sep1960

The ad you thought would surely win a top award, didn't get past the first screening.

Why? The concept was tremendous.

The layout was knockout.

The artwork was great.

But who let what blacksmith throw the type in?

Now all the let-down Art Director's friends are saying, "Tschk! Tschk! Too bad, Charlie!"

The moral is: Be as careful about the type as you are about everything else. / Right typography can make judges cheer. Wrong typography can make judges retch. / You know as well as anyone, if you stop t o think, that the way to get the right kind of advertising typography is to call in a member of the AT A. / He knows his stuff and he speaks your language. / He'll never let your advertisement down. / Remember your nearest ATA typographer has a brain and a heart and a phone number.

ADVERTISING TYPOGRAPHERS ASSOCIATION OF AMERICA, INC. Executive Offices : 461 Eighth Avenue , New York 1, N.Y.

It Pays to Set Type Right AKRON , OHIO The A kron Typesetting Co. ATLANTA , GEORGIA Higgins-McArthur Company BAL Tl MORE, 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-Lochne r, Inc. Runkle-Thompson-Kovats, Inc. Frederic Ryder Company CINCINNA Tl , OHIO The J. W. Ford Company

CLEVELAND , OHIO Bohme & Blinkmann, Inc. Schlick-Barner-Hayden, Inc. Skelly Typesetting Co., Inc. COLUMBUS, OHIO Yaege r Typesetting Co., Inc. DALLAS , TEXAS Jaggers-Chiles-Stoval I, 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 HOLLYWOOD , CALIFORNIA Bisch Type, Inc. Nicholas-Preston Company

INDIANAPOLIS, IND IANA The Typographic Service Co .. Inc. KALAMAZOO , MICHIGAN Mahoney Typographers, Inc .

LOS ANG ELES , CALIFORNIA Ad Compositors, Inc. Adtype Service Co., Inc. Advertisers Composition Company MILWAUKEE, WISCONSIN Arrow Press MINNEAPOLIS , MINNESOTA Duragraph, Inc. NEWARK, NEW JERSEY Barton Press William Patrick Co., Inc. NEW YORK , NEW YORK Ad Service Company

Advertising Agencies' Service Co., Inc. Artlntype, Inc. Associated Typograph ers, Inc. Atlas Typographic Service, Inc. Central Zon e Press, Inc. The Composing Room, Inc. Composition Service, Inc. Diamant Typographic Service, Inc. Graphic Arts Typograph ers, Inc. Huxl ey Hou se King Typographic Service Corp.

Linocraft Typographers, Inc .

Ma ster Typo Company Chris Olsen Typography, Inc .

Frederic Nelson Phillips, Inc. Philmac Typograph ers, Inc. Royal Typograph ers, Inc. Frederick W. Schmidt, Inc. Harry Silverstein, Inc. Supreme Ad Service, Inc. Tri-Arts Press, Inc. Typographic Craftsmen, Inc. The Typographic Service Co. Kurt H. Volk, Inc.

PHILADELPHIA, PENNSYLVAN IA Walter T. Armstrong, Inc. Alfred J. Jordan, Inc. Progressive Composition Co. Typographic Servic e, Inc. PITTSBURGH , PENNSYLVANIA Davis & Warde, Inc. PORTLAND , OREGON Paul 0. Gi esey, Adcratters ROCHESTER , NEW YORK Rochester Monotype Composition Company SAN FRANCISCO, CALIFORN IA Griffin Brothers, Inc. ST. LOUIS, MISSOURI Warwick Typographers, Inc. SEATTLE, WASHINGTON Frank Mccaffrey TORONTO, CANADA Cooper & Beatty Limited

e 2 • Number 9 • September 1960

The Journal of

The Journal of Commercial Art is published monthly by Coyne & Blanchard , Inc. at 809 San Antonio Road , Palo Alto , Californ ia. Subscription rates : U.S. A., possessions , and Canada , single copy , $1.50, one year, $12 ; two years, $22 ; three years , $30; five years , $45 . All other countries, one year, $14 . Copyright 1960 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 , Cal ifornia .

Change of Address : Notification should be sent to The Journal of Commercial Art, 809 San Anton io Road , Palo Alto , Cal ifornia , at least 45 days prior to effect date . Send both new and old address. If possible , use imprint from CA ma iling envelope for old address.

Editorial Correspondence : No responsibility is assumed by the ed itors or publisher for unsolicited contributions . Manuscripts or other material should be accompanied by self· addressed , stamped envelope .

Advertising Correspondence: Requests for information or other. correspondence concerning advertising may be addressed 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, Cal iforn ia, DAvenport 6-6040.

ART TRADE SHOP NO . 1

8

Editorial

10

Letters to the editor

14

Personal: for hire, for sale, wanted

17

Encore-multiple use of art

26

Glossy photographs, an old wives' tale?

28

Exhibit

38

Nick Galloway sketches in the Orient

40

Puck's advertising contest, "Ad Utopia"

42

Record album covers, Capitol Records

49

The Globecombers, world-traveling photographers

54

Morgue: Antarctica

56

The-time-and-the-place

56

Print that matters

59

Paper: its language and comparison of costs

62

Materials, serviees, and available literature

64

Color: duotone charts of green and black

66

On the board: shop talk

67

Advertisers' index

Sole U.S.A. Agent: JOHN

HENSCHEL & CO., INC., 425 Park Avenue South, New York 16

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CA. September '60

Tub~s 35c each and 1 oz. jars 40c; 4 oz. jars $1.25

The Concept Robert Blanchard, publisher Richard Coyne, AD/editor

The Graphics Jay McKendry, typographer Bert Bryce, associate typographer Clarence Philbrook, lithographer Henri Luyckx, litho cameraman

Contributing Editors William Condit, Denver Wendell Davenport, Honolulu Ira Goldblatt, Boston Susan Karstrom Keig, Chicago Tobias Moss, New York James Peck, Seattle Emile Pirro, Canada Ted Poyser, Los Angeles Harold Quiram, Dallas

8

Robert S. Robison, St. Louis Mickey Mulligan Twohy, consulting editor Irwin Caplan, humor editor Graphis 3, photography editors Almonte Bailey, Jack Fields, and Bill Hewitt

Advertising David Hartman, manager, New York Jan Williams-, Palo Alto

The Office Carolyn Thompson, editorial assistant Naomi Tisdell, circulation Nancy Gruenwald, circulation

The Cover Aldo Mirizzi

Editorial How about a national association of artists?

This idea has been suggested frequently. Every profession has one. At the moment, we are not a profession. An association would be the obvious first step toward achieving such status with its advantages in prestige and taxation.

Let's consider such an organization for a moment. What would its functions be? Could it justify its existence?

First, it could work toward professional recognition, internally and externally. A powerful voice is possible.We outnumber most of the recognized professions. It could support a lobby, a strong public relations program.

A system of qualification would have to be devised, perhaps on a time factor of three years' education and three years' professional experience, or five years' professional experience. Later, some method of examination or board of review might be developed.

Lacking the requirements, an artist could have associate status.

Other functions might include a compilation of badly needed statistical information and dissemination of information on common problems of accounting, taxation, legal questions, forecasts, research. Credit and billing practices need help, as do values in this business. Price fixing or regulation would not be logical; but research could establish guides to realistic minimums and averages for some types of work, subject to interpretation and evaluation. It might at least channel much discussion time toward the right ball parks. Any efforts in this direction would probably be more valuable as an educational tool to less-informed purchasers or management. A great amount of the efforts of such an organization should be in the form of propaganda, for use by individual members, and for a carefully planned public relations program.

A code of ethical practices could be adopted. All professions have codes, and in time they develop meaning.

Shows? Perhaps, but it seems there might be more than enough shows and exhibitions already. A plan could be devised to endorse worthwhile existing exhibitions with support, cooperation, information. The greatest need is to make shows more functional, less for our own edification, more to influence people outside our profession. A national organization might choose to assign recognition to individuals on a continuing-performance basis rather than on a single juried piece.

What about present organizations? Only one, the National Society of Art Directors, could be termed national (U.S. and Canada) in scope. It is the largest and represents less than three per cent of the profession. There are a number of local and a few regional groups. A few of them are specialized, such as art directors', illustrators', type directors', and studio clubs. In most cases, the lines of specialization are not clearly defined, and individuals belong to more than one-sometimes to all-plus a general artists guild or club, too. A national association need not upset any existing organizations. National membership could be all inclusive, with regional or local organization membership optional. These organizations could be chartered, affiliated or independent of the national, general or specialized in nature.

Another effort might be reasonably priced group insurance rates.

Three major problems would face such an organization. One is generating the effort to organize and operate it. The second is financial support. The third, and most important, is producing something more than a name, something of value to its members.

CA, September '60

Precise, accurate, mechanicals ...... .

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Graduated lines for I/B's, l/4's, l/2's and inches.

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For product brochure, ask your dealer or write:

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in Canada: Cord & Poper Works, ltd ., Peterborough, Ont.

It's great-but don't take our word for it. Try it "in your own office for 30 days! Puts professional flavor into your low-budget paste-ups ... saves you time and money. Used by ad agencies, art studios, printers and industry ... for ads, printed pieces, publicati9ns, direct mail, visual aids.

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HARRY VOLK JR. ART STUDIO PLEASANTVILLE G. NEW JERSEY 9

BO URGES COLOTONE

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In solids and tints of colors matched to standard printing inks, with controlled photographic quality for accurate economical reproduction.

Try Bourges on your next separation job.

See how much more you can do, how much better your art looks, how much better it reproduces.

Bourges "Colotone" Sheets are available at leading art material dealers all over the world.

New free booklet describing Bourges, ''The Magic Color Sheets of 1001 Uses" now at your dealer's - or write to Bourges Color Corp., 80 Fifth Avenue, New York 11, N. Y. CA, September '60

s p LL' ~A STEEL ~ i ~._. ~ r~ .~ ,.

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Co. mprehensive lettering charts on :~uestfor only .08 in stamps. C. HOWARD HUNT PEN co., CAMDEN 1, N.J.

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CA , September '60

Among all of the finest papers available for layouts, visuals and "comps", only one is conspicuously outstanding .. the number one choice by A rt Directors, Designers and Artists everywhere ..

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A luxury layout paper of 100 Yo rag, bril1iant whiteness and a crisp metallic snap, responds perfectly to all dry media. 50 and 100 sheet pads are available in siz s: 9X12"-11X14"-12X18"-14X17"18 X 24" - 19 X 24" - 21 X 27" .

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If a dealer in your area does not have the Dalton "Admaster", send us his name or write to us on your letterhead for a free 4 x 6 sample pad.

A complete swatch series is also yours for the asking request swatch group No. 5.

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Nationally authorized DEALERS for the DALTON ADMASTER AKRON, Ohio

INDIANAPOLIS, Ind.

METZGER PHOTO SUPPLY 1091 - 109S S. Moin St.

ATLANTA, Ga. BINDER' S GIFT I FUME SHOP 74 Brood St. N. ,.., - WA-1477

BALTIMORE, Md! NYIOIG 'S AITIST I ENGINEERING SUPPLIES 125 E. loltimore St. - SArotogo 7-S732

BIRMINGHAM, Mich.

IA TES llOS., INC. 201 N. Delowore St. - MArht 9559 INDIANAPOLIS ILUE PllNT I LITHO CO. INC. 600 E. Ohio St. - MEirose 2-4466

LEXINGTON, Ky. SHUMAKER 'S 23S E. Moin St. -

Telephone 4-0930

LIMA, Ohio LIMA PHOTO ENGRAVING CO. 109- 117 W. North St. - Telephone 3-4321

GIEEN 'S 400 S. Woodword

LONG ISLAND CITY, N. Y.

BRIDGEPORT, Conn.

LEIMAN HOS. Hunten Point Ave. I 39th St.

KOENIG AIT SHOP 147- IS3 John St.

LOS ANGELES, Cal.

BRONX, N. Y. TIEMONT IEPIODUCTIONS, INC .

196S Arthur Ave .

CHICAGO, Ill. AITISTS SUPPLY CO .

209-21 S N. Wobosh Ave . - IAndolph 6-1180 BOWER' S AITIST I DRAFTING MATERIALS SOO N. Porkside Ave. - EStebrook 1-6266 SHELDON ' S AIT I DRAFTING SUPPLIES, INC. I SS E. Ohio St. - WHiteholl 3-2244

CINCINNATI, Ohio THE POUNSFOID STATIONERY CO. 422 Moin St. - MAin-231S

CLAYTON, Missouri AIT MAIT, INC. 31 N. Merome< St . -

THE DODD CO .

I 025 Huron Id. MOISE GIAPHIC AIT SUPPLY CO. 1312 Ontorio St . - MAin 1-417S OHIO AIT MATERIALS CO. 2174-76 E. 9th St. - TOwer 1-3411

DALLAS, Tex. ASEL AIT SUPPLY CO.

LOUISVILLE, Ky. ELECTRIC ILUE PllNT I SUPPLY CO. 63S S. 5th St. - JUnipor 4 -2265

DAYTON, Ohio

PLAINFIELD, N. J.

MILWAUKEE, Wisc.

