sep1961

VOLUME 3 • NUMBER 9 • SEPTEMBER 1961

Cover photograph lYy Tom Woodward

CA, The Journal of Commercial Art and Design, is published monthly by Coyne & Blanchard . Inc ., 809 San Antonio Road , Palo Alto , California . Subscription rates: U. S. A., possessions, and Canada , one year, $12 ; two years, $22 ; three years , $30; five years , $45 . Foreign , one year, $14 . Single issues : $1 , except for AD show issue $2 , Vols . 1 and 2 of CA annual $3 each . Copyright 1961 by Coyne & Blanchard, Inc . ' Trademark registered . Second ·class postage paid at Palo Alto , California .

Postmaster: Please send 3579 to 809 San Antonio Road, Palo Alto, California .

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

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

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

ART TRADE SHOP NO . I

5

Letters to the editor

6

The time and the place

14

On the board

22

Yuri Soloviev, Russian ID

28

Materials, services, available literature

29

Advertisers' index

30

Print that matters

33

Christmas is coming

39

Exhibit

42

Architectural illustration: Carlos Diniz

45

Exhibition of Western photography

48

Seed Corn: house organ of the Molehill Press

51

Our historical origins

54

CA color charts

56

Type: character and form

64

Designing aloud: Walter Landor

VERSATILE

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ll\ AMSTERDAM CONTINENTAL TYPES & GRAPHIC EQUIPMENT, INC. ~

276 PARK AVE. SO., NEW YORK 10; SP7-4980 f 3319 W. MAGNOLIA BLVD., BURBANK, CALIFORNIA; VI 9-6319

(requests for these will be in 'On the Board'); shorter-than-feature-length articles; ideas; opinions; publicity releases of genuine reader interest.

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

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

The office Betty Fairbank, advertising Carolyn Thompson, circulation manager Nancy Gruenwald, circulation Judith Ray, circulation Margaret Graford, accounting

• Letters to the editor Gentlemen: ... How would you accept any articles or samples for submission as material for publication? I have specialized in letterhead design since 1940, and would like a chance ro shoot my mouth off about it sometime, in your magazine, provided the material could pass your high standards.

Sincerely, Albert H. Lane Battle Creek

When we called CA a ' 'journal, '' it was with the definite expectation of strong participation by the profession.

If you wish to submit an article, send an outline or summary. A sampling of examples or illustrations may be necessary for us to make an intelligent decision. If writing is a chore, just supply the facts.

Our primary criterion of acceptance is quality. Occasionally we must reject articles because of duplication, simi larity, limited range of reader interest. We're not afraid of controversy.

We're also interested in special material: examples for 'Exhibit;' subjects for 'Li terature of the Month;' outstanding work and thought in specific categories

Opinion-expressing letters are always welcome. We appreciate the complimentary letters we've received ... they do wonders for our ego. But we'd rather publish opinion, suggestion, or criticism. Censure us when we have it coming. Censure the industry, it's often deserving. ed.

·-----· ...ICLIPA .... 1 ---~· • BIG TRIAL KIT

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Dear Sir: . .. Now then, I'm beginning to wonder if you guys aren't getting to be a bit "much" for prosaic guys like me ...

Example: the red background for the contents page in the May '61 issue. Oh yes, it's different-it's also hard to read. It's as if you said, "We'll use whatever color we feel like-we're our own boss- and damn the peasants who can't read it-it's not our fault. .. " Example: your increasing use of tiresome words and phrases and cliches. Sometime I'm going to go thru all my back issues and count the number of times "concept," "corporate image," "communicate," "visual" have appeared (but the day I see "art-wise" and "layout-wise" I'll really scream).

•

Example: your irritating way of numbering pages on the side. Look, there are still some things that remain the same in publishing despite avant gardists, and numbers still should be at the top or bottom for easier reference ...

And please, no more dreadful articles like that one about the Aspen conference some time back. What did it mean? A bunch of inept eggheads gathered together to confuse everyone with their doubletalk.

Yours very truly, John H. Harig Cincinnati

Don't rub it in too hard on the "red page." We did a lot of mumbling, "We should have ... maybe if. .. " The colors on that side of the signature were red and green. Enough green type was enough, we thought. We got black type, with a red background and red faces.

Aspen-Men like Noyes, Bass, Tara, Parkinson, Goldsholl, et al, might well be termed "eggheads," but "inept" is an inappropriate adjective. Everyone is entitled to his own opinion of what such a gathering accomplished, or to criticize us for devoting editorial coverage to it. But that doesn't include the privilege of redefining the purposes.

Such statements represent a magnitude of presumption and pomposity that exceeds even the accusations they make. ed.

CA, &ptember '61

I• I

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The time and the Place

6

NEW YORK TORONTO DETROIT LOS ANGELES DALLAS BOSTON PHILADELPHIA CLEVELAND ATLANTA CINCINNATI MINNEAPOLIS PITTSBURGH INDIANAPOLIS ROCHESTER WASHINGTON MIAMI AKRON

THE HEADLINERS OF NEW YORK, INC. 216 East 45 Street Oxford 7-4820

THE HEADLINERS OF CANADA LIMITED 401 Wellington W. at Spadiria Empire 4-7272

1550 Porter Avenue

PHOTYPE , INC. Woodward 5·5555

THE HEADLINERS OF LOS ANGELES 6713 Sunset Blvd. Hollywood 7-2117 JAGGARS-CH ILES-STOVALL, I NC. 522 Browder Riverside 1-5501

THE HEADLINERS OF BOSTON 470 Atlantic Avenue Liberty 2-2685

WALTER T. ARMSTRONG , INC. 35 North 10th Street, Walnut 2-2176

TYPE AND ART, INC. 1375 Euclid Avenue Main 1-8433

TYPOGRAPHY SHOP 2161 Monroe Drive, N. E. Trinity 5-7676

110 W. Central Parkway

J. W. FORD CO. Dunbar 1-1122

DAHL AND CURRY, INC. 506 Fifth Avenue South Federal 9-1491

THE HEADLINERS OF PITTSBURGH, INC. 704 Second Avenue Court 1-1904

TYPOGRAPHIC SERVICE CO. 215 North Senate Avenue Melrose 2-3435

ROCHESTER MONOTYPE COMPOSITION CO. 360 North Street Baker 5-9520

THE HEADLINERS OF WASHINGTON D.C. 210 G Street N.W. NA 8-2535

THE HEADLINERS OF MIAMI INC. 626 N.W. 6th Avenue FR 3-7341

TYPE AND ART OF AKRON, INC. 34 South High Street Franklin 6-9187

Chicago Print Promotion Council is the tentative name for the new promotional council being formed by the graphic arts and publishing industries. Robert E. Borden will be executive director of the group which aims to stress the vital importance of the printed word to individual welfare and to the health of American economy. Harry E . Collins, of Collins, Miller & Hutchings, Inc., is chairman of the organizing committee.

Jordan, Sieber & Corbett, Inc., pharmaceutical advertising agency, have added three well-known Chicago artists to their art department: David Golden, AD; Emmett McBain, graphics designer; Richard Quinlan, staff artist.

Columbus, Ohio Annual exhibition sponsored by the Art Directors Club, October 13-23.

Detroit The 13th Advertising Awards Exhibit, October 2-14, at McGregor Memorial, Wayne State University. Sponsored by Detroit Art Directors Club and Detroit Copy Club, an annual of the accepted pieces will be published.

Los Angeles First call for entries to the 17th Annual Exhibition of ADLA; 4315 West Second St., Los Angeles 4.

Los Angeles County Museum ... The America of Currier & Ives, Oct. 7-31; Georges Roualt prints, opening Oct. 25.

Montreal Typography '61 exhibition at the Museum of Fine Arts, Oct. 23 - Nov. 12.

Every name of this all-star list can now offer famed HEADLINERS photo-process lettering styles . .. right in your own local area. These exclusive alphabets are designed by America's leading lettering artists and hand composed for you under the critical eye of trained lettering men. Call or write your nearest Headliners office for details on how to put this talent to work for you.

HEADLINERS INTERNATIONAL, INC., NEW YORK CITY, NEW YORK CA, September '61

New York Trade Book Clinic of AIGA offers new early evening discussions, beginning November 8 with "The Education of a Designer." Contact AIGA, 5 East 40th, MU 3-3568, for particulars.

Alvin Eisenman, Graphic Arts Director, Yale University, has been re-elected president of the American Institute of Graphic Arts. AIGA, a national non-

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The Time and the Place (cont.)

profit professional organization serving the printing and publishing industry, will move to larger headquarters at 1059 Third Avenue this fall.

Mack Stanley, former art director at Young & Rubicam, has joined Geyer, Morey, Madden & Ballard, Inc., as art director of their special creative unit.

Gallery 303 ... featuring illustration and graphic design by the staff of Push Pin Studios, Inc., including Paul Davis, Seymour Chwast, Milton Glaser and Isadore Seltzer, through October 11.

