Inc. 11th Annual, 1932.

CA, October '61

Back cover of annual; cover of slip case.

Cover of the annual; back cover of slip case.

THE 40th ANNUAL

58

S. Neil Fujita, designer of the 40th Annual is one of the major designers for the Saturday Evening Post. He is also serving currently as designer-consultant for Worldwide Broadcasting, CBS Laboratories, and the Eighth International Congress of Accountants, American Institute of CPA's. He was formerly an art director for N. W. Ayer & Son, Philadelphia, and Director of Design and Packaging of Columbia Records, division of CBS. Born in Waimea, Kauai, Hawaii, Fujita studied at Chouinard Art Institute and Columbia University. He has taught design at the Philadelphia Museum Art School and at Pratt Institute where he is again teaching this season.

His awards include medals from the New York, Chicago and PhiladeJphia Art Directors Clubs and awards of distinction from the AlGA and the Type Directors Club of New York.

As designer of the 40th Annual of the New York Art Directors Club, Neil Fujita reverted to classic design to achieve a form that is strikingly modernistic in feeling. By basing the essential elements of the cover design on Roman numerals he gained substantiation for the current approach to design.

The decision to use XXXX to denote the 40th Annual was made made after consulting with Hyatt Mayor, Curator of Prints at the Metropolitan Museum of Art. Since the Romans also counted by subtracting, forty might also be written XL (50 take away 10). Mr. Mayor assured the designer that either way was correct, so Fujita went ahead with the 4-X cover symbol.

In discussing his approach to the project Fujita said, ((The book was primarily designed to manifest the unique qualities of the year's entries. Therefore it was designed with simplicity, with special accent placed on the originality of each award winner. ((Color for this year's annual was reserved for the group of medal winners ... In past Annuals we have sometimes questioned, especially when a design or piece of art was reproduced in black and white, why it received a medal.

Through the absence of color, initially an integral part of the design, the particular piece may have suffered considerably in reproduction."

Publication date for the 40th Annual is scheduled for early November. It will have 400 pages, more than 400 illustrations, and a price of $15. Robert M. Smith is the editor, Farrar, Straus & Cudahy the publishers for the Art Directors Club of New York.

CA, October '61

DESIGNING ALOUD

by WALTER LANDOR

PACKAGED TO PLEASE ... everyone but the consumer The time has passed when many an important package design decision was made by calling in the office receptionist to settle the argument over which design to adopt. CAfter all, she's a housewife isn't she?")

Now, happily, most package decisions are made a little more rationally, and there is less need for designers to please personally, say, the client's wife, his sales manager, or his home economist.

Not all new packages reflect this freedom, however. Occasionally a designer falls into the trap of ((over-emphasis"-an aesthetic pit as confining as having to please the receptionist we mentioned earlier.

59

To demonstrate this point in a recent talk before the Packaging Institute, an associate of mine, Studio Director Don Short, had our receptionist enact the following situations. The comments are his.

PHOTOGRAPHY BY JEANNE RIEMAN

PACKAGE DESIGN THAT'S All BRAND (packaging to please the president)

ROCK 'EM , SOCK 'EM PACKAGING (to please the sales manager)

Most of the presidents who like this kind of packaging have now retired - but some of their packages haven't.

Even a few of the new packages still shout brand identity to the exclusion of product identity and many other essential qualities.

This package practically leaps off the shelf- but not necessarily into the consumer's outstretched arms. The eye protects itself, ignores things it doesn't want to see.

CA, October '61

Continued

60

MOOD PACKAGING

APPETITE APPEAL PACKAGING

(to please the client's wife)

(to please the client's home economist)

Currently very much in vogue, and-properly used-can be a strong motivating force. But overdone, or used for the wrong product, the mood package can "mood" the product into the red by convincing the consumer that it's for only that very special occasion.

Certainly all food packages should have appetite appeal - but the current vogue for frosting orgies may arouse feelings of guilt, worry the weight-watcher, make many brands look identical.

PRETTY PACKAGING

FAR-OUT PACKAGING

(to please the young secretary)

(to please the designer's friends)

Sentimental and sweet, these packages will appeal to the very young secretary, but may not express the character of the product, or have meaning for the housewife shopping for detergents, scouring powder, and baby food.

These packages may be 20 years ahead of their timebut as of right now they leave the consumer cold. The only ones who get the message are the designer and two of his friends - one of whom doesn 't like it.

CA, October '61