AITIST I DISPLAY SUPPLY CO. 113 W. Wl1<on1in Avo. - lload-y 1-71tl PALmE SHOP 762 N. Milwaukoo St. - lload-y 2-2706

DES MOINES STATIONHY CO. 507-S09 Locust St. - ATiantic 1-4101

DETROIT, Michigan DRAFTING MATHIALS, INC. 4151 Woad-rd Ave. - TEmple 3-9616-7 GAITH AITIST SUPPLY COMPANY 1513 lroadway - woad-rd 3-3660 LEWIS AITIST SUPPLY CO. 6401 Woodward Ave. - Tl 1-0150 F.A. PEllNE 4424 Woodward Ave. - TOwnMnd 1-5173 loo. TEmple 1-7423

SAGINAW PAINT MFG. CO. 344 W. Geno- Ave. - PL 5-4491

SAN ANTONIO, Texas JOHN HEIWECK , INC. 232 lroodwoy

IOIN AITS I CIAnS 91 Morris St. - JEflonon 9 -0600

ST. JOSEPH, Mich.

LAKESHOIE DIAFTING SUPPLIES, INC. 416 St<rto St . - YU 3-5527

FORT WAYNE, Ind. llLL-MAI PAINT I COLOI CO. INC .

707 Court St. - Tele phone E- 1841

GRAND RAPIDS, Michigan ANDERSON AITIST SUPPLY CO. 21-30 Louis St. N. W. - GL 9-1732 DOUMA I SON 306 Monroo Ave. - 1-9393

HOUSTON, Texas CApilol 2-0161

GllFFIN SUPPLY CO. 155 Fourth Avo. N. - Alpine 4-3361 NASHVIUE STATIONHY CO. 1416 Church St. - Alpine 5-651 I

ST. JOSEPH, Mo. MANNSCHIECK'S IOOK STOii, INC. 111 N. 7th St.

ST. LOUIS, Mo.

NEWARK, N. J.

AL. J. IADH CO. INC. 1113 Locust St. - GArllold 2170

AITIST SUPPLY SHVICE 130 lronford Pl. - MA 2-6219 SAXON DRAFTING EQUIPMENT COIP. 29 Centrol Ave. - Mltcholl 2-2915

SPOKANE, Wash.

SPOKANE AIT SUPPLY W. 1025 Finl Ave . - MA 4 -1292

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DES MOINES, Iowa

PORTLAND, Me .

SPEAIS SUPPLY CO. SOI E. Canol St. - 3 -S171

MORRISTOWN, N. J.

SPIVAK AIT SUPPLY CO. 1024 17th St. - KE 4-350S

SWAIN'S AIT STORE 317 W. Front St.

RICHMOND, Virginia

WALLEI HOS . INC. 211 N. loyol St. - HE 2-5694

DENVER, Colorado

CENTRAL AIT SUPPLY CO. 1126 Wolnul St . - WA 3-1441-9 HENIY H. TAWS, INC. I S27 Wolnut St. - llttonhouM 6 -6324

MILLEI SUPPLY CO. 113 South St.

MOBILE, Ala.

KEN McALLISTER CO. 314-320 Solem Ave.

PHILADELPHIA, Pa.

PITTSFIELD, Mass.

ASSOCIATED ARTISTS 1122 ll1<oyne llvd. - Mloml 3-3562 CIEST AIT INC. OF ROllDA 1160 W. Fl1111lor St. - Fl 1545

AIT MATERIALS, INC. 315 14th Ave. S. E. AITSIGN MATHIALS CO. 404 Marquette Avo. - Ll-7607

1643 Pacific Ave.

STANDARD ILUE PllNT CO. 141S Horney St. - ATiantic 7190

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THE IUSH COMPANY 130S Elm St.

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CALIFORNIA AITISTS MATERIALS 2420 W. 7th St. - DUnkirk 5-2436-37 H. G. DANIELS CO. 2S43 W. 6th St. - DUnklrk 1- 1331 M. FLAX 10846 Lindbrook 0.. - Glanite 1- 3761 FRANKLYN ARTISTS' MATHIALS 2326 W. 7th St. DUnkirk 9 -1050

EAGLE SUPPLY CO. 327 W. 42nd St. - Clrde 6 -6110 SAM Fl.AX 25 E. 21th St. - MUrroy Hill 3 -2962 A. I. FRIEDMAN 25 W. 4Sth St. E. H. I A. C. FllEDllCHS CO. 363 LH ington Ave. ~ Lh lngton 2-0300 LEWIS ARTISTS' MATHIALS, INC .

1 SI W. 44th St. JOSEPH MA YH CO. INC. 5-9 Union S... W. - Al.gen'IU ln S-7644 SANLU AIT SUPPLY CO. 1165 lroodwoy UNITED AITIST MATHIALS CO. 32W. 53rd St. - JU 2 -6470

Mltcholl 2-4919

TOPEKA, Kansas CAPITOL CITY ILUE PllNT CO. 421 Konsos Avo. - 5 - 1351

NEW ORLEANS, La. NOITON' S AIT SUPPLIES 731 Poydro1 St. - IA-1570

TORONTO Canada LOOMIS I TOLES, LTD. 214 Adololdo St. W. - EMpire 2 - 109S-6

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1 SS E. 44th St. - MUrroy Hill 2-4224 llVING IHLIN, INC. 719 Ith Ave . - Clrclo 6-6350 COMMERCIAL AIT MATERIALS CO. 171 E. 33rd St. CONCORD AITIST MATERIALS 111 Lexington Avo. - Lhington 2-3740 CRANE-GALLO AITIST SUPPLIES 173 Madison Avenu• HAMILTON DWIGHT CO. INC .

136 E. S7th St. - MU 1- 1697

WASHINGTON, D. C. FEDHAL SUPPLY CO. 1716 H St. N. W. - IE 7-6616 GEOIGE F. MUTH CO., INC. 1332 Now York Avo., N. W. VISUAL SYSTEMS CO. INC. 11 S4 19th St. N. W. - District 7-1746

WILMINGTON, Del .

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CPrices slightly higher west of Mississippi I

b i en.£ an. g

rpaper co., inc.

metuchen, new jersey

LETTERS

W®

TO THE EDITOR

~

FRO~

Bill Golden Dear Mr. Blanchard: On behalf of the National Society of Art Directors I would like to extend thanks for the June cover of CA. It is a fine tribute not only to William Golden and his award as Art Director of the Year, but also an acknowledgement of the National Society itself, for which we are most appreciative.

I have long admired CA and am pleased that this event gives me an opportunity of saying so.

Again, thanks for placing the NSAD T-square on your cover, and for extending the image of Bill Golden and our award by means of an excellent feature.

Sincerely,

No more mess and clutter! The Roto· Tray holds almost every item you need within a 10-inch circle-and revolves to bring just what you want right to your fingertips. Moulded life· time plastic on steel base.

Arthur T. Lougee President, NSAD

In 4 Colors: Fire Red, Ivory, Maroon, Antique, Ebony

Left at the church Dear Bob: ... to us uninformed exponents in the hinderlands the new techniques of both art and photography are of particular interest-but how did they do it? If there are others like myself who have been left at the church where contemporary production methods are concerned could you include a column in the ~ack referring to your various illustrations ... where ad information on production methods would be beneficial. For example, the lower right hand Vogue ad on page 23 (June issue), with the shot of the gal supered over (or is it under) shipping labels. Were two shots made, one of the labels and one of the gal and then mortised on the art, or did the photographer double print, the engraver strip them together, or were the labels drawn over the photo so the blank space in between would drop out?

ARTHUR BROWN & BRO., Inc. 2 W. 46th St., New York 36, N. Y. 11

THE SIGN OF -

A ·GOOD CHOICE •.•

Thank you again for the monthly pleasure and inspiration your excellent publication provides.

Cordially,

El Paso, Texas ~

You're not alone John. We're constantly amazed at the creative geniuses in the planning and production end of this business. But that's why we're in it.

If all the answers were in books, we might as well be lawyers. Following your suggestion we're going to request more production information on our new Exhibitforms. ed.

ppd.

Write on your letterhead • for 200 pa1e catalo1ue of • '. art supplies - "an En· :.••..,. . c Jc Io p e d I a of Artists _, ......":.z::... .'

Materials." ~ -. .:· (

I hope I am not alone in my lack of knowledge and desire for more information and that sufficient people like myself can benefit by such explanations - that will make it possible for it to appear in the near future.

John Sherman de Bruyn Advertising

$5.95

You always know when you've made a good choice ... by the effortless drawing you'll do in pen and ink, wash or pastel ... by the long lasting surfaces of versatile Crescent illustration boards.

A Crescent choice from the roughest layout to the finished art-work.

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

CA, September '60

Letters Aspen revisited Dear Mr. Blanchard: We were very much impressed by your coverage of Aspen which seemed accurate, shrewd and delightful. I think the photographs this year were particularly outstanding and used to very great advantage.

I hope there is a general and strong response on the part of your readers, because I think it is probably the best presentation I have seen in publication.

Art Hupy's photographs were really first class and I am writing to tell him so.

Cordially, Joyce Morrow Executive Administrator AIGA

Off center Dear Sir: The long anticipated Pin Register sets arrived today and have already started to prove their value.

I am wondering though ... The directions state that the pins are on four-inch centers.

On our good old Keuffel & Esser architect's scale they really only measure out to 33lfs 2 inches. Having come into commercial art via the engineering door, I find Vs2 of an inch a pretty healthy tolerance.

12

~ wide range and versatility!

BAUER BODONI for complete specimens, write on your letterhead to: BAUER ALPHABETS, INC., 235 EAST 45TH STREET NEW YORK 17, NEW YORK OXFORD 7-1797-8-9

Perhaps your inches are longer on the west coast - like those Sausalito totem poles "slightly higher east of Tiburon."

Sincerely, David A. Strassman Art Director Kalmbach Publishing Co. Milwaukee '--v--"

Our western K & E's measure the same.

The distance between centers is immaterial as long as all strips are constant on the same job. And besides, 3 3 l/s2 looked lousy in type. ed.

4A colors

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L

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A VERSA TILE GUIDE FOR PROFESSIONAL ARTISTS

Qua I i t y 3Smm Koda chrome sl ides used on a daylight , enlarg ing illum inato r a s art ist 's gu ide .

H igh f idel ity deta il w ith added dimension of trans -

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GRAPHIC

"W"ORKSHOF, INC .

eoo Cleveland Street · Elyria., Ohio

CA, September '60

Gentlemen: I noticed in your July issue an inquiry from Leonard Heliniak requesting information on color charts using the standard 4A colors.

Your readers may be interested in knowing that our Duo-Color Guide includes the 4A colors along with many other colors in combination with each other and black, printed 120 screen on coated stock. Also on page 51 of the same issue you will note our ad in regard to our Four-Color Process Guide.

We also distribute a comprehensive 3-color guide printed in both letterpress and offset.

Very truly yours, Irwin Rothman Graphic Publishing Co., Inc. New York

NO.

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production-process heat. You can vignette or remove Contak coatings with an eraser; yet they don't come off on your hands.

You have a wide choice in Contak.

There are 72 different shading films, Ben Day and other screens in black or white; 26 transparent colors. Get faster layouts and finished art with Contak.

___,

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BOURG ES MAGIC COLOR SHEETS OF 1001 USES

~e~ 'older to h \"e drudgery e1p You

This is the title of a new free booklet on Bourges. May we send you a copy? Call or write us today.

fake draw1'ng'•

OIJt

For complete information on Of this new system that makes art directors' and artists' jobs easier, (more fun, too . . . ) write for free folder: "Visualization Made Easier".

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WRITE WITH AN ORDINARY - - - - - , PEN OR PENCIL TO ...

171

ALIDIO

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ART§

817 TATNALL ST.

WILMINGTON·, DEL.

OLYMPIA 4-4442

Because of the increasing demand of industrial plants for special art materials to meet the needs of their commercial artists, we have added many lines, such as BOURGES SHEETS, to our general stock of the finest in art materials. Let us serve your next order-for all your artists' needs.

RIVER ROAD, LEEDS, MASS.

CA, September '60

Letters

Color-aid

Cincinnati ... unsigned

BACKGROUND PAPERS

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

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

'"''NEW!

Color-aid Liquid fMH~ Formulated exclusively for Color-aid papers to remove dirt, grease, erasure burns and many other uses.

AT ALL LEADING DEALERS Color-aid Co. 329E.29St.N.Y. 16 14

STANLEY MELTZOFF says

01 hi8Artesian Palette

" . .. vour pttlette ia one of tlro1e inedtable inventiont, like the 11afety pin. Refore tlH! .lrt esian Palett e I u·a1ted the price of tl1e pnlette at each 1eaai<>n at tl1 e ea.el. I 1weated to match mvolrl mixtures each lime I returned tn m11painting: Now m11 paint gne11 nn the panel ~-nnt intn the u·a1teba1ket

!!!!·"

Paint with colors of incomparable texture month after month The Artesian Palette "moisture controls" all water soluble colors. Ceramic paint well unit absorbs water from reservoir and by capillary action replaces moisture lost by the paint due to evaporation. Your colors are always in prime condition-always uniform quality.