National Visual Presentation Association announces new officers: W. J. Connelley, president; Bernard A. Barnett and Harry Pritchett, vice presidents; Emma Treadwell, secretary; C. Behymer, treasurer.

Mike Blatt, former free-lance designer and art director for George Nelson, CBS and NBC, has been appointed art director of Delehanty, Kumit & Geller.

Museum of Modem Art, 11 West 53rd ... Four stained glass windows designed

by Marc Chagall for a synagogue at the new Hadassah-Hebrew University Medical Center new Jerusalem on display October 16 through December 3.

The windows (part of 12, symbolizing the twelve tribes of Israel ) were designed and executed in Reims and are considered by some to be the finest work in stained glass since medieval times; The Art of Assemblage, featuring collages, etc. by Picasso, Braque, Ernst, Miro, deKooning, Motherwell, and younger contemporary artists will open October 4; Last Works of Henri Matisse, cut-paper compositions in the technique he developed just prior to his death-October 18 through Dec. 3.

Folio Medium Extended Roman 8 to 66 point Italic 8 to 66 point

Folio Extrabold 14 to 66 point

For specimen sheet s writ e to

BAUER ALPHABETS, INC., 305 East 45th Street, NewYork 17, N.Y. MU 6-1761-2-3

Pittsburgh The 42nd Pittsburgh International, an exhibition of contemporary painting and sculpture begun by Andrew Carnegie in 1896, will open to the public at Carnegie Institute on October 26.

Held every three years, it is the only international show of its kind in this country, and ranks in importance with the Biennale of Venice, the Bienal of Sao Paulo, Brazil and the Documenta of Kassell, Germany. An international Jury of Award will select the prize winners from among the 400 pieces.

CA, September '61

9

All ads are created equal .. . it's the "finish"

Every advertisement starts out on a blank piece of paper.

The writer has only a couple dozen letters, a handful of punctuation marks, to work with.

The art director has the same colors and blank space to use as anyone else . Then the artist or photographer add their skills.

It's how they all stir 'em up and set 'em down that counts .

Let's assume that writer, art director, artist or photographer have all done splendid jobs.

All you have to do now is get it in the

papers or magazmes.

You're bound to have a fine ad. Or are you?

Remember, it's a Great Step from layout to printed page- and it's what's up front of the reader's eyes that counts .

Sound advertisements can be crippled by poor typography.

Fine adve r tisements can be made even stronger by good typography.

Since it costs no more, isn't it sound type sense to let your ATA member take the Giant Step that makes good ads even better?

It pays to settype right • . .

ADVERTISING TYPOGRAPHERS ASSOCIATION OF AMERICA, Inc.

time for type? . . . just call the n earest m ember of the Advertising Typ ograp hers Association of America EXECUTIVE OFFICES : 461 Eighth Ave., New York 1, N. Y. AKRON , OHIO The Akron Typesetting Co. ATLANTA , GEORGIA Higgins-McArthur Company BALTIMORE, MARYLAND The Maran Printing Co. BOSTON, MASSACHUSETTS The Berkeley Press Machine Composition Co .

H. G. McMennamin CHI CAGO , ILLINOI S J.M. Bundscho, Inc. The Faithorn Corp.

Hayes-Lochner, Inc. Runkle· Thompson-Kovats, Inc. Frederic Ryder Company CINCINNATI, OHIO The J. W . Ford Company CLEVELANO, OHIO Behme & Blinkmann, Inc. Schlick-Barner-Heyden, Inc. Skelly Typesetting Co., Inc. COLUMBUS , OHIO Yaeger Typesetting Co., Inc. DALLAS , TEXAS Jaggers-Chiles-Stovall, Inc. DAY TON , OHIO Dayton Typographic Service DENVER, COLORADO The A. B. Hirschfeld Press Hoflund-Schmidt Typographic Service DETROIT , MI CH IGAN Arnold -Powers, Inc. The Thos. P. Henry Company George Willens & Company INDIANAPOLIS , INDIANA The Typographic Service Co., Inc. KALAMAZOO , MICHIGAN Mahoney Typographers, Inc. LOS ANGELES , CALIFORNIA Ad type Service Co., Inc. Advertisers Composition Company Bisch Type, Inc. Nicholas.Preston Company MILWAUKEE, WISCONSIN Arrow Press , 1nc.

MINNEAPOLIS, MINNESOTA Dahl & Curry, Inc. Duragraph Inc. NEWARK, NEW JERSEY Barton Press William Patrick Co., Inc. NEW YORK , NEW YORK Ad Service Company Advertising Agencies' Service Co., Inc. Artintype, Inc. Associated Typographers, Inc. Atlas Typographic Service, lnc.

Central Zone Press, Inc. The Composing Room , Inc. Composition Service, Inc. Diamant Ty pographic Service, Inc. Huxley House ltd.

King Typographic Service Corp.

Unocraft Typographers, Inc. Master Typo Company, Inc. Chris Olsen Typography, Inc. Frederic Nelson Phillips, Inc. Philmac Typographers, Inc. Royal Typographers, 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, PENNSYLVANIA Walter T. Armstrong, Inc. Alfred J. Jordan , Inc. Progressive Composi tion Company Typographic Service, Inc. PI TTSBURGH , PENNSYLVANIA Davis & Warde, Inc. PORTLAND , OREGON Paul 0. Giesey, Adcrafters. Inc. ROCHESTER , NEW YORK Rochester Monotype Composition Company ST. LOUIS, MISSOURI Warwick Typographe rs, Inc. SAN FRANCISCO, CALIFORNIA Griffin Brothers, Inc, TORONTO, CANADA Cooper & Beatty, Limited

•• •• •• ••• •• •• ••• ••• •• •• •• •• •• •• •• ••• •• •• •• •• ••• •• •• •• •• •• •• •• •• •• •• •• •• •• •• •• •• •• •• ••

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The Time and the Place (cont.)

San Francisco Charles P. Galt has been appointed manager of the San Francisco office of Long Advertising, Inc. He will continue to act as vice-president and creative director for the firm.

Ruth Bernhard, San Francisco photographer (CA, Sept. '59 ), is conducting an experimental photography workshop-stimulating discussions, interpretive work with a personal approach.

2982 Clay St., WAinut 1-3653 for further information.

San Francisco Museum of Art . .. Design for Silver, a Smithsonian exhibit, October 7 - 29.

San Jose A new art directors club will be launched September 28, meeting at the DeAnza Hotel. All commercial artists in the Santa Clara Valley are invited.

12

Drawing by Robert Fawcett from a recent article in LOOK, " If The S outh Had Won The Civil War."

Washington, D.C. The Smithsonian Institution marks the beginning of its tenth year of its traveling exhibition service with a new major exhibition of Tiepolo drawings.

Presented and prepared with the cooperation of the British Government, the Italian masterpieces will also be shown in Worcester, Houston, Chicago and Los Angeles.

Universities/Schools Chicago School of Professional Art . .. to be known as S.P.A., this new school will concentrate on the problems of "I do many pencil preliminaries bepeople already in advertising art who fore starting a drawing, and I use seek further development and training.

Blair Spray- Fix ® to hold each one.

Evening classes. Telephone Mohawk My final drawings often embrace sev- ' 4-0080 for further information. eral media, from black ink, colored New York University . . . a workshop inks and dyes, to seminar in editorial layout and design, casein tempera, October 18, 19, 20. Write Raymond and I use Blair Wilburn, Bureau of Conferences, NYU, Spray-Fix to iso6 Washington Square North, NYC 3. late each stage. I Stanford University . . . Japanese Woodfind I can work block Prints, October 1 - 29. A Smithover it perfectly." sonian exhibit.

Craftfnt ... has a better way to visualize it

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Craftint Films for Faster, More Accurate Layouts and Comprehensives We asked Federman, Adams and Colopy of Cleveland to prepare the layout in the color shot on the adjacent page to show how Craft.Color and Craf·Tone can be combined to produce exciting effects.

They also used Craf-Type for headings and Copy-Block, the ready-made indicated body copy, to enhance the finished effect. This polish enables clients and graphic arts people to reach understanding on the piece before the job is run , an exclusive advantage that's appreciated by the studio, the client and the suppliers. Federman, Adams and Colopy also does finished art in Craft-Color and the other Craftint film materials; as you can see, although this is not a direct separation, the clear, non-glare Craftint materials reproduce very well.

Craft int Pads .... All Kinds, All Sizes Knowing your requirements is one of our fetishes. That's why Craftint makes so many kinds of paper into so many kinds and sizes of pads. We make 'em "padded" for easy tear-out and spiral bound for flat-opening sketch books. In newsprint for chalk talks, and in water color paper; layout paper, tracing paper, sketch paper ... just say "Craftint."

