octpreview1959

Photography (continued)

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RCA Electron lee lntrocluc-• the tub. of tomorrow .

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The way a company can keep on succeedingastheyearsgoby istokup adiu.ti1tg its vision to changing needs.

It's National Jell-O-At-Its-Sundae-Best Week!

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CA. October '59

m CREATIVITY/FIN ISH

Chris Cuts -little pieces of felt that teach art to children-now turn up on the lecture platform, TV screen and designer's board with some interesting results.

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BY C. M. CLARK

Eugene de Christopher: creator of Chris Cuts- TV personality-idol of thousands of children-graphic designerstill has as much fun with his little felt cut-outs as the children (and artists) who use them as a new creative expression.

Some of the same reasoning that makes Chris Cuts ideal for teaching art to children, also makes them a new and intriguing commercial art medium. To the children who are encumbered by the normal art media, these little pieces of colored felt offer complete freedom of expression, eliminate the classification of art as a visual aid to memory. To the artist, Chris Cuts offer an almost infinite variety of shapes and colors that can be arranged and rearranged to create everything from a basic layout to a logotype or label design.

Chris, whose early interest in art began in his father's sculptural studio, believes every child has some innate creative ability. ((Ask a child to draw something and he backs away," Chris states, ~<but interest him in shapes and forms and soon he's making designs of his own."

The evolution of the felt Chris Cuts began in physical therapy classes Chris conducted for children. He started with cardboard cut-outs, switched to felt when he realized the children had trouble picking up the cardboard. He then went one step further and had the children translate their felt <~drawings" onto paper with pencil or crayons. With this two-step method, children who balked at the idea of drawing a castle or clown from memory, started out with CA, October '59

(a COLOR CA's regular Color Guide with demonstrations and applications.

For permanent reference, pull these four pages directly from the magazine.

This month's demonstration is concerned with the choice of a second color.

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Adding 50% black creates a third color

Solid green combined with black tints

Screen tints of a dark or grayed color have a drab and often colorless effect like the squares shown at the right.

If middle-toned colors are selected, like the green and sienna shown above, they will hold their color effect through the various tints and still give the dark-toned ranges when combined with black tints.

When planning a layout it is not advisable to call for fine lines or small type in the dark colors. Since these dark colors come from screen combinations, perfect register on the press becomes a problem.

CA. October '59

Solid green

Green tints

Partial-duotones where the color is used to accent an area or specific shape.

PHOTOGRAPHS COURTESY RUSSELL ILLIG

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Four of the treatments described in the article-for comparison. (1) Upper left: halftone over a solid color. (2) Lower left: negative-positive duotone. The color is printed from a positive instead of negative halftone. Highlight areas print almost solid in the color and dark areas have very little color. (3) Upper right: camera duo tone. (4) Lower right: black halftone and <>nechanical screen tint of the color.

CA, October '59

Exhibit

Waimea (ll'y-moy'..A) For the wide.. apectacular panorama it affocds, Waimea U nyon and Fallt on Kauai bland it known u "Knai'1 own Crand Canyon." 0

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itofrenmoreuu.bletpace than lont:er.eonventional-typealltionwacon.. lttBoor,completely tunnel-freefromfronttN.Itotlilpte.itunique. Wilhtheteadvtnta&es..itc:uiH'Veequa]ly well aa=-,.. ntry cnalxr,uc:a rl()canier, ua"ctmper" orua"commuter." ***S~

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The "dream cars" on these pages were inspired by the "dream living · of Hawaii, are part of the collection of five designed by Kaiser's Industrial Design Division to suggest ways in which aluminum may be used in both functional and decorative applications. They were reproduced in an elaborate, 21,.-page presentation brochure (137fs" x 16%" page size) produced by lithography on Carrara cover stock, to inspire Detroit's designers.

The brochure itself was somewhat of a "dream job," too-an extensive budget, plenty of space, premium paper, full use of color, optimum amount of copy with a soft-sell approach. Add to these ''dream ingredients'' the talents of a top-flight art director (Herb B1·iggs of Young & Rubicam's San Francisco office) and illustrator (Earl Thollander), and the excellent production and reproduction facilities of Kaiser Graphics and you have everything you need (except enough time!). The double page spread at top was the format used for each car. The illustrations and cars at right were excerpted from spreads.

CA. October '59

utility U achieved throuch a novel am.ncement of driver' a teat. encine and drive line uniuall in front . Thefouroraia-qlinder-oppoted.air.eooledaJuminum eftline it loc::ateddirectly beneath the drive~"' I .e.t.almo.t at ftoor bel. With front -wheel drive, thitftl(ine-drive-wheda atKmbly becomes a replaceable "truck" unit. FrontKOOp ooolt encine : uhawtlou.ven are kated. to the rea r of the front wbc!d. 1t The 8oor it nw.de from dcn-etailinc a1uminum r.x tnWoru with vinyl weu ttriJ». and pmnill infinite ,..riety poe.ition. and con6prationt ... awivelbw::ket-u,conventiona.lorlide~nll, fold•way beda.plu..cabineta.etc..

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Even a ftyin1 bridae could be incl~ ! Or,lkMw deNp penniu r~opid chanpover to umpina or carao vehM:le. * **In the roof. two five-foot alidina ct.•leelioM move rmrward (ander· RN.th the top) to open the dnver'a aec:ttoft. Find roo( pand t. ah&~inum theet wilh lonp. tudinally emboewd ttiii'Minl nba. Catt aluminum center tupport !Grml riJid tlruc:ture with esu.ded aluminum front and retr .upport and ..de r~oilt. Body trim-ribbed aluminum theet app!tquet - fnt•res bn.Jht-fintthed ah&minum on rib crata. color in the ~ Onvu's controls are mounted totUher on a cut control housina bolted to fr~ome and 8oor.

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