USED AND RECOMMENDED

by America's Most Famous Artists

FROM $675 UP Available in various sizes and combinations to suit every need

r-------------,I D Please send me complete information on the I I I Artesian Palette IName I IAddress I OSLER PRODUCTS 1894 GLENGARRY CIRCLE, BIRMINGHAM , MICH.

j~t~------ Stat.:__ _ _ J

Editor: I happened to look at a few issues of your magazine and in my opinion, IT STINKS. Just as it is a weak imitation of certain foreign graphic art magazines, so are most of the socalled artists whose work is featured weak imitations of outstanding artists.

Most of these punks are not artists at all nor are they the least bit interested in art. What they are interested in first, last and always is MONEY. They want to be a SUCCESS, achieve STATUS, which in their scale of values means owning foreign sports cars, wearing expensive clothes, have a ranch house in one of the better suburbs. In order to get this they are quite willing to imitate the other guy, steal his ideas and technique, pick his brains and if necessary cut. his throat.

They want to be artists if you please, but they also want to SELL and SELL.

in ART MATERIALS and ART BOOKS "Friem's Four Pages ," our interesting art newsletter ...

SIMPLIFY, SPEED UP ART PRODUCTION ~ 1

These punks are all familiar with the foreign art magazines and it is largely from themthat they get their ideas. These are then watered down or altered for United States tastes ... is nothing but a weak imitation of the work of foreign artists such as Savignac, Herbert Leupin and others ...

UNSIGNED Postmark, Cincinnati

Cincinnati ... signed Dear Mr. Coyne: Your renewal notice reached my desk ... In its first year, CA has been quite a book.

Please keep it that way. Let the wild eyed wonders with the weird ideas, and the stodgy stupes with the me-to-ism do their own publishing-you're doing a good job, and selfish criticism from anyone, including me, won't help you any.

It's a good, refreshing book. I'm happy enough to want to see another year, and I selfishly hope the rest of your subscribers are also.

Paul J. Dieterlen, Ad Mgr. The Cincinnati Time Recorder Company

Looking for a job in Miami? ... need 3 technical illustrators? ... care to sell out ... or buy in? ... do you tatoo butterfly wings? ... collect Maori masks? ... have 17 extra 96" T-squares?

Jay McKendry will skillfully set your copy in 8 pt. News Gothic Cond. at $3 per line. Miss Williams will gladly add a CA box no. if you prefer us to forward the replies. October 7 is the next issue's closing date ... with check, please. If you're looking for a $7 ,000 write-off, may we present advt. #1:

FOR SALE Once in a lifetime offer ... Picture collection, every subject, early American and European line prints and engravings for reproduction, hundreds of books, all before 1900. 48 loaded file drawers. $7,000 f.o. b. N. Y. BOX 291-CA.

CA, September '60

WITH THE NEW

~G-~

''1000'' Better, all-round performance at a new, lower price. Reduces 5X, enlarges 5X ( 9X with lens attachment). Projects flat copy or objects. Quick focusing. Simple manual control. Feather-touch balance. Automatic lock. Adjustable track length. All steel. Gold hammertone finish.

See your Art Supply Dealer or write

ART-0-GRAPH, INC. 483 7 Emerson Ave. S., Minneapolis 9, Minn.

* *·

by Irving D. Miller 17

The fact that a piece of art work has appeared in print usually implies that it has completed its assignment, become as obsolete as yesterday's newspaper. It has long been my firm conviction (proven in actual practice) that this is an

L

inefficient and wasteful point of view.

Here are my reasons:

TO :

CA 809 San Antonio Road Palo Alto, Cal1forn1a

CA, S eptember '60

Encore

Since the basic art work has already been paid for, additional usage is economically attractive. Another way of looking at this is that re-use of this material helps to "amortize" original high costs and to reduce the per-unit costs of additional promotion and merchandising material.

CAPITAL TYPES # 4

Illustrations by Robert Osborn were combined with some very clever copy in this ad series for WTOP Radio, Washington, D. C. Designer Miller (ads and promotion) followed with a series of the Osborn drawings printed on 11" x 14" sheets of colored stock, presented in a handsome folio. The result, a campaign that was watched for, talked about and not soon forgotten .

CAPITAL TYPES # 24

CAPITAL TYPES # 3

18

CLOAK AND DAGGER

Bitter about the beautifulfemale-spy myth , takes it out on his wife. Never tells her anything. Has secret charge account at the corner delicatessen.

But there is nothing secret about the success of WTOP Radio in the Washington area. WTOP has (1) the largest average share of audience (2) the most quarter-hour wins ( 3) Washington·s most popular local personalities and ( 4) ten times the power of any 11<,1: r radio station. Th e!·e·s nothing undercover about where and how you can best tell your sales story in Washington.

WTOP RADIO Represented by CBS Radio Spot Sales

.i :JJJJ: :::%::

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THE TOP BRASS

Misses the Old Outfit. especially when the Old Hip Wound stiff ens up on rainy days. Hates civilian red tape; fights back with re qui sit ions.

In the Washington area, advertisers commanding the biggest audiences use WTOP Radio. WTOP has (1 ) the largest average c'ha.,..o "f'annio.,.,t"o f ?' t'ho

CA, September '60

THE REFORMER

Slipped on a grape and broke fiddle case while on way to violin lesson (when eight years old) ; has hated music ever since. Raises prize-winning dahlias. drives foreign car with engine (aircooled) in rear. Sneaks off to clandestine showings of old W. C. Fields movies. Crazy about moonlight bathing.

And advertisers in Wash-

LIBRARIAN

:r'i.~~=~OG

Born with a silver

Cum appropriations

" sshh" in her mouth ;

with a slashinc

compensates by

diagonai pencil itroke.

screaming insults at

Rumored to be a

the umpire every

Big- Man around the

Ladies· Day. Addicted

comer poolroom.

to the writings of

Wife's Aunt Margaret

Rabelais end seven

calls him Cuddles;

card stud . Has 8

hasn't spoken to

baseball autographed

Aunt Margaret since

by Mordecai (Three-

Armistice Day, 1939.

Finger) Brown.

J j

~~v.:~ANT

TOURIST Ham'tmiaed

Card-file-...ory

• cherry bl.-xn

that S - back ID

r..tivalaince

McKinley. Favorite

the NRA; world's

song: "IWioh I Could Shimmy Like

createst authority

MySiaterKai.."

blooming- any-

Three-time winn« ol the S.Ck Race

often but speaks

on the late·

thing-. Gem loot

at the annual

1helang-uap

office picnic. Cattiea

like a native.

around copy al

Wean:iensible

Walter Benton'• "Thio la My Beloved" in topcoat packet.

shoes._, never visits marivea, and is firmly ag-ainst sharks. Collects match covers.

Encore

Public acceptance of the basic approach and art treatment has been pre-tested and proven in the initial usage. Kinks or negative elements can be ironed out, others improved by hindsight and experience.

20

Don't send flann e l out alone We have to be blunt. Cotton ftnnn el without "Sanforized" is like fish without salt . .. like pastrami without r.vc .. . lik e l~im s k)· without Korsako(;f.

Take some nssorted ft11nn el ga rm ents we tested recently. We bought them all orcr. The only thing they Imel in comm on w11s the fnbri c nnd the lack of the " S1tnfori zed "' label.

We wash ed them nnd they shrunk ... nnd shrank . . 11ml shr11nk .

On the first wash some of them weren ' t too bnd ; three gnrme nts sl11)·ccl under :1% shrink nl(e. But the rest were ~ .5%, 5..1%, i.:;%, .1% nnd like thnt.

And nfter th e third wash! Such %'s shouldn' t hnppen to )·011 r worst competitor.

However. That fhu111 el shrink s is no sec ret to consume1·s.

In 1l two-week test in a midwcst departme nt store, #;!irh-1' ft1rnnelctte pnjnmaK wen·

1tl ternutcl.r clispl11yed with "Sanforized" for two days, then with "washable" for two days.

1'/ie rCH11/t: 26.3% 111ore 11111·clwses w hen "81111/orize<l" was on the sig11s (Incl l(lgs tluw when u wrr>tlurble'' ""'.s Ufll'd.

Two fncts nre clcur. (A). Fl11nnel cun shrink and the customers know it. (B). Therefore, they bu)· more a nd hettc1· when they see the u11m e the)' trust. .\ s we sa id , <:ntton ft11n11 el should n c,·e r hu,·e to go out into a cold market a lone. It should 11 lw11ys l11l\·e the """"'" friendly 1111d 111·ujil11ble company of the warm. friendly and profi tn bl e "S1111fol"izecl"' trndc11111rk.

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

_.._, _ _....,_ ..... _ , . ,......__. ... _...,_ __ 1....... 1--·,,.-.,_

, ...... ,.~•t..1. ' · · ' " " ' ' - .. -~ .....-..~ ~

~~

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·JAN,fQf?.flED•

The copy theme of this Sanforized ad, "Don't go out into a cold market alone. Have the warm, friendly and profitable company of the Sanforized trade mark. '' was emphasized even more in the follow-up promotion.

Designer Miller made it plenty "cold outside" by printing Wingate Paine's photograph as a blue and black duotone. The same photo, minus nightgown, served as front and back cover. Young and Rubicam produced the ad, art director was Carl S. Harris.

CA, September '60

Bfll1y, U's coltl outside!

S m1forl:::ed , 580 li'lftl• A1•enue, New York 36,N.Y.

Do11't se1ul you1· cottons out alone Wt h.lvr tn bl- b11111L A •a11habltM11tn11 •·11IM•UI "&nfnrb..,\"i,. likl' fioth witho11t 1111lt. .. l1kr ~,.1,.mi without

111h.,.I11'1rrh.,.I, hi h•a• li111ol1•..,.r1nw11t•to1T11,pmw11lllab!-M-1l·'S1111fnrllt"tl.'ool11C'll icW11ti~I prnw11t1labe~

rye ... likt HiH•kJ whhont l\ nl'Nl kntl'.

Takt' ,.,111w tlamll'I pn1lt'11tJI 11·• t"'t..,1. Wr IJ,,u1h1 thr111 a ll OTI'r. Tl11• hlll)" lhmg tilt') hatl "' ro1m1101111•~ tllt'

T11·u f•1·!,.n1Trk.. r.(A)C'ott"1 .. u111<hrh1ll•11dt!wl'1111tomtl'llll110,..iL(R)Thel'l'fo"'.theybnymo"'•ndbetter

f1br11· and tlw lffd. of lhf' "& 11forh1~I" l.lwl. \\',. w1111llf'!I tllt'111 a111I tht') 11lmmk •.• 1111l ,.hn111k •• a1wl 11hrnnk 011 tM tln.t •·a11h JICMtlt' of thton1 •"f'ITll't ton b11tl; lhl'ft pn11t•11 t1111t•)f'll 111Klt•r :J:¥- 11hnnka l'' 1\111 1111• .f~ ';lo .~ •.f )l., 1~'.'.8.1'.I- 111dhkrth.1L

,.,.,.t wr~

r1111r pt11M'llli< 11hnoltl llf'\'rr (!HUil i11tn• •-Old markrtalone. Tht'y Jh011ld 1lw1ya hut tll'r 11·arm, rrit:nd ly and

pr..lf11blr .... mµanyofthh11um1.frittKlly1ndprofltabJ.etraidemuk

CA, September '60

21

Encore

The use of similar material in advertising initially and again in promotion, direct mail, point of sale etc., helps to sell the concept in many dimensionsgives the reader an impression of "going all-out" on a campaign.

Ronald Searle was the illustrator and Irving Miller the designer on this adfor CBS Spot Sales. The promotional literature broadened the theme with symbolization of the planning and results, emphasized it with color. Ronald Searle received a commission for two additional illustrations.

22

CA, September '60

/} '

~~.....:::11111...;.._e'.'~··" ...-:;:' .&....&...-

A)ingkordcrtuCBSRadioSpocSaln .. . and

you ' ltfirc~kvboom1n1"'h'tniin

l4 orthc:n<alion's

lararcM marl.ct ·, U)ina: the bicgc 11un in uch onethc local C BS Radio !liMton Yi1c rcprcscnt.

We're manned for quid ..ctM>n. Our account CJiCCUliVC) (whoavCnli:CM)'CU>OC:K:li~dutyon

thcforn/11111imtlcvcl Jc:i n1cll yo u1ll 1boutthcl>Cl4

'1a1ion,, 1hcirprogroam,•nd 1hcirpcrsonalitirs.

Our re)( arch :and promotion c rews (each tile largest in thc i.potllcldlca nhclp you.w:k:ctthc:ltrongc1t

aviulab1h1tci.foryuurnced'.lt,makingccrh1inyou rc:K:h the naht aii,>c\. income level),. )>CJ. , and the m.c.

Andyou'llrc<tehm11r,.pcoplcthanyou1111ouktany u1hcr...,ay. l>numrmrfMli11/1/l,.1rl 4u't'a.vrli,. \/dt11111Mt'rt'f1'f'Vt'ml1u.11/irh1>:>,'f'st urt'rUl(f' vlfurt'

0Jum/it'tH.t'lll.it.v murl. t't , 1ttmt1/1uJlf'rmm11h!