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CA, September '61

C raftTnt SELF-ADHESIVE COLOR-TONE-AND-TYPE films team up to give you faster, more accurate visualization. Make all your time creative: no more waiting for sample type, stat reverses, hand-lettering or drying. Most important: layouts done this way look just like the finished piece; get agreement all around the graphic arts table before the job is run. For your next comprehensive, ask your art materials dealer to gather the Craftint adhesive films you need from his stock of 300 Craf-Tones, 35 Craft-Colors and 100-plus Craf-Type faces.

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MANUFACTURING COMPANY • CLEVELAND 12, OHIO

On the Board In March '60, CA featured "The Good 01' Days from the Bettmann Archive"

14

in our (say it softly) "Morgue."

When we approached Dr. Bettmann for a feature in this issue, "Our Historical Origins" (page 51) he protested that the word "morgue" had given him a "slight sepulchral chill" but acquiesced in good humor by saying "I am ready to be entombed again."

Actually we had something quite different in mind so we were able to avoid the decision of to Morgue or not to Morgue. Pity us as we do constant battle with terminology- such as morgue, scrap, commercial, crea-

tzvzty, concept and communicatewhich flows so well in conversation but never ceases to stare back in frustrating immutability from a printed page.

In March of this year, the Bettmann Archive moved lock, stock, film cabinet and slide barrel to new and larger quarters at 136 East 57th Street, New York City. Although antiquity is their stock in trade, the Archive is far from being musty and dusty, as the photograph at right clearly shows.

Dr. Bettmann's story is an interesting one. Rather than our telling it, we

GENE HOLTAN

CA, &ptember '61

felt that it could better be told in his own words as he wrote them for "The Sale that Lasted One Day" appearing in Printer's Ink, Jan. 20, 1961. We quote: I had been a curator of rare books at the State Library in Berlin, a photographer and a collector of historical prints and photographs before I arrived in America in 1935. I came with the notion of starting a picture collection which I hoped in time would become a comprehensive pictorial history of civilization. Percy Seitlin, writing in the now defunct A-D Magazine about this ambition of mine, described it as something like wanting to start your own post office or railroad.

Anyway, I went ahead and took space on West 44th Street in ew York, above the famous Blue Ribbon Restaurant, a specialist in sauerbraten and Pilsner and Lowenbrau; and I can tell you that the aromas were particularly tantalizing during those early days when my lunch often consisted of a peanut butter sandwich and a cup of coffee in the Automat around the corner on Sixth Avenue.

Nothing, but nothing happened during my first three weeks of calling on publishers, ad agencies, magazines, and so on, trying to sell pictures. But the beginning of the fourth week brought a bonanza. I ran across a man who was looking for some pictures of early chemical laboratories, and I was able to produce just what he wanted from my collection. My rental fee for these pictures was $15, an over-anxious low bid if ever there was one.

No matter; I was elated; so much so that I decided this was the occasion to actually eat the Blue Ribbon's sauerbraten and drink its good German beer, rather than just upstairs

most illustration boards look alike

15 Bettmann Archive's new picture viewing room.

Roy Deming (left) of Charles Cooper Studios discusses picture needs with Dr. Otto Bettmann while Ben Carucci (right), art director of IBM's "Think" magazine makes a suggestion .

smelling it. I invited three of my closest friends in New York to help me celebrate. It was a jolly meal and the check came close to the sales's total. Who cared! This celebration was just what I needed for my morale.

What happened then? I think even 0. Henry or Mark Hellinger would have rejected the corny ending of this story. You guessed it; the next day a messenger returned the pictures with a polite note from my customer saying that they were wonderful but they didn't quite fit in with a change in plans made by one of the company's vice-presidents!

Footnote: Today the Bettman Archive with its more than one million historical graphic items, has become a fixture in American advertising and publishing; but my success has not made the smell of sauerbraten any less depressing to me.

but . .. does the illustration board you are using have all these favorable features : Lies flat, stays flat .. . erases featherfree .. . stands excessive reworking ... is consistently free of defects ... has excellent stripping qualities . .. is faced with two usable surfaces of 1OO o/o cotton fiber ... is double mounted making for economy in price and file space ... accepts all media such as air brush, line and wash, tempera, water color, pen and ink ... has incomparable photo-reproduction qualities?

Any illustration board has some of these features. Strathmore is the only illustration board that offers you ~ of them.

Ask for it by name (specifying regular or high surface) and be sure it has the familiar "thistle" trademark. Write for tree sample book, showi ng the full line of St rathmore Artist Papers and Boards: Strathmore.

Paper Compan y, 10 Front Street, West Sp ringfield, Massachusetts.

STRATHMORE STRATHMORE PAPER COMPANY• WEST SPRINGFIELD, MASS .

CA, Sepumber '61

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16

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

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

SPECIFICATIONS LENS, Wollensak Raptar F4.5 (Same lens as in un its costing $300.00 more and up .); EIGHT DIAMETERS scaling range ; FOCAL PLATE 18" x 24"; COPY BOARD 17"x 23 "; CABLE CONTROLS of vinyl steel strand; HOOD, grey vinyl ; DIMENSIONS, 42 " height to focal plate . floor area 26" x 24"; CABINET of heavy ply construction finished in neutral beige.

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

On the board (cont'd)

"Do you want a cover idea for CA?" Tom Woodward asked the ques tion at the Aspen Conference.

"I don't know, it depends on what you have in mind."

What Tom had in mind is the cover of this month's issue. Jim Cross, Teresa Woodward and he were exploring Aspen, found the ancient wall and its sign. They give Cross the credit for spotting the CA, the photograph is Woodward's.

Tom and Teresa Woodward (a husband-and-wife design team in Los Angeles) try to maintain a variety in their work - graphic and advertising design, illustration, furniture and industrial design, toys and kites. One of their kites was a multi-winner in the IDCA Kite Fly ( CA Aug. '61). Both paint on busmen's holidays and each has had paintings in the Los Angeles annual exhibition. Their graphic design has been represented in Graphis Annual, Modern Publicity and CA-60 and in the Exhibitions of the Los Angeles Art Directors Club, the New York Society of Illustrators, Typography '61 and Creativity on Paper.

D

There was an Old Man with a beard, Who said, " It is just as I feared/T wo Owls and a H en, four Larks and a Wren, Ha ve all built their nests in my beard!"

When we were children, no anthology of literature could be considered complete without one or more of the limericks of Edward Lear or one of his longer poems, e.g. The Owl and the Pussy-cat.

For more than a hundred years, children have been entertained by Lear's delightful nonsense. He established an art form that has improved in quality and quantity over the following century. But his is still the classic example and has influenced many of the "word" arts, including advertising.

Less familiar are the drawings with which he illustrated his verse. Strangely enough, Lear's fame came from a sideline. He was an artist and depended primarily on the sale of his paintings, mostly of birds and landscapes, for his livelihood. He traveled extensively on sketching trips as a serious painter and often included drawings in the letters he wrote. The illustrations for his nonsense books were loose, quick drawings, similar to and sometimes taken from these lettersketches.

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Daddy Long-legs and the Fly

CA, September '61

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the first professional art flapping system ... no more ~ cutting no more measuring' no mored) gluing

There was a young person in green, Who seldom was fit to be seen; She wore a long shawl, over bonnet and all, Which enveloped that person in green.

seconds .. . and it's ready to go

1.

;.7, ?trjfta-d;"Old Foss," Lear's cat, was immortalized in Lear's letters.

2.

It is perhaps this impromptu quality that has made Lear's drawings so charming and often non-reflective of the art of his time. Many of them could be considered quite contemporary in style today.

Lear's nonsense in verse and drawing has been complied in one paperback volume, "The Complete Nonsense of Edward Lear," published by Dover in 1951 and, we believe, still in print.

3.

Strip off pressure sensitive lope from pre-cut flop.

Attoch to pre-cul illustrotion boo rd.

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17

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Please send free sample and lit erature .

I I

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There was an old person of Brigg, Who purchased no end of a wig; So that only his nose, and the end of his toes, Could be seen when he walked about Brigg.

I ADDRESS :

CITY

ZONE _ _ STATE

I I

CA I ( _ _ ___ ----'-----------------..J

CA, S• ptember '61

On the board (cont'd)

I

• WITH

SHIVA NU-TEMPERAS OF COURSE An impressive mailing piece reached this editor's desk the other day. The cover was a magnificent but utterly gruesome painting. It bore the simple title "Gargantua; a profile." Opening the folder, I expected to find the usual gag-type pitch, but I was pleasantly surprised. It was for real.

18

Being subject to probably typical motivations-animals, the circus, the strange and unusual -and further intrigued by more of the powerful illustrations, I couldn't help reading. Among the new facts I accumulated were: There are only a dozen gorillas in captivity and Gargantua is not the largest. Several are bigger. He is actually the youngest and not yet fullgrown. His present and potential strength is unmeasured, though with one hand he out-pulled 15 hefty men in a tug-o'war.

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His malevolent expression has no connection with his mean disposition. It is the result of acid having been thrown in his face, probably by a disgruntled sailor on the ship that brought him from Africa. Scar tissue gave him the challenging scowl and drew the left side of his upper lip into a permanent sneer. He has not always been vicious, and even the acid-throwing incident had no apparent effect on his psyche. Some mysterious change in his character occured about four years ago.

Ask your dealer for free brochure or write:

SHIVA artists colors 433 W. Goethe Street Ch icago, Illinois Photo Courtesy of Chicago Historical Society

CA, September '61

*e

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Gorilbs m c.iprivtty~ of which there arc all told about r\\'clve--nc:vcr become really umc, rhough some will ~ubmu to cauuous fondl ing by rhctr lccpers. G.ir.~a11tua 1s an cxccpuon. His mood 1s relentlessly anJ continuously s.H.agc. A single purpo!>C ouupics .iJI his \\·ak1n.c:: hour$. That purrosc is murder When Gar.g .. mua sumps, rounds his chcsr <lnd uners his Jeer lhu .. kle of plcJ..Sure, u mc;;ws th.u he h;1s 1u~t dcnscJ a new tricL: for k1llrng someone or th.u sulh .1 rnck has ncarh succcc:JcJ, G.ir~;inrua's hJJ J1sposmon has been a mixcJ MessJO~ co the chief of Rin~hng·s rrcss dcp:irtmcntRoland Ilutlcr, a lc.uher\' 1.rnic whose cnrhususm for an1m.th t·w now m;ud1es ~oah's on the 40th J.J.v.

Butler's 1oh 1s to cx.1p:gcrarc rhc qualities of Rrnglmg's orhcr ammah. In Garg;1.ncua's c;uc 1r 1s •crually impossible to cx.ag~erarc the be.ist's mc.inness, trc.it.hCrY" anJ unmit1,~.ited feroury.

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Since that time, he has never relaxed in his attempts to kill anyone or everyone that comes close enough. He fears nothing except snakes, and only by utilizing a king snake can any control of his movements be exercised.

Available at leading art material dealers everywhere.

The only commercial message for the artist, Howard Shoemaker of Omaha, came on the last page (shown above) in the small reverse block. It read simply, "Illustration/ Design/ Layout/ for Advertising." I had been viewing his samples of all three for the last twelve minutes.

CA . SeT>f•mb...- '6 1

19

On the board (cont'd)

We are gathering examples of "fine art" by commercial-type artists for a major feature early next year. Our interests lie in the importance of this work as fine art and the major influence it exerts on design and illustration for advertising art.

We cannot assume responsibility for originals unless we have made a special request for them. Please send photographs, slides or larger transparencies for our initial screening.

Also, include . some information orienting your status in the commercial field. Mail to: CA-fine art exhibit 809 San Antonio Road Palo Alto, California D

Annual Reports of 1960 are in the limelight at Mead Paper Company's Library of Idea's, 230 Park Avenue, New York City and at 20 North Wacker Drive, Chicago during September and until October 27 in both cities. This represents Mead's fifth annual collection - this year involving some 4000 corporate statements from which over 200 were selected on the basis of their graphic merits.

Mead's survey on the 1960 annual reports indicates that: paper choice favors antique, with a counter-trend to dull coated stock; artwork tends to sophistication and has led to greater use of name artists and designers, fewer but better illustrations; layout emphasis is on readability; the use of trademarks (printed or embossed) on covers is increasing; the self-mailing technique is gaining favor-100 corporations mailed reports without envelopes this year compared with 40 last year.

The Library of Ideas, directed by Dwight Rockwell Jr., is open to the public from 9: 30 a. m. to 5 p. m. on business days.

20

ll

1240 N. HOMAN AVE. · CHICAGO 51, ILLINOIS

D

The Pinney's are prolific . .. Not that they have so many children -three is an average number these days - but CA. &ptember '61

we mean photographically speaking.

Mr. P (Roy), long a photographer of note, has a book out this yearAdvertising Photography, Hastings House-heads the Photo-Library and Photo Associates at 149 East 69th Street, New York City.

Mrs. P (Doris), a leading specialist in baby photography, has had her pictures used on over 1200 magazine covers in the past decade. That, on top of three of her own (children ), and she finds time to write too. Commenting on "babies in advertising" she says ...

"Fads may come and go, but babies still remain the No. 1 attention-getter ... 11,641 babies are born every day, with a grand total of 4,249,000 this year. With these figures, an advertiser is certain of reaching 8 million readers with a baby picture ... The eye-catching and emotional appeal of a good baby photograph is unlimited.

"It is equally effective with people of all ages and all incomes .. . Most frequently a baby is used to illustrate the softness, tenderness, smoothness or gentleness of the product ... or the appeal is focused on the protective instincts of mother, father, and grandparents ... Babies have become so popular as cover girls and advertising models that it is often difficult to find 'new faces'. . . As long as the current trend continues, babies will become even more firmly established in the advertising world."

D

The long dry spell in the art business is ending rapidly and business should be good for a long period. As usual, we were one of the first cuts as industry grew cautious or was actually hurting. But all of the general business indicators and forecasts now look good. Inventories will continue to build well into '62. Federal purchasing is rising. More important are the signs that consumer confidence and spending will increase. While personal income has been increasing since February, savings have increased and repayments on installment loans have exceeded new installment credit. This has built a backlog of purchasing potential and surveys indicate that consumers are getting ready to use it.

The only weak sign in the economy is the high rate of unemployment.

Some economists are predicting that that we'll be approaching full employment by the end of '62. Many others are willing to discount this as a key economic yardstick, privately considering it a permanent social / educational problem that will not be cured by business prosperity and a rising

21

GNP. D

CA-61 brought a response in entries that was tremendously exciting to us ... the interest shown, the caliber of the work we can exhibit, the wealth of future editorial possibilities the entries contain.

11,000 pieces were submitted and 425 were chosen for the exhibit. Selection obviously had to be made along a fine line-the better from the bestin a truly yeoman effort by our distinguished jury.

We'd like to sincerely thank every entrant for making CA-61 so successful. Those whose work was selected have been notified.

To present the award-winning pieces in a manner that they deserve and that will be most useful to our readers, CA- 61 will appear as two volumes, the November and December issues of CA. CA, September '61

The big disappointment at Aspen this year was the failure of a Russian industrial designer to make an appearance as panelist. Though his schedule had been confirmed, he became suddenly ''unavailable. '' Fortunately, his paper had proceeded him. It makes interesting and thoughtful reading. You may not agree with some of his viewpoints, but he has many worthwhile things to say. More important is the awareness of the calibre of thinking that can and does exist on the other side of the "iron curtain"-and the ramifications that this portends for the future in the delicate and critical areas of world opinion and world trade.

Yuri SolovievRussian Industrial Designer What I am going to say are my own personal reflections, though they are rather close to the views and ideas of my Soviet colleagues. I will be very glad if some of these views and ideas coincide with yours, because this will signify community of interests and problems facing us, emphasizing once more not things separating us, but things we have in common.

A human being is born. He, or she for that matter, should be met by beauty. Beauty should be with a human being his whole life. At his home, in the street of his home town, at the place where he earns his living.

The famous Russian writer Checkov said, "Everything must be beautiful in the man; his face, his attire, his soul, his thoughts." I should like to add that everything which surrounds man must also be beautiful.

The beauty surrounding us during our life is created by people of Art. We know names of those creating spiritual values.We lovingly welcome them in the theatre, in the cinema and at concerts. The names of architects are less known. As far as artists making our material life full of beauty are concerned, those whom you call designers and industrial designers, they often remain in obscurity.

I am prone to believe that the first thing common for us in both our countries is that not only their names are unknown to the overwhelming majority of people in our countries, but people are often not even aware that such a profession is necessary at all.

Nevertheless, it exists, it has its own aims and problems directly related to the general progress of humanity.

We believe that our industrial designers must adhere to the basic principle: beauty should not exist for its sake only. In other words, the form should not be separated from the content. In the 18th century the great Russian architect Vassily Bajenov said: "Beauty must be married to the utility." But the world has forgotten this simple truth. It has been recalled only when bare practicality of industrial production ceased recently to satisfy the growing requirements of society.

CA, September '61

it can cost an awful lot to pay a little less !

,

Yuri ·. orisovich Soloviev, Chief Expert on Industrial Design, State Scientific and Technical Committee, Council of Ministers of the USSR.

This, I believe, created a new field of human endeavor called "Industrial Designing," created a wholly new profession, "Industrial Designer."

When we say "industrial designer" we mean a specialist skillful in creating new gadgets: vacuum cleaners and machine tools, cars and refrigerators, airplanes, electric lighting fixtures, etc.

A great many problems arise in connection with his work. In such "old" branches as textile, tanning or glass industries for example the role and place of the designer is less doubted. It must not be taken as signifying that we are satisfied with the situation there. Quite the contrary is true: the living and aesthetic standards of our people are rising so rapidly that the items produced by these industries not always meet the requirements fully. We have much to do to make the design of these products beyond reproach. But we have clear ideas concerning solution of these problems. This is not the case with the machinebuilding industry. Not so clear cut our ideas as to the problems of design there.