Whcthcr you'n:1nvadingai.in11cmoarl.ctor • ll l4 ,

you 'll he in complete comm<i nd when you use CBS

Rae.ho Spot S.1lc~ . Fm: v.hcn reoidy, Gridley!

CBS RADIO SPO T

SALES

.,.__.... ,.,rw-• Ml••\;• r""' M••w f h,..., _.,.., Ml .. r•-1,..._11111 ...._ • \ A /... , ....

l

MM•• J.4 _ , ..... II.I .. · · · -- ltll tl M - 1 o ,__\t , _ 11• r , .........,.._ .. ,. ,, .., _ _ "" - '·""'"'' "' 11ror 11_,,,,.., _ _ ""'1u "I.-•- "'"_,,_,.,,.

, _ ,.,.., •""'- , .., . _ , _,.,. _ , , . . . ...... /On..-""'

23

OB8 RADIO SPOT

BALES

CA, September '60

Encore

The use of additional space, color and production facilities (embossing, die-cutting, gimmicking etc.) offers rich opportunities to enhance the original concept ... make it more colorful, more convincing.

24

Carl Harris art directed this Young and Rubicam ad for Sanforized.

Tomi Ungerer illustrated. Miller and Ungerer adapted the ad to a "pull out" promotion piece. The attached tab calls attention to the ad in Life magazine, ''another potent reason the pull of Sanforized can draw more customers to your merchandise.'' The ad was black and white, the promotion piece had orange spots on a yellow shirt on an olive-green background.

All) ~ [[! i[OO]~ffimi[OO]i

ShriNkagE [OO]ll) l)rn~Alt@lt@IAlll)

It's a fearful thing to discover at 7 :30 in t he morning. But sadly, it's true, shrinkage is not only back, it never went away.

Our comparison shoppers regularly purchase garments with different washing claims. They buy them off the shelves just as you do.

Then these garments are given the same wash tifst that "Sanforized" labeled fabrics always pa83. The results are most disturbing.

Over and over again, we fi nd shirts, blouses, dresses without t he "Sanforized" label that shrink right out of fit. A recent group of sport shirts had collar band shri nkage ranging up to 4.73. Any one of them will make a man's eyes bug and his face fuchsia.

Don't let it happen to you. Be sure you see the "Sanforized" label on every cotton you buy.

Cluett, Peabody A Co., Inc., permita the uae of ita trademark "Sanforized'', adopted in 1980, only an fabrica which meet th ia compaJ\Y'• by the Oovemment'a 1tandard tat. ril[id ahrinkaie requirement&. Fabricl bearinr the trademark "Sanforized" will not ahrink more than

t•

·JANFOR/ZED·

CA, September '60

~~ ~

The attached"pu/l out"about the µmtJ/em of"d1m1·i11g up"gii•ts" third dfou 11.~iotl fo <'111' of fl/11' n •r(•ut odl'crlisnn1 ntR in Ufi Mo(la zin1· i f'ircl'/fltio11 liY2 million).

All in all-<mothcl' 11nlr nt >'ta-'Oll ll'hy th1 1!.!!.11 of "Sonlotizl'd" rem drau• more customers to your machandi.~e.

The attached"pul/. 011l"about the pro/Jlem of "dm11'i11!J 1>/i''giv<·.~" third dimcn.~io11 lo one 11[ 11111· '1w•1tl

advcJ'/~~emrnts in /,ife J!a!Jazin1•

1circ11latfo11 6'2 million).

All in all-anoth1r11olcnt reason why the p.Jill of ··sanfo1izcd" can d1·a1<' more cuMomers to your nH rchandise.

CA, September '60

26

We've all heard it for years ... ''you must use glossy photos if you want top reproduction quality." Every book on art preparation says the same thing. CA disagrees and asks, "why?"

Photographer Bill Arbogast was asked to shoot a subject with a complete tonal range and piake top quality prints from the same negative on glossy, semi-matte, and matte paper. Our litho cameraman was then asked to shoot each one individually for top quality halftones. The results are shown at the right.

As is true so many times in this business, we tend to forget that our eyes and the camera lens see things differently. This was shown dramatically in the retouch grays chart reproduced in last January's CA. The main point is, even if a glossy were slightly sharper or had more contrast, the disadvantages far outweigh the advantages.

The photographer must go through an extra step ferrotyping the print. If his plates aren't flawless or his water free from impurities, the prints are blotched and cause problems for both the retoucher and the cameraman. As a glossy is handed from one person to another it invariably gathers fingerprints and scratches, both of which will reproduce. Cracks in the emulsion are almost impossible to remedy. When the uneducated write directions on an overlay, it's almost as easy to read them on the emulsion (and on the negative). Selecting or reading prints is difficult and frustrating because of the distracting glare.

The greatest disadvantages and restrictions are in retouching. Many times glossies are so curled they must be dampened and mounted before they can be worked on.

Great care must be taken when removing friskets or the emulsion will come off at the same time. It is extremely difficult to rid a glossy of excess paint or dirt. But the the most important point is that since the glossy surface will accept only airbrushing or spotting, the retoucher is needlessly limited to these techniques. Given a surface with some tooth, he can also use pencils, chalks, stomps, and erasers. Far less frisketing is necessary, superior effects are possible, and much time and money can be saved.

When the glossy is ready to be halftoned, the cameraman must constantly be alert for scratches, fingerprints, cracks, and Newton rings. They will all show up on a negative. Instead of taking a chance, many cameramen now automatically use a dulling spray to alleviate these problems.

To those of you who specify photography, we highly recommend the use of a semi-matte paper, preferably double-weight, like Kodak Polycontrast F for prints going directly to halftone, or a matte finish paper like Kodak Polycontrast N if any retouching is necessary.

GLOSSY

CA, September '60

• • •

old wives' tale?

27

MATTE

SEMI-MATTE

CA , September '60

specifically designed for your Tdevision Home Show

is a timely and informative non-commercial film

THE SECRET OF GOOD COFFEE

. . . every time. The se~ret is yours for the watching!

Take a tip from experts and make a perfect cup of coffee

by The Coffee Brewing Institute.

presented as a free public service

THE SECRET OF GOOD COFFEE

it should be made in the new 5-minute film,

Now you cqn learn the secret of good coffee and how

0

i;.

f

!,

·~

•••••••••••••••••••••• SOME OF OUR RECENT

FAN MAIL

•••••••••••••••••••••• Simplicity, directness and sound thinking are still the three most infallible rules of this game. In this Exhibit section, CA presents some strong evidence.

A trade ad for Ethiopian A irlines, appearing in travel agents' publications. The copy is testimonials written by newspaper writers who visited Africa via Ethiopian Airlines. All testimonials are quotations from the J°ournalists' stories in their respective papers. Word pictures. Other pictures would have been superfluous. Art director was Jere Rowland for the agency Adams & Keyes.

"As the big plane glided down across the tree- "Ethiopia is a land of conFrom camel caravan dotted farm lands, the passengers could see a trasts: to the fine dependable city ahead in the bowl-like plateau. A gaunt Ethiopian Airlines; from blue mountain stood guard on either side and primitive hand winnowing there was a quick flash of light as the sun of grain to modem chemical laboratories; from caught on the curving silver towers of some native huts surrounded by building below. This, then, was the homeland of a thicket of thorn and vine the Queen of Sheba, the oldest Christian nation to modem city buildings. city and countryside, the in the world, the land of the legendary Prester Innative tree that spreads its John, the country of the Conquering Lion of branches like a peacock tail Judah, Emperor Haile Selassie."-Betty ·Penson, gives a distinctive silhouette to the landscape.

Woman's Editor, Boise (Idaho) Statesman "This ancient country, ruled by a descendant of King Solomon and the Queen of Sheba, is a strange mixture of the old and new, with the former predominat• ing. Comfortable DC-6Bs, operated by Ethiopian Airlines, fty daily over vil!ages where people live a life ehat has not changed since the time of Christ. Here in the capital, approaching one million in population and with a big part of the country's 18 million, the primitive and the modern mingle.'' - Buford Boone, publisher, Tuscaloosa (Al.a.) News.

"We found the airline de"We were impressed by the chance which seems to set off Ethiopia from the Africa we pendable, clean, and far have been tourin&. From the time we stepped above those of other from our Ethiopian Airlines plane, the scene African services. And we chanced so drastically that we felt like we treasured the flight bags were in the Near East. Pemaps this Is be· cause Ethiopia represents a civilization which which saw us home via the had an activerola In Biblical times. Once more Middle and Far East."there were camels and donkeys on 111 sides, Mrs. Airdrie K. Pinkerton servin& for transport and locomotion. The (Mrs. Roy Pinkerton), Ethiopian Airlines served our party admlr· ably."-!.. C. Gifford, Publisher, Hickory (N.C.) Ventura Star-Free Press Daily Record.

(California)

llf'A GENERAL AGENTS IN UNITED ~TATES ANO EUROPE • MfMIEt, INTERNATIONAL All TIANSPOIT ASSOCIATION@!;)

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One of a series of direct mail pieces for the Coffee Brewing Institu te promoting 5-minute non-commercial films to TV station home shows.

AD/ designer/illustrator is Jack Gregory of Philadelphia. Seymour Weissman of Vision Associates, Inc., N. Y., distributor of the films , wrote the copy. Size is 17" x 22", printed one side in black on coffee-colored (with a little cream) Howard Bond. Type is 18 pt. Californian Italic, 120 pt. Raleigh Gothic Condensed and wood type.

The same elements with new copy will be used in another promotion aimed at schools and home economics classes.

"Use original art but spend as little money as humanly possible." Art Director/Artist Robert Dacey cut all the corners for Mercantile Bank & Trust Co., Boulder, Colorado. The type was spec'd for pub-set. Layouts were executed with a felt-tip pen. After client approval, layout illustrations were turned over to the engraver as copy. Two of Dacey's illustrations for the series are shown. They appeared approximately 7" high in the newspaper reproduction.

CA, September '60

f I RE K I LL ER This fire extinguisher, Ansul's HF 350-8, has just been granted the highest fire-killing rating ever awarded by Underwriters' Laboratories-160 B:C. It's an achievement symbolic of Ansul's continuing leadership in fire research ... a milestone in the never-ending search for new ideas, new products for better fire protection. Your local Ansul Man is a trained fire protection expert, available to survey your plant and counsel on your fire protection requirements. We invite you to call on him (he's listed in the Yellow Pages) or write directly to ANS UL CHEMICAL COMPANY, Marinette, Wisconsin. We'll be pleased to send our new fire equipment catalog, describing the complete Ansul line: hand portable, wheeled, stationary and mobile fire ·extinguishing equipment and automatic systems

AN SUL

ANSUL CHEMICAL COMPANY, Marinette, Wisconsin I Fire Extinguishing Equipment I Refrigeration Products I Industrial Chemicals

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Robert Vogele and Chad Taylor designed these ads for Ansul Chemical Company's agency group, Brad Sebstad, Inc., of Menominee, Michigan. Although not a giant corporation, Ansul has been a leader in the use of graphic design to create a strong corporate image. At left is a two-color adfor Fortune. Below, a trade pub adaptation of another two-color Fortune a.d. Right, one of a series of chemical publication ads.

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During the past 25 years Ansul has developed a unique additive for its METHYL CHLORIDE. It's called EXPERIENCE and there's a liberal dash in every pound of this versatile and inexpensive chemical. One of our specialties is custom methylation. We can methylate in cur plant to your requirements or aid you in setting up your ·own processing facilities.

For samples .. . for our latest Methyl Chloride technical bulletin ... or for exploratory problem -solving consultation with our technical people, write ANSUL CHEMICAL COMPANY, MARINETTE, WISCONSIN .

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PROPERTY DATA

CHEMICAL FORMULA . . . CH3CI MOLECULAR WEIGHT . .. 50.491 SPECIFIC GRAVITY Liquid-23.7°C/ 4° . .. 1.00 2o·c; 4•... .92 Gas a•c, 1atmos ... 1.74 BOILING POINT °C, 760 mm .. . -23.76 °F, 760 mm .. . -10.76 REFRACTIVE INDEX, n 20°/ D Liquid-23.l°C ... 1.3712 Gas · 25°C .•. 1.000703 SOLUBILITY (in cc.) of Methyl Chloride Gas in 100 ec. of solvent (20°C, 760 mm) Water ... 303 Benzene ... 4723 Carbon Tetrachloride .. . 3756 Glacial Acetic Acid ... 3679 Ethanol . . . 3740

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31

Exhibit

Art director John Waddingham of The Oregonian, Portland, loves to sketch, uses his drawings as cover pages for the Sunday supplement. Many are drawn on the spot of local Portland scenes, others are Oregon or Northwest scenes drawn on his annual "busman's" pacation. "My wife drives while I sketch."

Strong black line technique was developed as insurance against possibilities of less than perfect register due to high speed, shrinkage, etc., in newspaper color printing. John works directly, without pencil layout, using pen, felt-tip marker, broken sucker sticks, twigs, anything that will make an interesting line. Back home, the color is added from memory and marginal notes.

Separations are done in fluro color on mylar overlays. Color hues are similar to ROP inks, editors can see what the printed job will look like.

32

CA, September '60

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Today-the " FARMERS" has more than ever before to offer lh patron· friends-a combination of selling skill and ex· perience, plus ample facilities and capacity to kHp out in front in the livestock mart<eting business.

34

ship '•m to the FARMERS LIVE STOCK COMMISSION CO

These ads in the Missouri Farmer were for the Farmers Live Stock Commission, an affiliate of the non-stock, non-profit Missouri Farmers Association. Designer was Jean Moss, who is also art director of the American Press, Inc., another affiliate of the association.

CA, September '60

A full-page color ad in the tabloid LA Times' Home Section. Background was deep maroon; package, blue and red on white; ice cream, vanilla. Art Director Luther Myhro of Atherton Mogge Privett, Inc. conceived the idea.

Tom Kelley took the photograph. The Jerseymaid account copywriter with such admirable restraint is Dick Mohr.

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An announcement for the opening of an architectural office in Kansas City, Missouri. Accordianfolded to ten panels, the cover is shown actual size at left. Printed in black on olive-green cover stock.

The last panel is perforated to tear off and keep in the business card file. Designed for Architect Albert J. Yanda by Commercial Artist Emma Yanda.

CA, September '60

NIXON GALLOWAYisoneofthemany illustrators who have been traveling recently as guests of the Air Force's "Documentary Art Program." The May issue of National Geographic Magazine carried an excellent article by General Curtis LeMay explaining the purpose of the program.

Twenty-four paintings by members of the New York Society of Illustrators were reproduced in color.

Nick is president of the Los Angeles Society which will present about twenty paintings to the Air Force this November.

Nick's travel itenerary included Japan, Formosa, Hong Kong, Okinawa and the Philippihes. Here are a few of the sketches and comments from his trip.

The streets are rather congested in Hong Kong.

Those Cheung-Sam dresses the girls wear in Hong Kong are the living end!!

CA, September '60

It seemed strange to see the Japanese "Meatball" on our jet fighters.

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Fishing village south of Naha, Okinawa.

The face of the buildings at Aberdeen, Hong Kong, where they hang fish out to dry right along with their clothes.

CA, September '60

11

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nee upon a time, there was a little boy who loved Sunshine Cookies so much that he saw them everywhere.

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When he woke up in the morning ...

...with his toys

When he turned on TY. ..

Ad Utopia" A contest.

Entrants: any team of agency artist and agency writer.

Objective: to write and lay out, in comprehensive form, the perfect ad for Puck.

The purpose of the contest, sponsored by Puck, The Comic Weekly, was to have agency creative people "find out through their own effort how exciting and successful advertising for Sunday comics could be." A $25,000 prize structure stimulated the effort, from all sizes of agencies all over the country.

Duplicate prizes for artist and writer were awarded August 3. First prize, a pair of Plymouth Station Wagons, went to Nick Pappas and Ty Kaus of Cunningham & Walsh, New York. Second prize was awarded to a father-and-son team, James W. Hartzell of Campbell Ewald and William H. Hartzell of Carl G. Behr, Detroit. Their ad subject was Corvair, the Chevrolet compact. Campbell Ewald has the Corvair account.

Prizes to each were Chrysler's compact, the Valiant.

Judges were Albert Dorne, John Orr Young, Milton Caniff, Walter O'Meara and Tom Johnstone.

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r ... even when he went to bed at night.

... she bought him all he want.ed.

But when his Mom saw how wholesome Sunshiiie Cookies really are .. .

(which was pl.enty ! }

CA, September '60

JOURNAL OF COMMERCIAL ART •IN APPRECIATION FOR YOUR SERVICES• 1960 INTERNATIONAL DESIGN CONFERENCE IN ASPEN • IN APPRECIATION FOR YOUR SERVICES• 1960 INTERNATIONAL DESIGN CONFERENCE IN ASPEN •IN APPRECIATION FOR YOUR SERVICES• 1960 INTERNATIONAL DESIGN C FERENCE IN ASPEN •IN APPR CIATION FOR YOUR SERVICES• 960 INTERNATIONAL DESIGN CO FERENCE IN ASPEN •IN APPRE IATION FOR YOUR SERVICES• 1 60 INTERNATIONAi -~IGN CON ERENCE IN ASP"" - 0 PREC TION FOP "19 INTP"'.

The top ten winners: 1. AD-Nick Pappas, Cunningham & Walsh, N.Y. CW-Ty Kaus

2. AD-William Hartzell, Carl G. Behr, Detroit CW-James W. Hartzell, Campbell Ewald Co., Detroit 3. AD-Roland Klinger, Compton Advertising, N.Y. CW-Richard Schoch 4. AD-Carl R. Granath, Foote, Cone & Belding, Chicago CW-W. F. Grisham 5. AD-Rudolf Dusek, J. Walter Thompson, N.Y. CW-William Ballard 6. AD-Ray Schlemme, Mccann-Erickson, Inc., N.Y. CW-Milton Lowe

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8. AD - Mimi Hovsepian, Mogul, Williams & Saylor, N.Y. CW-Jay Brothers, Mccann-Erickson, Inc., N.Y. 9. AD-Ciro Tesoro, Lawrence C. Gumbinner, N.Y. CW-Sy Ethan 41

10. A D-Gor.don Vails, Pacific National Agency, Spokane CW-Joseph Jenkins

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Jim Cross, General Membership Chairman for the Aspen Design Conference, tackled the problem of a "thank you" note to people who gave their time, money and energy to the conference. Jim decided they deserved a medal. He took a branch from an aspen tree home with him, made the leaf impressson on his hand press (The Clamshell Press). Bill Tara, conference chairman, wanted to make the thank you as personal as possible, signed each certificate individually.

Typography by Advertisers Composition Co., Los Angeles; printing by Valley Press, Neenah, Wisconsin.

GET A WARM START WITH GIVES YOU l=llEL FoR. A Wl-IOLE MORN INGPROTEIN, VITA MIN 81, FOOIJ I ll.ON, FOOD ~NERG Y.

CA, S eptember '60

CA interviewed Marvin Schwartz, Creative Director of Capitol Records. "It can be dijficult," he said, ' 'for an art director to lay out a cover for Guy Lombardo, Stan Kenton, Mozart Concerto No. 17, Mickey Katz and The Greatest Band in Polka Land all in one day." It could happen, for each year's output is 500 new

ALBUM COVERS

by Ted Poyser

43

Broadway show music and famous personality records, usually singles, are promoted successfully by the disc jockeys. The expensive album is another story. This relatively high-cost package is often purchased without being heard. The cover must necessarily be a strong factor in the sale, designed to please the largest possible audience and still contain the basic functions of appeal, display and identification with the album contents.

Three times as much photography as art is used for Capitol albums, especially in the "pop" field. Often the photo cover is a recording artist's portrait. Experimental techniques in this area are not generally received favorably. Capitol has a policy of allowing the recording artists to approve any photography or art that displays their likeness. This can get further complicated and restricting by their managers, agents, spouses, etc. So it is in the non-likeness areas where the design opportunities occur, particularly in the classical albums where the cover depicts the mood and content and the appeal is to a smaller, more intellectual audience, receptive to creative design and illustration. When the design opportunity does exist, it exists in abundance with a latitude for expression seldom equaled in other areas of commercial art.

The initial notice of a new project comes to the Art Department as an <<Album Cover Artwork Request" from the album's producer. The request lists the composition and all of the pertinent copy that must appear on the cover. Meetings are then scheduled with Art, Copy, and A&R. Concepts for the cover and liner are decided. The art director makes the preliminary rough and selects the illustrator.

IL.L.USTRATED BY GERRY OL.IN

All cover art for Capitol is commissioned specifically for a particular piece of music. Sometimes smaller companies use a reverse technique. They select a piece of art or a photo transparency with dramatic «selling" potential and adjust the album to the art. This is most likely with

CA, September '60

ILLUSTRATION BY GENE GRANT

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director has an opportunity for close color control; they may make as many as eight or ten prints to achieve the right color combination. All of the art directors must be familiar with photography and its techniques. On photo sessions the AD is responsible for hiring models, selecting costumes, supervising make-up, selecting props, designing the set and generally directing the lighting and the shots.

Marvin Schwartz has been Capitol's Art Director for eight years. Last month he was promoted to Director of Creative Services, with Jim Silke moving up to Art Director.

A pre-med student at UCLA before the war, Marvin turned to art after his discharge, studied at Kann Institute and Los Angeles Trade Technical Junior College. His career began at Capitol as a production artist and lettering man. He left to join the Mayers Company as an art director, worked at Tri-Arts, operated his own studio, and then returned to Capitol. (continued) CA, Sep tember '60

PAGANINI CAPRICES OP.

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Sibelius The Swan of Tuonel" Karelia-Suite /En Saga Romance · n C j The Royal Philharrnonic Or

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abstraction, or where an "instrumental" character is required. The really "wild" covers are usually derived from this reverse technique.

Every effort is made to familiarize the artist with the recording. A "dub" is provided, or perhaps in the case of a very popular classical piece, a competitive recording.

Art techniques employed by Capitol's principle competitors, Columbia and RCA Victor, are deliberately avoided, particularly duplication of concepts for the classical recordings. All competitive album covers are studied to prevent look-alikes.

Certain mandates must be complied with. The company logo must appear in the upper right or left-hand corner. This is highly important to Capitol for they have no "B" record line, and it identifies the product as a top high-fidelity record. There is an attempt to use art techniques that are familiar, usually through "fine art" precedents, and will be accepted by the consumer. There are no specific color taboos. Color is determined only by its relationship to the mood of the music.

Illustrators fees run from $150-300. Most of the illustrators are from Los Angeles, but Capitol is currently working with some outside the area, as far away as New York. Capitol welcomes painters' and illustrators' samples that can be submitted either as color slides or prints.

The Capitol Tower.

Armed with the art director's preliminary rough and thoroughly familiarized with the recording, the illustrator generally makes two comps. The AD makes the selection and the approval, designs the type or lettering and approves the finished art. Hand lettering is usually done by Maury Nemoy or Jim Wood or occasionally by the Capitol AD himself, The completed art is subject to a final scrutiny by the album producer and the legal department.

This whole sequence of development often moves very rapidly. Sometimes as little as ten days elapse from the request to the finished art.

Reproduction is by lithography. Separations are made from a color print or original art, seldom from a transparency. Progressive proofs are submitted to the art director for approval. Two or three corrections and re-proofings may be made before the separations go to the printer.

Covers are printed twelve-up on two-color presses. Paper stock is 80 pound, coated one side. The printed covers are plastic coated.

The Art Department studios are in the fabulous, circular Capitol Tower in Hollywood. The staff consists of an art director, three assistant art directors, a secretary and a clerk. Capitol has its own photo department and color lab with two photographers, a lab technician and a photo clerk. This permits a great deal of experimentation when the subject matter allows. All of the shooting is in neg color, and they make their own "C" prints. The art

The Capitol staff. Standing, Peter Whorf, Ed Thrasher, Marvin Schwartz and Jim Silke.

Seated, Helen Hoffman and Ronnie Levine.

CA, September '60

HIGH FIDELITY

RICHARD STRAUSS

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ILLUSTRATION BY HAROLD M. KRAMER

Though confronted with the wide and varied range and the impressive total number of albums, he tries to work with no formula other than a fresh approach to layout, insists each project be a special case. Much discussion and planning goes into the market aims of each particular recording. His sensitive ear is a necessity since his design direction must come from the mood and character of the orchestral selection. Though he must firmly guide each project, his direction has been markedly a molding of talents available rather than a restricting. He deals frequently with younger artists, sometimes of a hypersensitive nature, and he must be a skillful human psychologist, for which he is both willing and well suited.

Marvin feels that he is fortunate indeed to hold a position where so much creative expression and art direction is possible.

0 CA, September '60

61obecombers

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The name Globecomb s is accurate! criptive of this group of young photog phers. Their a of operation is the world-the more of · the bet The method of operation is simple-a divers1 e group of commercial advertising contracts to cover the basic costs of the operation. With these commitments as the prime factor, itineraries are planned for individuals, or several of the group converging as teams. Periodically, two or more will pian to undertake specific expeditions, perhaps tied to a contract or large editorial or commercial assignment and on speculation of a market for photo essays. Making known their route and availability to film in given areas or locations, they will shoot for individual, commercial, advertising or editorial assignments.

Each of the Globecombers is capable of representing the group as an individual or as part of a team, and each is determined to avoid specialization, their interests equally divided between advertising, industrial, fashion and editorial photography. In this way, they hope to maintain maximum flexibility for coverage of their contract commitments and to handle specific assignments.

Among their current contracts, the Bank of America's "Man on the Spot" series, American Express Company's foreign operations and services, Roos/ Atkins Stores.

Three of the Globecombers-Ronald Traeger, Larry Gordon and Jean Sample-were in Rome to cover the Olympic Games. At the conclusion of the Games, Larry Gordon left for Copenhagen on a photo essay, "Women of Scandinavia," for the San Francisco Examiner. Sample went to Paris to cover a story on the French Film Industry, Traeger to Barcelona for American Express.