The first question: what kind of education should be given to the industrial designer?

Undoubtedly he must be an artist. But opinions differ as to the scope of technical knowledge that should be made available to him. I believe that he should be given complete technical education; he must be an engineer.

I have met engineers who showed an apparent reluctance to change, for the sake of aesthetics, the form of a design contemplated by him. Therefore I consider that in such cases the industrial designer should be able to prove with technical competence that alternative solution is feasible and expedient.

Here I proceed from the premise which I frequently repeat: an engineer and a designer can each propose ten alternative solutions of a single problem. But only one of these solutions will be satisfactory for all concerned-the engineer, the designer and the production man. Only this particular solution will make it possible to achieve the

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CA, September '61

Brooklyn 5, New York 23

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Yuri Soloviev (cont'd )

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goal which an industrial designer should always set for himself- striving to create a product functionally perfect, economically worthwhile and quite accomplished as far as its outward appearance is concerned. For only such kind of material produce can satisfy the exacting tastes of our contemporary consumer.

There is another question that makes us apprehensive. Exactly what kind of relations should exist between the chief constructor, presently leading entity in our country on one side, and the chief designer, on the other? Thus far the answer is inescapable.

The chief designer is, as a rule, an assistant chief constructor of the project, responsible for - should I say -artistic merits of the designed product. However, I contemplate that with the improvement of professional skills of the designer ( including those in the engineering field ) the question will inevitably present itself time and again as to who should be in charge of the whole job-the designing engineer or the designer.

It is quite comprehensible that with proper education the artist can readily become a designing engineer. But a designing engineer if he is not gifted from birth cannot become an artist.

In the future, I believe, the responsibility for creating new items of industrial production requiring an artistic finish must be placed on the industrial designer, while the engineers should assist them in solving certain specific tasks. Such a decision will not be a new one. Modern building for example is an intricate engineering structure. However, in all countries the construction project is managed, as a rule, by an architect, fulfilling his task with the help of his assistants - the engineers. An architect is essentially an industrial designer, in the field of construction.

We should lend much attention to the problem of organizing the work of designers in a most expedient way.

Should they work in separate units, or integrally with enterprises and design departments?

ART-LEARN AT HOME En;o, 1lamoroua hiah-JNIY e11reer or profitable hobby. Leam Commercial Art, Painting, Canooning, FuhWn Art, Lettering, TV, etc. We 1111in you at home, in •pare time.

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Tear thUi out.

We believe that to be successful, any project should, as a rule, be worked upon by a large group of designers from various fields . This prerequisite determines the solution of the whole question: where precisely, at factories or in design departments, the participation of a group of designers is required in everyday work. Apparently it is inexpedient to put them at enterprises which seldom change their items of production and where there is no permanent work for designers. Such enterprises and design departments should be serviced by independent industrial design groups.

The latter decision has, from our point of view, further advantages because it leads to the natural exchange of ideas between various branches of industry. This will improve the professional skill contributed to the solutions proposed and will expedite the use of standard elements in a given item, borrowed from other branches of our industry.

CA, September '61

Expert billiard players could never

attain their skill if the table did not present a perfect surface.

ARTISTS, too, are handicapped by drawing board that offert less than Hurlock quality and smoothness.

Of great interest to us is the problem of style. I hold that our modern style must inevitably have much in common, i.e., have international traits that can be attributed to the common technological principles of production of modern items of industrial produce. However, inevitably and naturally it must have his national feature.

In this connection it should be noted that certain traits reflecting the national style, previously strongly expressed in the artistic finish of industrial products, are now disappearing in some countries. It can be easily traced in cars. Prior to the war it was easy to discern British, American, German and other styles. Presently a wide range of European cars are finished in the pure American style. Certain ones, such as Vauxhall (Great Britain) and Opel (GFR ), formerly styled along genuinely original and national lines, presently display a convincing example of this phenomenon. One can but deplore such a unification of style, although when we forget for a moment the principal issue, I like, for example, the Opel-Captain's external appearance, obviously developed by gifted designers.

Our designers have not escaped errors. Sometimes they are rather big, but measures are now being taken to prevent them in the future. We have great opportunities potentially, which we have not yet developed fully, to create our own national, highly artistic style of finish, as there is no competition in our country. This may sound paradoxical, but I believe this to be true.

The absence of competitive pressures will allow us to spend more for industrial design than can be spent by Western firms who are forced by competition to put into production a great variety of similar items thereby producing lesser quantities with a smaller financial return than is possible in our country. This obviously incapacitates these firms to pay enough for the highest quality of the artistic finish of the product.

We believe that all conditions for creating valuable industrial product design are available to us. However, the great possibilities of our industry impose a great responsibility on those who approve these items for production. In this circumstance, what role must be played by designers?

We believe that the samples for production should be selected and approved by a responsible industrial manager, taking into consideration the recommendations of specialists, designers included. However, we realize that such a manager may not have enough artistic culture to realize and fully understand the ideas of designers. To compensate for this possibility we are going to create what you call a national council, or what we call "All-Union Expert Council" to consult industrial managers whenever he is at odds with his designers' council. Such a solution will give our designers more confidence, boosting their prestige.

What is more, it will contribute to the improvement in the artistic merits of our industrial products.

What moral responsibility is placed on the designers and what is the essence of their work.?

CA, September '61

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25

Yuri Soloviev (cont'd)

WITH THE NEW

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I believe that the industrial designers bear a great moral responsibility before the whole society. Industrial designers can influence greatly the aesthetic upbringing of the people. It is for the industrial designer to mold the aesthetic tastes of billions of men and women of the Earth.

Truly, not every inhabitant of our planet can enjoy such kinds of art as painting, theatre and even cinema if only due to the shortage of time. But each man has-or is supposed to have-his dinner, each man works, creates and rests, and all things material surrounding him may be made the works of art.

There is no_thing new in this requirement. The world history of culture knows many examples, when articles of general consumption were works of art. What is new is that while previously these were unique and highly expensive articles designed for the privileged few, presently they are readily obtainable and national articles of popular consumption which can and must belong to many, fully retaining exquisite artistic merits. Unfortunately, we haven't yet achieved such a state of affairs.

Due to the extremely small "population" of designers and due to inadequate understanding of the requirements of our time, the entire industries of many countries continue to produce from valuable materials inferior products, void of any artistic merits. Materials, working time, valuable machine time are practically wasted in their production. This is an unpardonable waste of intellect and material valuable on our whole planet. This process must be stopped with the help of all means of persuasion and mass communication - by press, cinema, radio and television.

The essence and aims of industrial design should be broadly explained.

But this alone is of course not sufficient. Designers themselves should continuously improve their artistic skill, they should acquire new technical knowledge. For their practical achievements, more than anything else, can accelerate considerably the recognition of industrial design as one of the main features of modern civilization.

The designers should be invariably conscious of their great responsibility before human society. Conscious of the fact that a designer is a plenipotentiary representative of men in the industry, he must not only be a negotiator between consumer and industry, but is supposed to foresee such a growth of human demand which he himself cannot presently conceive.

We and you, all of us, men of different countries, should keep in mind that a designer is a representative of a rare profession serving man. It is my sincere belief that "designing" is one of the best professions for maintaining international contacts, as the exchange of ideas will result in the improvement of qualities of designs and products.

Nobody can lose; man will always be the gainer. Collaboration of designers is a road to progress.

Sole Distributors:

•

USA: JOHN HENSCHEL & co., INC., New York

CA, September '61

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27

speed ball does either with ease Artists for years have known the quality of the Speedball Products ... 5 styles and 36 points plus 4 steel brushes. With this combination you can produce drawings that will earn immediate approval.

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~

~RS ~~ 6 '"' I····) CA , September '61

"'Magnifique strategie !

Buy a Coast Book Cover for your catalog, parts, price, sales, & technical manuals. Cest bonloose-leaf covers in vinyls, lexides, fabrikoids ! 'Noble cover decoration, too I 1ast service.

Phone our field strategists in Los Angeles: O'Verbrook 5-7600, San 1rancisco: DOuglas 2-2174, San Diego: CYpress 8-6386, Portland: CApital 8-8508, Seattle: 'Main 4-7997. 'Write: 2930 COAS1 BOO'K CO'VER: a 'Hammermill subsidiary.

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

Do-it-yourself Catalog Cover A standard 3-ring vinyl-covered binder. The front cover has a clear vinyl window with a removable chipboard stiffener. Any 8 Vz x 11 sheet may be pasted to this stiffener and reinserted in the window. There is also a small window on the spine in which names, titles, trademarks, etc., may be inserted. To change or update the cover. a new sheet can be pasted over the previous one. $1.25 each (in white or gray) from Coast Book Cover 2930 So. Vail Ave., Los Angeles 54, Calif.