The Globecombers. Mort Beebe, Richard Stark, Larry Gordon, Ronald Traeger and Jean Sample.

At right. Pinewood Studios of J. Arthur Rank,for the San Francisco E xaminer.

Mimb Restaurant, Tivoli Gardens, Copenhagen.

For American E'Jipress Company.

Unloading the "can" from the satellite recovery in the South Pacific.

CA, Sepiember '60

CA, September '60

In Kiev, as everywhere along the route, large groups of people stopped to satisfy their curiosity. It was necessary for the policeman to direct the crowd so the bus could pass.

Photographing was restricted to the main routes where the highways and improvements were good. Shooting this street scene, which the Russians thought they had prevented, nearly resulted in another arrest.

Gassing the Globecomer's vehicle in Karkov.

The female passenger was the guide required by the Intourist Bureau. She traveled with them from Brest to Moscow.

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CA. September '60

Much of the story of the Globecombers and the name itself stems from the activities of its director, Morton Beebe.

Mort made his first real entry into international photojournalism while on duty with "Operation Deepfreeze" in the Antarctic. He was Public Relations Officer with the Navy expedition, was responsible for handling arrangements for visiting newsmen, covering the Navy's activities.

While there, he enterprisingly photographed the British Fuchs-Hillary expedition for Life Magazine, Paris Match, and Coronet, photo essays for many other publications and broadcasts for Monitor.

After the close of the expedition, he returned to Washington, D. C., planned a party for a few friends of the Antarctic experience. As a gag, invitations were sent out as a cocktail party in honor of the Ambassador of Antarctica. Others heard, wanted to come, and the ''ice and snow" party began to snowball. As everyone got into the spirit, the party grew, was shifted to the building of the Motion Picture Academy of America. The Washington press picked it up, Walt Disney lent his "Seven Cities of the Antarctic" for a preview, other members of the expedition returned from the Antarctic bearing such delicacies as pickled penguin eggs, seal steaks, skua gull and severalthousand-year-old ice cubes. The attendance reached 500, including many Washington Dignitaries, ambassadors from ten countries. The Antarctic guest of honor-a Humbolt penguin borrowed from the Washington zoo.

While in Washington, Beebe laid plans for the original Globecombers, himself· and two others, planned a globe-circling photographic expedition. After an interlude in which Beebe switched his efforts to the North Pole to cover Arctic IGY scientific operations for the London Daily Mail, other assignments, plans were completed and the expedition got underway.

It started in London where the Globecombers acquired a specially outfitted Land Rover (British equivalent of a Jeep) and painted it with their name as it would appear in eighteen languages. The expedition included the Iron Curtain countries, Czechoslovakia, Hungary, Romania, Poland and Russia. Everywhere they drew crowds of curious, local populace, ran into many difficulties with government regulations, were arrested three times for infractions and then released.

Though filled with the spirit of adventure, Beebe's companions, Michael Briggs and John Gewalt, were not intending a permanent career in photography, and Beebe set about reorganizing the Globecombers on a basis of top professional photographers and with a view to the more sober realities of advertising, commercial and editorial contracts and assignments.

The four new members of the Globecombers group had known each other, all had formerly studied at the Art Center School in Los Angeles, two had been Navy photographers. Their plans and aspirations coincided very much with Beebe's and the organization was formed.

Headquarters are at Number One Drumm Street, San Francisco, and their receiving, processing and negative filing is through Cal-Pictures Corp. in San Francisco.

Photographs for the Bank of America's "Man on the Spot" series in Milan.

Agency is Johnson and Lewis.

CA, September '60

53

MORGUE The Antarctic as seen by the camera of Globecomber Mort Beebe (the cool gentlemen in the-crazy ensemble).

1) An Adelie penguin, egg and a rock nest 2) A killer whale surfaces 3) Ross seal and pup

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CA, September '60

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4) The midnight sun 55 5) Icycles hanging from a pressure ridge 6) Cape Hallet Bay

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CA, September '60

THE TIME AND THE PLACE "AND THE PEOPLE" will be added in October . .. announcements of your comings and goings, new businesses formed, mergers, expansions. Closing date will be October 7.

Asilomar, Calif.-American Society of Magazine Photographer's 1st Photo-Journalism Conference in the West. Attention to be given to mechanics of photography, but greatest emphasis to be on problems of creative photo-journalism. On the program are some of the world's top AD's, magazine editors, photographers, writers and designers.

September 21- 24.

Chicago-ADC's call for entries through September 30. For entry forms write ADCC, 6 E. Lake St., Chicago 1.

Cincinnati-ADC's call for entries through October. Write Fred C. Pottschmidt, Sales Production Corp., 1617 Reading Rd., Cincinnati 20.

Columbus-ADC's 2nd Annual Show, Columbus Gallery of Fine Arts, Oct. 18-30.

Dallas-Advertising Artists Association's 8th Annual Exhibition, Graphic Arts Center, September 16-28.

56

Houston-Photography in the Fine Arts II, sponsored by the Saturday Review. 176 photographs presented in an effort to have photography accepted as a fine art. Museum of Fine Arts. October 11-31.

PRINT THAT MATTERS The Penrose Annual Vol. 54, 1960. Edited by Allen Delafons.

Visual Communications Book published by Hastings House. $12.50

Out this month, the latest edition of this series (since 1895) of graphic arts annuals from England. In addition to the editor's introduction there are 26 well-illustrated articles on widely varied subjects such as Book Design and Illustration in Germany, Lettering and the Letterhead, Newspaper Format, Electronics in Colour Printing, European Photolitho, Wall paper Designs of William Morris.

There are several inserts, generous use of color, a large advertising section.

On the Writing of Advertising

By Walter Weir. Published by McGraw·Hill. $5.00

This book will help the artist better understand and perhaps work better with he-whoalso-serves, the copywriter. Weir, of Donahue and Coe, is an acknowledged copy "great."

Los Angeles-Society of Illustrator's 1st Annual Western U.S. and Canada show.

For entry blanks write: Illustration West, 2401 Wilshire Blvd., Los Angeles 57, Calif.

Closing date: October 13.

Memphis-ADC's 4th Annual Exhibition September 19-30 at Memphis Academy of Arts.

Miami-ADC of Greater Miami's 8th Annual Exhibition ( 130 pieces), Du Pont Plaza October 23-November 5.

Minneapolis-Photography in the Fine Arts II. Minneapolis Institute of Arts, September 7-0ctober 2.

New York City-Mead's Library of Ideas, 230 Park A venue exhibits 2500 annual reports through September, and October 2428 when awards are made by Financial World.

Whitney Museum of American Art. Young America. Selections of 30 artists, all 35 or younger. Through October 30.

Cooper Union Museum. Exhibition of 500 pieces; one of the most important surveys of design to be organized by the West German Government, first to be presented outside Germany since World War II. September 30-0ctober 23.

American Institute of Graphic Arts Workshop in Design, Typesetting & Printing begins September 27, 1960. To be held two nights a week for 30 weeks at New York School of Printing. Registration now open for form and full information write AIGA, 5 E. 40th St., N. Y. 16 or phone MU 3-3568.

Museum of Modem Art. Visionary Architecture. Exhibition devoted to architecture considered unbuildable. Intended to show what architects themselves would have preferred to build had they been able to persuade society of the soundness of their vision. Over 20 projects including work by Bruno Taut, Le Corbusier and Frank Lloyd Wright.

Norfolk, Va.-ADC's 1960 Exhibition at JameS:town Club, October 4.

Philadelphia-Artist's Guild's new officers: president Edwin H. White ... 1st vp Harvey Simpson . . . 2nd vp Douglass W amer ... corresponding secretary Kathryn Tyrrell ... recording secretary Mary J. Mowry ... treasurer Conrad J. Linke. The Guild is now entering its eleventh year.

St. Louis-ADC's call for entries through September 23. Write Carl F. Klinghammer, ADC St. Louis, D'Arcy Adv. Co., Missouri Pacific Bldg., St. Louis 3.

Presentation of gold plaque to "Ad of Distinction" award winner. Judging was made from 100 entries in all media, was based on public relations content, typography, layout and artwork. October 4 at National Consumer Finance Assn. Convention.

Toronto -Typography 60-3rd annual ~xhibition of Canada's best typographic designs. 200 pieces on view for three weeks starting September 15, Fine Arts Section, Toronto Public Library.

Spokane-Spokane Society of AD's 13th Annual Awards banquet. September 30, Spokane Club.

In his book he offers not formulas but a "personal distillate of observation and experience." He insists on sincerity, on deep interest in people, on purposefulness, on personal integrity. He believes that advertising is "sampling through print," that advertising must enable the prospective purchaser to taste, to feel, to assess, in advance of buying, whatever is offered for sale.

94. This book records his thoughts and reactions toward what he saw and heard while travelling in North Africa, Sicily and Italy.

He was revisiting places he liked but had not seen in many years, his comments on the specific and the general are valuable.

The book was printed in England, 169 illustrations, runs to 200 pages.

Many workaday problems are scrutinized and commented upon - research, copy testing, motivations, marketing, aesthetics and business, style. 197 pages.

Modern Publicity 1959-60

The Passionate Sightseer, Bernard Berenson From the Diaries 1947-56.

Published by Simon and Schuster. $7.95

"His greed was confined to the pleasures of thinking, of reading, of talking, and above all, of using his eyes. What he sought in the arts was the enhancement of life." So speaks Raymond Mortimer of his friend Berenson in the introduction.

Berenson, world's foremost authority on Italian painting, died last year at the age of

CA, September '60

Edited by Wilfrid Walter.

Published by Studio Publications. $10

Examples and design trends from 34 different countries in posters, press advertising, direct mail, packaging, showcards, labels, trademarks, record sleeves, calendars. The editor notes "as new materials and processing techniques are invented and perfected, it is encouraging to see how designers throughout the world eagerly grasp the new opportunities they afford, and adapt them for use. There is also a feeling that greater cooperation and understanding exists between designers and clients."

This volume, the 29th edition, is 176 pages with 432 black and white illustrations, 29 in color.

fresh as a ...

The sheet with the

Pure, bright, BRIGHT white ...

amazing white brilliance

Rising Winsted Gia-Brite Vellum,

is lasbngly fresh ...

Bristol, Text and Cover is

lastingly bright.

"fine paper at its best."

white as the ...

see the difference!

We've made it easy for you to compare the uniformity, texture and brightness of this Rising Winsted Gia-Brite sheet with any other bright white paper.

RISING WINSTED GLO-BRITE is the ideal sheet for reproducing sparkling detail in halftones ... sharp , clear definition in type areas ... crisp overall aliveness .. . by steel engraving, offset, gravure, letterpress, thermographic, photo gelatin and copper plate processes . . . and as you also see , perfect for em.bossing . In addition to its outstanding printing qualities, this warm white paper affords good opacity, superior fold ing properties and excellent bulk-for-weight.

Available Through Your Paper Merchant in the Following Sheet Sizes and Weights: Vellum Finish Sub. Basis 17 x 22

24

28

32

36

40

22 x 34

96M

112M

128M

144M

160M

This Is printed on

Text Basis 25 x 38

60

70

80

Rising Winsted

23 x 29 23 x 35 25 x 38 35 x 45 38 x 50

84M 102M 120M 198M

98M 118M 140M 232M 280M

112M

Glo-Brlte

160M

BO lb. Cover

Cover Basis 20 x 26

50

65

80

20 x 26 23 x 35 26 x 40 35 x 46

lOOM 155M 200M 310M

130M 201M 260M 402M

160M 248M 320M 496M

2/64

3/64

Bristol Basis 22 x 34

2/56

3/56

22 x 34

224M

336M

256M

384M

Bristol Basis 221/2 x 281/2

2/50

2/60

2/70

221/2 x 281/2

200M

240M

280M

RISING WINSTED GLO-BRITE

Thin Plate Finish Bristol Basis 221/2 x 281/2

165M

(2/ 821/2)

Plate, Medium Plate, Calender Plate, Calender Medium Plate, Linen Finishes Bristol Basis 221/2 x 281/2 221/2 x 281/2

200M 240M

(2/ 50) (2/ 60)

Second Figure Denotes Grain Direction (Send for Price and Line Data) Offic ial converters of Winsted Glo-Brite : The Williamhouse, Inc. for Envelopes , Weddings and Announcements; and Ideal Cards, Inc. and Otten Bros. Co., Inc. for Cut Cards . Samples illustrating the fine work of each of these houses will be sent on request.

Write for Rising's New Winsted Glo-Brite Sample Book

RISING PAPER COMPANY, HOUSATONIC, MASS.

is the ideal sheet for reproducing sparkling detail in halftones . .. sharp , clear definition in type areas ... crisp overall aliveness . .. by steel engraving, offset, gravure, letterpress, thermographic , photo gelatin and copper plate processes . . . and as you also see , perfect for embossing . In addition to its outstanding printing qualities, this warm white paper affords good opacity, superior folding properties and excellent bulk-for-weight.

Available Through Your Paper Merchant in the Following Sheet Sizes and Weights : Vellum Finish Sub. Basis 17 x 22

24

28

32

36

40

22 x 34

96M

112M

128M

144M

160M

Text Basis 25 x 38

60

70

80

23 x 29 23 x 35 25 x 38 35 x 45 38 x 50

84M 102M 120M 198M

98M 118M 140M 232M 280M

112M

Cover Basis 20 x 26

50

65

80

20 x 26 23 x 35 26 x 40 35 x 46

lOOM 155M 200M 310M

130M 201M 260M 402M

160M 248M 320M 496M

160M

Bristol Basis 22 x 34

2/56

3/56

2/64

3/64

22 x 34

224M

336M

256M

384M

Bristol Basis 221/2 x 281/2

2/50

2/60

2/70

221/2 x 281/2

200M

240M

280M

Thin Plate Finish Bristol Basis 221/2 x 281/2

165M

(2/ 82 1/2)

Plate, Medium Plate, Calender Plate, Calender Medium Plate, Linen Finishes Bristol Basis 221/2 x 281/2 221/2 x 281/2

200M 240M

(2/50) (2/ 60)

Second Figure Denotes Grain Direction (Send for Price and Line Data) Official converters of Winsted Glo-Brite: The Williamhouse, Inc. for Envelopes , Weddings and Announcements ; and Ideal Cards, Inc. and Otten Bros. Co., Inc. for Cut Cards. Samples illustrating the fine work of each of these houses will be sent on request.

Write for Rising's New Winsted Glo-Brite Sample Book

This is printed on Rising Winsted G/o-Brite 80 lb. Cover

RISING PAPER COMPANY, HOUSATONIC, MASS.

Translation: 18,000 sheets of 65 lb. Scintillpaque brand cover stock, India color, 23" x 35" with the grain the long (~)way, 1000 sheets weighing 201 lbs., wrapped and packed on skids instead of in cartons.

Usually, it's easier to dial his number., give him the specs, request samples, and ask your paper salesman to solve the abracadabra of a price book or catalog. However, if we want paper to work for us, the time comes when reading (and interpreting) a paper catalog is a must. It's no more difficult to learn to think in "23 x 35" or "201M" than it was to learn the language of "10 pt., picas, or stagger right."

Like any other business, paper has its own standards, terminology, jargon.We have our "repro proofs," ((color comps," "3/ 16 bleed," which can be just as mystifying.

Not long ago, paper specifiers were so hopelessly confused that paper companies were forced to adopt certain standards of weights and measures. The American Paper and Pulp Association established a set of ground rules that have become the basis of most paper specifications.

Although «ours is not to question why," a bit of compassion is called for. When we realize that paper must fit numerous press sizes; be available in the right grain direction; fit folders and cutters; be conveniently packed; wind up fitting standard envelopes; satisfy us as to quality, weight, finish, ('how-manyout," opacity, color ... all this adds up to one huge warehouse and the necessity of learning how to properly specify paper.

To come into focus, the paper this is printed on is called a 60 lb. vellum book. CA's cover stock is 65 lb. antique. At first glance, this doesn't seem quite right. It's the old story of trying to compare apples and oranges, only with paper it's a bit more complicated. The major problem has always been that paper is specified in sheet size, substance weight, and quantity and its price is determined at the mill on a per-pound basis.

To tie these together and make sense, it was necessary to establish major classifications of paper, as shown on the chart.

After this breakdown was made, a basic size was assigned to each class. The quanitity factor of 500 sheets or 1 ream was assigned as the standard to be used in formulas. With a basic size and a basic quantity, it was then possible to tackle the combinations of thicknesses and sheet sizes so that the prices could be determined.

In the case of book papers, which include coated, offset, opaques, vellum, and texts, the basic size was established at 25 x 38. The term 60 lb. vellum means that if our paper were ordered in the basic size 25 x 38, 500 sheets would weigh 60 lbs. This is known as the basic weight or sub (substance) weight.

However, this same 60 lb. vellum is available in several different sheet sizes and since the weight of 500 sheets of each size would differ, the price would differ, and therefore a new factor, known as the equivalent weight, was necessary.

CLASS OF PAPER

BASIC SIZES

BOOK PAPERS

25x38

COVER STOCKS BUSINESS PAPERS

20x26 17x22

To explain this and how it is used, our 60 lb. vellum is ordered in a 35 x 46 size. Its equivalent weight is 102 lbs. (500 sheets 35 x 46 weighing 102 lbs.) However, for pricing purposes, it's easier to work in lOOO's. So, instead of specifying it at its equivalent weight of 102 lbs., it is specified at its M weight or the weight of 1000 sheets and appears in catalogs and on invoices as 204M (1000 sheets 35x46weighing 204 lbs.).

Switching to cover stocks, the same methods of determining weights and prices are used. The only difference is that the basic size for cover stocks is 20 x 26 instead of the 25 x 38 basic size used for book stocks. So, our 65 lb. antique cover merely means that if we bought it in the 20 x 26 size, 500 sheets would weigh 65 lbs. It happens that we buy a special size for the press we use. It's 1814 x 24112 and being slightly smaller than the basic size, has an equivalent weight of 56 instead of the basic weight of 65. Its M weight, as it would appear in a catalog, would then be 65# 112M. Most of the papers we deal with fall into four major groups: business papers, book papers, cover stocks, boards and bristols.

There's a language for each of them. When a paper man talks business papers (bonds, sulfites, ledgers, manifold, duplicator, mimeo, thin papers) he usually talks in ('sub 16," ((sub 20," etc. The term ((sub" (for substance) means pounds per 500 sheets. ((Sub 16" means that 500 sheets of the basic size (in this case 17 x 22 for business papers) weigh 16 lbs.

When the salesman discusses book stocks, he changes to ((60 lb. offset" or ((80 lb. text." Switching to cover stocks, he still talks in pounds and adds M weights. In type, however, the ((pounds" usually appear heading catalog columns as Sub 60 or Basis 60. The three are interchangeable.

When working with cardboards, blanks, chipboards, tag board, other heavy stocks, his vocabulary includes such words as "3-ply," '(10 point," ((caliper." A point is .001 inches and appears in catalogs under the heading ((caliper" to indicate thickness of boards. To properly specify a coated blank, for instance, you would call out the brand name; size and grain (22 x 28); no. of plies (3-ply); thickness (caliper .015); weight per M sheets (325M); coating one side or two (ClS or C2S).

How they make paper is an intriguing story. Before going further with the language and mathematics of paper and the countless types, the next article will hit the highlights from papyrus to pulp.

COMPARATIVE WEIGHTS (in pounds per ream) 45 50 55 60

1213 151617

70

20 22 24 26 28

100

80

32

150

120

50

60

36

44

65

PRINTING 22Yu28'/i ·

80

90

100

10

110 __._-,--_ __._,_ _ _ _ _...---'.__----.--_..___-,--_ _._,_ _ _ _ _ _.....-i INDEX commonly stocked basis weights of ~ 140 110 110 BRISTOL 25Y2x3CM 1-----+----+.-->--,...~ each class. The unscreened areas .---.L,.---+---,..l---.-L-,.--..--L--,.---'---,-----'-----.-----'-i.--.--'-.----'i---1--t indicate the span of each class.

TAG 24x36 l 0 125 175 150 BOARD

1BRISTOL - - - - - - - - + - - r - . _ _ - . - The figures on this chart are the _..___~_,_----.--_

CA, September '60

59

When specifying paper, a number of factors come into play: reproduction quality, weight, price, size, availability, color, folding qualities, feel, general impression.

Most of us would prefer to have our work reproduced on a quality sheet.

Too often we find ourselves at odds with a budget-conscious management. Here, as in so many cases, a properly researched presentation can obviate many misconceptions.

This chart was developed as a guide to show the cost of paper in its proper relationship to the entire job.

60

The specs are fairly typical: lOM 16-page brochures, 2 colors 2 sides, 8112 x 11, saddle stitch, with an average amount of type, art, and photos. The costs of the various stages were based on historical averages of professional-caliber work.

The paper costs were slide-ruled from a major eastern paper distributor's catalog showing the low and high ranges of each class of paper. lM sheets were added for "overs" and a factor of 25% was included as an average markup.

This chart demonstrates that the designer should feel completely free to select almost any paper for the job, whether it is white or colored.

The only possible exceptions that might warrant budget considerations would be cast-coated, 100#, or the most expensive text papers.

If management knew that on a $5600, 16-page brochure, it cost only $80 extra to use the finest instead of the cheapest 70# offset, few would balk. Even on a tight budget, it's possible to find economies before downgrading the paper. For instance: if 80# offset were being considered and the entire mailing weight (envelope, return card, etc.) could be reduced to the next lower ounce by using 70# stock, not only is there $150 postage savings but a good grade of 70# text or vellum might be far more effective and at the same time save money.

Another obvious factor the chart indicates is that no designer should overlook the consideration of colored paper because of the price differential.

COMPARISON

OF

DOLLARS

6400

5600

4800

4000

p

D

RY

2400

A

T

p

PA

TO

1600

800

0

60#

70#

80#

COATED PAPERS CA, September '60

100#

PAPER COSTS TO THE OVERALL .JOB DOLLAR S

6400

5600

4800

4000

D

y

61

3200

2400

T&

E

N

AR

1600

800

y

0 LO

HI

COLOR

BOOK & OFFSET

TEXT & VELLUM

60#

BOOK & OFFSET

TEXT & VELLUM

BOOK & OFFSET

70#

TEXT & VELLUM

80#

UNCOATED

PAPERS

CA, September '60

BOOK & OF SE

TEXT &

100#

E LU

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

Haberule Visual Copy-Caster

A plastic-bound, 7% x 8% 68-page book designed to quickly select type, accurately count and fit copy. Over 800 American and European hand and machine-set faces from 4 to 18 point are keyed to 53 precision character-count scales enabling you to work quickly with some 4000 fonts.

Included is a plastic 6" type gauge with agate, 6, 7, 8, 9, 10, 11, 12 point scales plus Elite, Pica, and inch rule.

Available for $10 from your dealer or write to Max Haber, The Haberule Co., Wilton, Conn. Also available is a 10" plastic gauge with the above features plus 13 and 15 point scales, selling for $2.50. nuArc Art Storage Cabinets

MAKER a diviBion of~ llUDSON PHOTOGUPllC lllDUSTllS, INC. lrvlnston-011-Hudson, N. Y.

..~.........INR. .111

62

A line of metal cabinets with silver hammerloid finish, tight fitting doors.

Designed to store art in heavy kraft envelopes that hang from clips suspended from a crossbar. Available in six sizes to handle 100 or 200 envelopes 91/2x20, llx161/z, or 201/zx231/z, selling from $29.75 to $59.50 through your dealer or write to nuArc Co., Inc., 4110 W. Grand Ave., Chicago 51, Illinois.

Cleer-Adheer

Transparent DuPont Mylar sheets backed with a pressure-sensitive adhesive protected by a release paper.

Provides a permanently-bonded, protective lamination to layouts, comps, charts, maps, etc. Available in 4x5, 9x12 sheets or in 50' rolls 24" wide at dealers, stationery stores or write to M. A. Jacobson, Major Services, 1740 W. Columbia Ave., Chicago 26, Illinois.

Grifhold Needle Cutters

A kit of eight needles and a doubleended holder, packed in styrene foam and plastic case. Five needles are round, ground on one side for scratchboard, negative scribing, litho plates.

One needle is pointed, one has a diamond face, the other a chisel face. The kit sells for $2.50 at dealers, or write to Griffin Manufacturing Co., 1656 Ridge Rd. East, Webster, New York.

CA, September '60

Delkote Solid Tak

A re-usable, pliable, plastic adhesive that will hold lightweight materials or objects to any dry, greaseless surface. Can be used to anchor equipment to table tops. Also makes an excellent typewriter type cleaner.

Comes in a hinged plastic box and sells for 89c each, $10 per dozen boxes at your dealers or write to J. W. Small, Delkote, Inc., Box 1335, Wilmington, Delaware.

Drawing Instrument Set

If you take your work home or work on location, are outfitting a new studio, or just need new tools, C-Thru Ruler has combined 14 quality instruments in one professional kit. Includes: 13x19 Brasswood board; 15" transparent T-square; bevel-edged protractor; 8" triangle 30/ 60°; 6" triangle 45/ 90°; French curve; 6" architect's scale; 6" slide rule; bow compass up to 5" radius; 12" transparent ruler with grid lines; plastic erasing shield; 3/ 16" lettering template; transparent Scalemaster with slotted openings for metric and 1/ 32" to 3" scales; eraser; mechanical pencil. The set sells for $14.50 at art stores or write to J. R. Zachs, The C-Thru Ruler Co., 827 Windsor St., Hartford 1, Conn.

Literature for your files " ... as men·t ioned in CA"

A request on your letterhead will bring you any of the following pieces .. . free unless otherwise noted.

"Apco Impact Coated Book and Cover"

... a complete kit of samples, examples, pertinent information about the Impact line of colored papers and inks. Includes an informative brochure with excerpts from articles by Faber Birren and E. A. Whiteford. Write to R.H. Mahony jr., The Appleton Coated Paper Co., Appleton, Wisconsin. '' Speedball Lesson Charts'' . .. a series of 10 lettering exercises developed by Ross F. George on 121/z x 19 sheets. Send Be in stamps to Charles Stoner, C. Howard Hunt Pen Co., Camden 1, New Jersey.