Pariscraft A high strength surgical gauze developed by Johnson & Johnson to which a thin coating of plaster of Paris has been applied. By cutting and wetting, the material can be molded, draped, or modeled to any shape. It will dry in minutes and can be painted immediately with oils or water colors. When dry, it can be drilled, sanded, or filed without chipping. Available in rolls approximately 5" wide and up to 5 yards in length. Sold only in 20 lb. cartons containing an assortment of rolls for $9.75 f.o.b. factory. Write Larry Foster, Johnson & Johnson, New Brunswick, N.].

28

Copy-Prep A specially prepared bond paper that has been painted white, resulting in a non-glare surface for carbon-ribbon typewriting. The sheet will also take pen and ink without feathering. The back has been treated to make it stay flat and prevent rubber cement or solvent from bleeding through. Send for a sample and literature or a box of 100 for $4.25. Fototype Corp. of N.Y., 1199 Broadway, New York 1, N. Y. or Fototype Inc., 1414 Roscoe Street, Chicago 13, Illinois.

'Name _________ Business _________ Phone _ _ _ _ _ _ __ Address _ _ _ _ _ _ __ City State JCA·96\

Gear Track Register Unit A line-up unit which is easily installed on any light table. Consists of a horizontal 2" wide stainless steel straight edge which is geared to travel the entire distance of a table and keep in exact parallel from top to bottom.

Equipped with a locking device and CA, &ptember '61

available in 12 sizes from 24" to 76" wide and priced from $122 to $260 f.o.b. factory. Also included is a 12" 30° / 60° stainless steel triangle. For more information and ordering instructions write for catalog #30 which also describes a portable gear-track light table and numerous other types of photo-mechanical, storage and composing room equipment. William Lesko, Foster Mfg. Co., 140 No. 13th St., Philadelphia 7, P.

Literature for your files " ... as mentioned in CA" A request on your letterhead will bring you any of the following pieces .. . free unless otherwise noted.

"W ebway Signs" . .. an illustrated folder

and samples describing the Webway system of producing signs by using diecut gummed letters (cut out of 20-pt. glazed cardboard ) which are arranged alphabetically in trays. The HolesWebway Co., St. Cloud, Minn.

"Day-Clo" .. . color guides and literature describing fluorescent printing inks for both litho and letterpress. Switzer Bros. Inc., 4732 St. Clair Ave., Cleveland 3, Ohio, or Gans Ink & Supply Co., 621 E. 3rd St., Los Angeles 13, California.

"Folio" . .. specimen sheets of Folio Medium Extended from 8 to 66 pt. in both Roman and Italic; Folio Extrabold from 14 to 66 pt. Bauer Alphabets, Inc., 305 E . 45th St., New York 17, New York.

"Kidjel Cali-Pro" . . . literature describing a new instrument and system of proportioning. In return for a request for this literature, $10 will be applied to the purchase of the instrument and textbook which sells for $25. KidjelYoung, Dept. 2, 1012 Piikoi St., Honolulu 14, Hawaii.

"Essdee Scratchboard" ... a folder and samples of white and black scratchboard. The Morilla Co., 12-12 Bridge Plaza So., Long Island City 1, N.Y. "Type Idea Folders" . .. a series of 7 pocket-size folders showing how various type faces have been used in the design of cards and announcements, tags and labels, booklets and folders, personal and commercial stationery, business forms, initials and holiday ornaments. Contact your local ATF type dealer or write to American Type Founders, 200 Elmora Avenue, Elizabeth, New Jersey.

Morilla Index to advertisers Advertising Typographers Assoc iation of America . . . . . . . . 8, 9 Amsterdam Continental Types & Graphic Equipment, Inc . . . 4 Art-O ·Graph , Inc. . . . . . 26 Charles T. Bainbridge's Sons . 23 Bauer Alphabets, Inc . . . . 9 Bienfang Paper Co ., Inc. 7, 8 Blair Art Products . . . . 12 Arthur Brown & Bro., Inc. . 5 Coast Book Cover . . . . 28 Craftint Manufacturing Co. 12, 13 Crescent Cardboa rd Co . . . . . 20 Delta Brush Manufacturing Co . . . 19 Eberhard Faber Company, Inc. . 2C Esterbrook Pen Co . . . 21 Grace Letter Co., Inc. . . 24 Graphic Arts Buyer 31, 32 M. Grumbacher, Inc. . . 27 The Headliners International . 6 John Henschel & Co ., Inc . . . 26 C. Howard Hu nt Pen Company . 27 Hurlock Bros. Company , Inc. . 25 Johnstone & Cushing . 24 Kidjel ·Young & Associates . 23 Fred Kopp Advertising Art . 4C Magee Incorporated . . 11 Maker Products Inc. . . 24 The Marilla Company . 29 National Card , Mat & Board Co. . 17 Philadelph ia Art Supply Co . . 29 Sa rai Paper Co . . 30 Rik Shaw Associates, Ltd. . 30 Shiva Artists' Co lo rs . . 18 Steig Products . . . .

12, 24, 29 Strathmore Paper Co. . 15 Ha rry Volk Jr. Art Studio . 5 Washington School of Art . 24 Martin J. Weber . . - . . 3C

. .. di stributors of s uch fam ous papers for artists needs as Canson MiTeintes, Vidalon Tracing, Ma rilla "Board" N o.

1059 - recomm e nd s ES SD EE Scratch Board.

You will enjoy i ts unusual versatility, ease of use, low price and gratify i ng results. Try it you r self and see why it richly deserves its n ation-wide acclaim.

•

British

SCRATCH BOARD The most delicate lines can be scratched without chiJlping. Perfected surface offers an infinite variety of treatmen ts.

and it is inexpensive!

Sheets 11xl4" White or Black Sheets I 9x2S" White or Black Smooth or Stippled Surfaces

The

Ask you r dealer about :'vforilla's "ESSDEE" but accept no substitutes.

Samples and folde r

on request

MORILLA Com pan)' 12-12 Bridge Plaza So., Long Island Coty 1, N Y. 425 s Wabash Ave., Chicago 5, Ill .

706 So. Magnolia, Los Angeles 5, Cal.

29

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

Philadelphia Art Supply Co.

(MUrray Hill 2- 1438)

Philadelphia 's most complete stock of art and drawing materials

Pa lo Alto Office :

Betty Fairbank, Advertising Dept.

The Journal of Commercial Art 809 San Antonio Road Palo Alto, California

• BOURGES SHEETS • CRAFTINT • ZIPATONE • KEMART MATERIALS • ALL GRAPHIC ART SUPPLIES

(DAvenport 6 -6040) Ch icago Office :

Joseph Lambin, Sales Representative 4037 N . Mozart Street Chicago 18, Illinois

SEND FOR OUR 200-PAGE CATALOG ON YOUR LETTERHEAD

(JUn iper 3 -332 5) PROMPT DELIVERY AND MAIL ORDER SERVICE

LUMA MOST BRILLIANT OF All ARTISTS' WATER COLORS

I

_..:

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

Clean . Fast . Flat

CA , &ptember '61

Print that Matters WE PRODUCE PHOTOGRAPHIC EXHIBITS •.• AND

Graphic Humor, A complete course in professional cartooning

by Stan Fraydas Reinhold Publishing Corp., 430 Park Ave., N.Y. 22 $7.50

LIGHTBOXES? ANY SIZE

write for RSA glossary of 781 photographic services

RIK SHAW ASSOCIATES, LTD. 250 W. 57 ST .. N. Y. 19, PLAZA 7-3988

TRANSFER TRACING •

ERASES LIKE PENCIL

SEND $1 for an introductory pack of 5 sheets (8Y2 x 12) GRAPH I TE-for dark on light surfaces YELLOW-for light on dark surfaces WHITE-also for light on dark surfaces BLUE-for mechanicals (non·photographic) RED-for glossy surfaces (acetate, photos, glass)

Boxed Rolls (12 ft. x 12Y2 in.) $3.50

SARAL PAPER CO., 5 Tudor City Pl., N. Y. 17

30

A ~AJl~OP IrA~Lm(,)(,)(,) the one about ... the stealthy art director Oncet there was an art director in an agency with lots of names who wanted to "get ahead" and be a vice president ... he subscribed to The Journal of Commercial Art to learn more and be inspired.

But to make sure he got hold of CA first every month, he had to come to the office an hour early.

One day he was caught grabbing the only copy of CA Today he is vice president, because the person who caught him was the president, and he admired art directors who came to work early.

Moral ...

Unless you want to be a vice president, get your private, very own copy of CA and sleep late.

The author, a cartoonist himself and an instructor in graphic humor at New York University, has prepared an instruction book suitable for either classroom text or do-it -yourself at home use. Going a good step beyond the usual how- to -draw- cartoons -in stick-style, Mr. Fraydas offers a great deal of information on and preparation for actually launching out as a cartoonist, or cartoon-type illustrator.

The opening chapter, "The Cartoonist's Career," gives detailed guidance on preparing a portfolio, the beginner's job, free-lancing, fees, percentages, drawing accounts, ad agencies, artists' agents, examples of unethical dealings, the code of fair practice. Fundamentals of printing processes are given, also preparation of art for reproduction. A chapter on how to build a reference file-with file headings spelled out-makes one think this might be a good high school text to guide the thinking and planning of incipient commercial artists.

An interesting section on cartoon styles reproduces pieces of some major cartoonists, with analysis of their individual styles and working methods.

"Cartbo~ ist 's Markets" comprise a helpful chapter. Hard cover, stiff price, 128 pages, a few in two-color.

Art & Industry The principles of industrial design

by Herbert Read Indiana University Press, Bloomington , Indiana

$1.95

This book, first published in 1934, has been reprinted and revised many times; but the relevance of the author's concern (new esthetic design needs for the machine age of mass production) and his outlines for possible progress are as valid now, 27 years later. In prefacing this new American edition, Herbert Read-world recognized art critic-states that only in the field of engineering (including architecture) has there been any real advance in standards of industrial design.

He laments that in those arts where personal taste is involved (textiles, CA, September '61

ceramics, furniture, wallpaper, etc.), "there remains the massive inertia represented by manufacturers and consumers, intangible groups that combine to 'pass the buck' to each other-the buck in this case being the responsibility for the perpetuation ... of design that has neither beauty nor efficiency."

Having started on this somewhat negative note, the author goes on with a very positive, constructive, penetrating presentation of background problems and development of functional design -going back to ancient times and working forward with historical and theoretical explanations of why things are as they are today. He feels the change which must be effected, if we as a culture are to evolve a worthy esthetic of design, will come primarily from a fundamental reform in education. He goes into this factor thoroughly, not at all pedantically.

The second half of this pocketsize book is en ti rely illustrations -well chosen ones, of all types of designed products of daily use, from all eras of civilization. 240 pages.

Rodin's Gates of Hell

by Albert E. Elsen Published in 1960 by University of Minnesota Press 2037 Univ. Ave . S.E .. Minneapolis 14, Minn. $7.50

In this first full-length monograph on Auguste Rodin's greatest work, "The Gates of Hell," the author, an associate professor of art at Indiana University, has accomplished a remarkable book about a remarkable work of art.

Rodin was commissioned by the French government in 1880 to do a portal for a museum. His concept, based on Dante's Inferno, consumed his creative energies for 37 years, remained unfinished at his death in 1917 (The Thinker was a predominant element in the vast design). The creative process of the sculptor - his philosophy, artistic integrity, techniques, associates, cultural influences-is explored with interest and appreciation.

The book is beautifully illustrated with 103 photographic plates, delineating Rodin's work at all stages. For art lovers, professional or amateur, this revealing study is an inspirational best buy. 160 pages.

ART AND PRODUCTION

~~~~~~

~~~~~

A demanding profession, this field of graphic arts ... one which keeps you searching for new ideas, new techniques , new ways to communicate visually.

Reading la is one way the professional (Art Director and Production Man alike) keeps up to date. Another is with the new national edition* of GRAPHIC ARTS BUYER. Where la describes what's new in commercial art, GAB covers the field of production.

With an editorial format built on the principle of "show and tell," GAB is filled with significant articles, sparkling illustrations and actual demonstration samples of the newest in production processes and techniques. Every issue is a " special " one. Nine times a year GAB brings you up to the minute on paper, printing, typography, P.O.P. and related graphic arts materials and services. If you subscribe right now, you'll receive the most ambitious "special" of them all . . . the July-August Process Comparator issue! Worth the $9.00 subscription price all by itself.

Just use the postage-paid reply card below to start your subscription to GAB now.

• GAB has been successfully published only for the New York-Philadelphia market area until the establishment of the national edition in September, 1961.

SHOW MEI 0 I want the extra special "processes" issue too and accept yo ur offer of a year of GA B and a copy of the "processes" for a money saving $10.00

Send me a year of GRAPHIC ARTS BUYER so I can see this fabulous showand-tell publication. It's agreed that if I do not find GAB beneficial in my job performance Duralith Publishing will refund my nine dollars!

0 1 year of GRAPHIC ARTS BUYER (9 issues, each one special) for $9.00.

0 Please bill me O Cash or check enclosed

Name ....... . ................................. . .

Company ....................................... .

Address .............. . .. . .................... .. .

City ............ . . . .Zone .... State ............... .

Give us your title a approximate compa expendit~·e for Grap ~ Arts materials and se1 ices and we'll extend yo subscription to 10 1ss

YOUR TITLE 0 Sales Promotion Mgr JAdvertising Manager 0 Ad Produ ction Mgr. Art Director or Artist Graphic Arts Buyer Purcha sing Agent 0 Publi c Relations Exe1 0 Corporate Executive Sales or Managemen

COMI ANY EXPENDITU. under $10,000 0 $10,000 - $50,000 0 $50,000 - $100,000 =:l$100,000- $500,000 $500,000-$1 millior over $1 million

Mid-Year, 1960

GRAPHIC ARTS

BUYER

STORY OF THE PROCESSES

A comprehensive manual printed by screen process, lithography, letterpress, sheet fed gravure, web offset, and photogelatine.

COLOR ON COLOR

An experimental demonstration of printing color on colored stock. Seven different papers and ten ink combinations were used.

ART AND PHOTOGRAPHY

The fine art of preparing art and photography for the printing processes plus a comprehensive "package art" survey.

•.! \lll.1 1

d'I~

,BUYER MARCH. 1961

THE LIGHTWEIGHT STORY

The whole issue is printed on 35# stock to demonstrate practical use of lightweights. A special opacity demonstrator is included.

ACCENT ON TYPOGRAPHY

A manual on type design, the uses of type, and type recognition. A trip to Mergenthaler shows the techniques of type design.

PROCESS COMPARATOR

A unique reproduction comparison of art techniques by five different printing processes on an assortment of different papers .

•

FIRST CLASS PERMIT No. 21203

Philadelphia, Pa.

BUSINESS REPLY MAIL No postage necessary if mailed in the United States

GRAPHIC ARTS

BUYER

Publishing Division of Duralith Corporation l 025 RACE STREET PHILADELPHIA 7, PA.

This is what GAB readers received last year and still ahead is the September Direct Mail issue, the October Creative Paper Sampler, the November P.O.P. issue, and the December Antiquity Special.

Plans for 1962 include a Color Annual and more issues as significant as those noted here.

1111111 '1111UIB1&JllJIB1 A bit early?

Then let us be the first ... to remind you that the Post Office would really like to have your card in the mail in about two months.

This year, if that resolution to plan ahead is going to stand up, it's just about time to get started.

Drawing by Gene Holtan for the Lansdale Company, Los Angeles advertising agency.

Printed on an 8!12 x 33 piece of brown wrapping paper, the copy message was in the form of a rubber stamp printing: "Christmas Greetings Expressed-The Lansdale Company."

CA, September '61

33

34

Christmas greetings of West Associates designed by Lloyd Chase. Folder, cover shown upper left, contained a title card and twelve individual cards for each day of the poem .

Printed in three colors, card size was 3 x 3.

waRm SPIRlt, JOY anb rest1v1ty asounb • • • CA, &pU'mber '61

Personal card of Don Nichols, Associate Professor of Graphic Design, University of Buffalo. The qualifications on his design were a limitation of two press runs , one.side, printable on a multi·lith.

12 x 91.4, accordian·folded to 4 x 91.4 .

happiest holiday greetings ... peace and friendship throughout the new year /

Creative people are just as inclined to show pictures of their children in their cards, but they are also compelled to devise imaginative means to do this.

Jack Herrick of Hal Lawrence and Associates, Palo Alto, conceived this approach. The inside spread copy is shown at right.

rUckwith REd wheeLs ~ d a boat and two g solDier& - •• anD a Lt AND bat.':'*452' a Lttle SISter too.,.

1d A TRactor and tw........- LTH a gunand a gun ' ~menT MixEr and a s \ r with ped qls and 1d t W2 hOlsters and Kt zx Bl g ceMent MI ~d W agon like Alex

don nichols

aND mosT oF aLL

A meRRy chRiSTmas to EVErybodyl&l# and THanK yoU SanTA Claus. sTe v eN

and Patty

and Jack Herrick too l

Irving Miller, New York, translated the family into hand puppets. Accordian -folded to a 3Y2 " square, an "identification" family photo appeared on the back.

ChR1stmas IS a time ~OR the ch1lbRen • • • CA, September '61

35

ChR1stmas 1s a t1m€ ~OR B€auty, physical CA, S eptembeT '61

Upper left. Designed by Bud !slinger for Whitaker Guernsey Studio, Chicago, this card featured white ink on wh ite parchment paper, utilizeCf the see through characteristic of the paper.