"Artists Airpainting Equipment" . .. a

20-page catalog and price list of airbrushes, accessories, compressors, regulators, books, plus many examples of rendering and retouching. Write to Stephen Nichin, Paasche Airbrush Co., 1905 W. Diversey Pkwy.

Chicago 14, Illinois.

"Design and Colored Paper No. 3" ... the third in a continuing, superbly done series published by DuPont's Dyes and Chemical Division. Several pages of No. 1 were reproduced in last January's Exhibit section. To be placed on their subscription list, write to: Richard Price, jr., Color Council, E. I. du Pont deNemours & Co., Inc., N-2420-C, Wilmington 98, Delaware.

"How to Prepare Artwork for Letterpress, for Lithography'' ... a 28-page booklet covering the principles of letterpress, lithography, black and white techniques, two and three color art, screens, retouching, mechanicals, terms, materials, and charts. Write to Walter Yurk, Kimberly-Clark Corporation, Neenah, Wisconsin.

''Binders for Business'' ... a 4-page article describing loose-leaf binders, planning catalog covers, use of color, materials, mechanics of art preparation, typography, and 3-dimensional effects. Write to Gene Baum, Coast Book Cover Co., 2930 South Vail St., Los Angeles 54, Calif.

"Twenty-one Ways to Cut Your Typography Bills'' ... an exceptionally well-done and handsomely designed 48-page informational booklet available from Typographic Service Inc. 1027 Arch St., Philadelphia, Pa.

"Paste-up Alphabet Styles" .. . a 24-page catalog of Cello-Tak (adhesive-backed sheets on acetate) hand-lettered and type alphabets, arrows, and numbers. Also available is literature on shading film, Cello-Tak color film, and color-dot sheets. Write to Cello-Tak Company,431West28th St., New York 1,N.Y. "Photography and Reporting" .. . a 6-page promotional folder describing the "on-location-from-coast-to-coast" services of Sickles Photo-Reporting, 192 Maplewood Ave., Maplewood, New Jersey.

"Mask-0-Neg Screen Guide" ... an 8-page brochure and related literature showing examples of various screens, surprinting effects, combinations, and special effects. Write to Mask-0-Neg, 142 Greene St., N. Y. 12, N. Y.

''Modern Masking Inks and Opaques'' ... a 12-page brochure describing techniques, films, papers, surfaces, brushes, paints, inks, retouching. Also includes reference charts and comparison tables. Write to Dept. S.P., M. Grumbacher, Inc., 460 West 34th St., New York 1, N. Y.

"Mico/Type" .. . a 60-page catalog showing numerous alphabets, shading screens and patterns, numbers, symbols, standardized art printed on acetate and backed with pressuresensitive adhesive. Write Mico/Type, Inc., 6651 Sunset Blvd., Los Angeles 28, Calif.

' 'Staedtler Pencils'' ... a 24-page catalog in full color showing a complete line of black and colored wood-cased, paper-wrapped, and mechanical pencils, leads, sharpeners, erasers, chalks, crayons, specialties. Write W.W. Barnard, J. S. Staedtler, Inc., Box 205, Hackensack, New Jersey. ''What man Watercolor Papers'' ... a descriptive price list of Whatman papers, boards, and blocks. A sample booklet is being prepared and will be available in the near future.

Write M. E. Peterson, Reeve Angel & Co., Inc., 9 Bridewell Place, Clifton, New Jersey.

"C-Thru Ruler General Catalog" .. . a 20page catalog plus assorted sheets covering a complete range of plastic scales, templates, slide rules, triangles, curves, T-squares, lettering guides, pens, other ruling and drawing devices. Write J. R. Zachs, The C-Thru Ruler Co., 827 Windsor St., Hartford 1, Conn.

"Luxo Lamps" ... a 4-page brochure showing various types of incandescant, fluorescent and combination desk and table lamps and accessories. Write Reese W. Harris, Luxo Lamp Corp., 2683 Jerrold Ave., San Francisco 24, California.

"Quantity Photos" ... a price list and description of services available from Quantity Photos, Inc., 5509 Sunset Blvd., Hollywood 28, California.

63

Philadelphia Art Supply Co. Philadelphia's most complete stock of art and drawing materials • BOURGES SHEETS • KEMART MATERIALS

I heard a wise man say, "For art and engineering needs See mm marty, inc. today!

For drafting aids, consult these folks . ,t •. Who know their business through! " And I have followed his advice, And oh, 'tis true, 'tis true!

• CRAFTINT • ZIPATONE

• ALL GRAPHIC ART SUPPLIES

SEND FOR OUR 200-F'AGE CATALOG ON YOUR LETTERHEAD

PROMPT DELIVERY AND MAIL ORDER SERVICE

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

A. E. Housman on Good Advice

IVI IVI

marty, inc.

2507 W. Seventh St./Los Angeles 57 , Calif./DU 8-9386

CA, September '60

r a cOLOR

DUOTONES 10%

50%

20%

10

20

30

40

50

70

100

CA, September '60

70%

One-color halftone

Duo tone

Normal black and white halftone

30%

40%

50%

COLOR

(""'_

BLACK

BLACK

BLACK

BLACK

10%

20%

COLOR BLACK

60%

70%

80%

90%

BLACK

BLACK

BLACK

BLACK

CA COLOR CHART COPYRIGHT 1960 BY THE JOURNAL OF COMMERCIAL ART

•

PRINTED

CA, September '60

100%

BY LITHOGRAPHY USING 1SO· LINE LEVY

SCREEN

ON THE BOARD Canadian art

Dear Subscriber:

A special issue on graphic design published this May by Canadian Art Magazine is well worth anyone's time and two dollars.Working in cooperation with the Art Directors' Clubs of Toronto, Montreal, and Vancouver, The Society of Typographic Designers of Canada and individual designers and art directors, Canadian Art has collected much of the best work of the last three years in Canada.

Copies may be obtained from Canadian Art, 77 Maclaren Street, Ottawa 4, Ontario, at $2 per copy.

When writing to CA about your , Co . ~ subscription, billing, change of ad- '.-' t . dress, renewal, please use the five ·· ->t a 2 digit number on your stencil. It's like a tatoo and will be yours as long as you take CA. May we suggest you jot us down in your phone book and add your code no. from the envelope this issue came in. Then, if we goof, you can read us off in five digits and we can make amends fast. Many thanks, from CA's digit-less detectives.

A long, long time

This month in CA

CA's lOOth 5-year subscription arrived August 15th, and it was from the same state, Michigan, as the first. Number one is the property of the Art Department, General Motors Corporation, Detroit. Number 100 belongs to Carolyn Nordstrom, Hilltop Studios, Battle Creek. At this writing the count on the 5's is 132. Faith and begorra.

Author Irving Miller (Encore! Encore!) spent a dozen years as an art director at CBS, left to form a small <<custom" studio in New York City. His conviction is that personal client contact is his most important function, gives every assignment his individual attention, employs no salesmen. His current clients include IBM, Sanforized, International Paper, Talon Zippers, Seagram's, Videotape Center, CBS.

New contributing editor

66

Ira Goldblatt, president of Graphic House, Inc. in Boston, has joined CA's staff of contributing editors. A graduate of Pratt Institute, he migrated to Boston to an assistant AD's job. Later, with four other Pratt graduates, he formed the present studio, Graphic House, now in its fifth year. They have won a number of awards in AD shows, New York Type Directors, AIGA, and been reproduced in CA and other publications.

•

One question we always ask an interviewee is about frustrations of his field. Marvin Schwartz of Capitol Records came up with an amusing answer. <<Everyone fancies himself as either an art critic or a music critic, or both. An album seems to present the perfect challenge for them to display their own flawless taste in musical concept, editorial interpretation, art approach, technique, hi-fi sound, etc. And, they write letters."

•

Bingo cards

Many publications use a gimmick known as the <<Bingo" card to prove to advertisers that their magazine can pull.

You've seen them ... usually an insert describing various manufacturers' offers of literature or samples. You circle key numbers on a perforated reply card and mail it back to the magazine. Then, once a month, a space salesman proudly marches into a potential advertiser with a fistful of requests, a follow-up pitch for space, and contracts at-the-ready.

We thought we'd try a different and, we hope, more effective approach when we recently started Literature for your files in the Materials section. Last month we sent out a postcard to some 1100 potential advertisers requesting samples of literature they felt would be of interest to you. To date, over 600 have replied, which in itself is gratifying. More important is that many of these pieces contribute basic, educational, and technical information, introduce new tools and approaches. Some manufacturers are even astute enough to realize that we've spec'd the type and pasted up every pitch that's ever been printed, and fancy <<snow jobs" are not what we're looking for.

We sincerely hope you take advantage of their offers.

We will include literature from manufacturers, paper companies, price lists, news releases, and the various services ... printing, typography, photography, studios, etc.

If you produce literature in this domain, or know of any, we would appreciate receiving a sample and would be delighted to include it.

This month's cover by Aldo Mirizzi began as a classroom project at the California College of Arts and Crafts, Oakland. The assignment was a magazine cover; Aldo chose CA. The idea struck him as he was cleaning up after a color illustration. He became fascinated with textural charm of some empty tubes he was about to throw away. His instructor, Wolfgang Lederer, deserves the art director's credits for this one. Mirizzi is currently working for Stecher-Traung Lithograph Corp. in San Francisco.

CA-60, the November issue

We haven't had a chance to take a count of the entries yet. There are thousands. We have turned over a whole room and the full time services of a girl for opening, checking identification and sorting into categories. Every once in a while we take a break to run in and admire a few, or someone runs through the office saying, <<Man, look at this," and we know that we can predict some great things for November.

A reminder, if your renewal is due, or your subscription isn't in yet. Don't miss this special issue. Rates are $12/ yr., $22/ two yrs., $30/ three yrs., $45/ five yrs. A check included ':"ith your renewal or subscription saves us the problems of billing and adds one extra issue per year to your subscription, e.g., $22 buys 26 issues. With a five-year subscription, check enclosed, you get 65 issues and we also include a set of twelve CA color guide charts, regularly $9.

CA, September ' 60

..

Index to advertisers Advertising Typographers Assn. of . 2C America, Inc. . . . . 14 Art-0-Graph, Inc. . . . . 13 Audio Visual Arts . . . . 12 Bauer Alphabets, Inc. 5,6 Bienfang Paper Co ., Inc. Bourges Color Corporation . . 9 . 11 Arthur Brown & Bro., Inc. . . 13 Chart-Pak, Inc. . . . . .

67, 68 Coast Book Cover Company . 14 Color-Aid Co. . 11 Crescent Cardboard Co .. . 7 Edstan Studios . . . . 14 A. I. Friedman Inc. Graphic Workshop, Inc . . . 12 M. Grumbacher Artists' Material . . 7 John Henschel & Co., Inc. . . . . 4 Hudson Photographic Industries . . 62 . 10 C. Howard Hunt Pen Co. . 13 Koh·l·Noor Pencil Co., Inc .. . 3C Fred Kopp Advertising Art . . . 12 Lucygraf Manufacturing Co. . . 63 M. M. Marty, Inc. . . . . . . 9 National Card, Mat & Board Co. Osler Products Co. . 14 Paasche Airbrush Co. . 3C 15, 16 Peninsular Paper Co. Philadelphia Art Supply Co. . . 63 Rising Paper Co. .

57, 58 Shiva Artists ' Colors . 11 Steig Products . . . 3C Talens and Son . . . 62 Harry Volk Jr. Art Studio . 9 4CE Martin J. Weber Studio .

Whitaker Guernsey Studio . 10

-*most brilliant *

LUMA

of all artists' colors

Brillion!

Concentreted

*

LUMA Brilliant Concentrated Water Colors surpass all. · others in intensity, ease of handling, br~lliance.

36 dazzling colors including the blackest of blacks. Insist on genuine LUMA Colors-the original Brilliant Concentrated Water Colors. At better art stores.

Write for color chart.

Steig Products Address advertising correspondence to New York office: David Hartman, Advertising Manager The Journal of Commercial Art 15 West 44th Street New York 36, New York

LAKEWOOD . NEW JERSEY

Written for Artists By an Artist!

( MUrray Hill 2-1438)

Palo Alto office: Jan Williams, Advertising Department The Jowrnal of Commercial Art 809 San Antonio Road Palo Alto, California ( DAvenport 6-6040)

• The comprehensive illustrated text, "How to Paint with Air," by nationally known Frank Knaus describes the use of the airbrush to achieve warm flesh tones, expressions, transparency, phantom views, and other special effects.

How to put frost on a bottle, gloss on fur, grain in wood.

A book that every artist, studio, and student will profit by owning. It should be in every art library.

$I 50

"How to Paint with Air"

"22 Airbrush lessons for Beginners"

1ltat(,

PAASCHE AIRBRUSH CO.

(Jlte(e!z, to,' Dept.J 1909 W. Diversey Pkwy , Chicago 14, Ill. IN LOS ANGELES AND SAN DIEGO

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FROM CONTINOUS TONE ORIGINALS

PRODUCED PHOTOGRAPHICALLY BY THE WEBER PROCESS

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