The fli ght of birds designed by Teresa and Tom Woodward, Los Angeles , also utilized the white .on -white parchment. 914 x 12.

Lower left. Card by Ken Ireland, Portland , Oregon , was hand printed-sponge and acetate stencil-on colored stock. 12 x 6.

Card by Rev. Ramon J. Verostko , OSB , Saint Vincent Archabbey , Latrobe , Pennsylvania . 6 x 9, black on brown stock.

Illustrat ion from a card by Charle s Shorre , Houston , Texas . Shown one-half size .

B€auty anb sp1R1tual B€auty ...

CA , September '61

Exhibit

38

w w T IS

T

T

F

3

2

4

3

10

•e

11

10

'11

F

7

F

8

6

4

12

11

8

I

e 8

13

13 11 17 14 18 18 111 20

24 23 20 2IS 24 21 21 215 22 27 28

21 31 30 27 A

M

A

p

A

R.

R.

28 y

11

11

11

Slide for the Spring quarter, ll~x5, Hamilton Andorra Cover. Windows in carrier pick up every third row of numbers.

CA, September '61

The end of the year also means the time for preparing next year's calendar, another favorite challenge to artists. Here is one, more elaborate and more ingenious than most. Designed by Edward DeMartin, it is one of the Du Pont ''Design and Colored Paper'' series promoting the imaginative use of commercially available colored papers as the foundation for effective graphic design. Art is by Bernhard Sperl.

The calendar, 123/4. x 15, utilizes a variety of brands and colors of paper. Shown here is the Fall quarter on Arthur Schroeder's Pine Tree Cover No. 94 (Rainbow). The black carrier for the calendar slides is Peninsular Tuscan Cover. One slide was prepared for each quarter and the month is advanced by moving the slide to the left until the next month comes into view. At the end of the quarter, the top slide is removed.

"Quartette," a lino print by the late John Averill.

Though widely known and respected for his commercial art, it is even more for his prints and '•Seed Corn, '' productions of his of his Molehill Press, that J A will be long and fondly remembered.

The story of "Seed Corn" begins on page 48.

CA, September '61

40

These ads may have very little in common in their physical appearance or in the points they are inteded to get across ... but they struck us as having a great deal in common in other ways. Each is presented with the ingenuity and appeal to be noticed, but none of them had to become an involved production or have the design get in the way of the message to accomplish it.

Ad for WBT Radio, Charlotte, by Sudler & Hennessey, Inc. Bernie Zlotnick, art director and designer.

U.S. Steel ad by BBDO, Pittsburg. Arnold Varga, art director and designer.

Ad for Hal Stebbins Incorporated. Lou Frimkess of Advertising Designers, art director; Joe Wes ton, designer.

CA, September '61

one board is worth a thousand wires

The indunrial world was SC'l buzzing in the early 1900's by a

remark.able new plastic. The long cha in phcnol·formaldehydc polymer (which could be dissolved or melted) had been properly combined with the magic of heat and a1.alyst to fonn a phenolic

resin that has become one 0£ the most useful plastics in the world.

on the business of soliciting business:

But we doubt that anyone dreamed that this plastic would be

To survive and thrive, an advertising agency must have billing. To refresh and regenerate itself, it must add new billing to old billing. How it goes about getting this new billing is an important index to its basic philosophy. Let w see how this yardstick applies to this agency. We are not ambulance.chasers.

We do not dash madly after every account, large or small, heralded in the trade press-or in the rumor factory-as "open" t0 agency solicitation. And with good reason: No agency can hope to be all things to all advertisers. To be worth ics sales-salt, an agency must be versatile and adaptable; must be familiar with business on many francs. It must al.so have courage. For, within the framework of a given industry, it is conceivable there wilt be one company that will be in greater rapport than the others - that will mesh more quickly and sympa· thecically with the creative and marketing_ phi losophy of that agency. The problem is to single out that one. This is why we do not believe in hit-or-miss speculative presentations. You have to know before you go. You have to rejecc before you select. Besides, in our copy-book, the clients we have come first.

They are entitled to the full time of our top talent. Moreover, we do not believe in the questionnaire method of screening agencies. A client-agency relationship is, in a very real sense, a marriage. And who would pick a wife on the basis of cold, colorless statistics on a sheet of paper? Call it banal and bromidic if you like. but the fact remains : The best way to "solicit" new bwiness is to attract advertisers to you because of the outstanding job you are doing for other advertisers. And when we say "outstanding" we don' t mean "oddball:' It is easy to be eccentric. It is difficult to be distinguished. Today with so much clamor for the public eye and eat - SO much competition for the same segment of the same dollar-advertising that is not oucstanding doesn't stand a chance. So when you choose an advertising agency-count heads, not desks. What is important is the fur n iture "upstairs"-not the furniture "downstairs:• You can't measure an agency by the simple slide-rule of mathematics. The number of peopJe on its staff is no real key to ics capability-or its suitability. Bigness is not necessarily goodness. What counts in the finals is the skill and seasoning of the men assigned to your account; their character and calibre; their creative spark and sales-sense. In short: What you want -and should get-is an ad-mixture of star dust and pay dirt. If you are int e r ested in that sort of adve r tising agency, we are i n te rested in you.

an electrical highway for television scu. Phenolic laminated paper is far and away the most widely used baM for printed circuit boards because it 's so low in cost, so readily available, such a good

clea.rical insulator, and such an easy material to punch and shear -even when cold .

Taylor Fibre C.Ompany, Norrinown, Pa. , is one of the leading suppliers of paper base phenolic laminates for electronic applications. And a subsidiary of Taylor Fibre, Dytronics Incorporated , uses the laminates to produce die uamped circuits. The die stamping process-using a metal cuuing die innead or the older etching method- has been another step forward in printed circuitry's replacement or hand wiring. The cost has gone down and the quality has gone up in thousands or electronic components-and the results have nmgcd everywhere from better TV pictures to more dependable rockets.

Because dependability is the keyword from start to finish of primed circuitry, Taylor Fibre uses laminating resin made from 1he highest possible quality tar acids, from United States Steel.

Chemical Sales Offices in : Pimburgh, New York, Chicago, Salt

,,......--..

-.--

Lake City, and Fairfield, Alabama.

.._ . y_ .•,_ .,.,.,,..c... .°""""'A.ioi

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

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

~Chemicals

H al Stebbins Incorporated: advertising 7:14 West Olympic Boulevard, Los Angeles 15 1 California.A fully staffed, nationally accredited organization with a 35-year background in advenising and marketing.

Mnnhr: Amfflc11nA.11pd.liono/ AJJ1n'li1ing Ag~1S&ie1: A.JJ1n'lising A11oeit11ion o/ lh• Witsl.

CA, September '61

The problems of graphics for architectural presentations and sales literature have a long history of ill-planned, obvious and/ or expensive solutions. In many cases, no satisfactory solution was ever arrived at, just an economic compromise that more often than not defied function.

The problems to be solved were challenging ones-short runs, desire for color, impact and quality clashing head-on with the lethargy and buget limitations that often accompany the "unfortunately necessary" but not measurably productive expenditures.

No good solution could be forthcoming until the right combination of knowledge in function, architectural design, graphic design and graphic production could be put together. It has.

CA visits an outstanding example-producing some impressive work-the studio of

6-color silk-screen reproduction on 20 x 26 Strathmore Rhododendron Cover for Cabot, Cabot & Forbes, Inc . Ladd & Kelsey, AIA.

"I feel that we obtain a better architectural feeling in the illustration by applying selected colors which are more intense than they would be in actuality."

This statement by Carlos Diniz is a key to the evolvement of his success in the preparation of architectural presentations and brochures.

It opened an avenue of departure from the traditional color renderings that had usually consisted of a loose, dramatic sky, tighter but stylized trees and a very tight rendering of the building or house. Severely limiting the artist in any attempt to project a feeling, the forced perspective, strong color and stylized backgrounds frequently created a sensation of artificiality and exaggeration.

CA, September '61

tt

•••• .,.~-

tt

dining terrace

'

Queen Emma, Honolulu .

Yamasaki, architect.

Another serious weakness with the full-color painting was the difficult and expensive production problems that resulted. The function normally called for quantities that were totally incompatible with the economics of color reproduction. An optimum point was plotted-below it photographic color prints were more logical, above it color separation and printing had a lesser cost per unit. Budgets had to be rationalized by the importance of the stakes, but frequently the expense of color ruled it out.

Conversion of the color originals to black and white revealed problems of color compatibility that even reversed areas of light and shadow. The ethereal skies, in black and white, occasionally affected a sensation of "being on the fringe of Hurricane Carla." Retouching or repainting the copy photo could sometimes solve the problem. Gen· erally, the creation of a companion piece of line or halftone art was the best solution.

Each assignment is a custom situation, the function varying with the needs for direct presentation (for financing or approval), advertising and sales literature, or publicity and editorial reproduction. Frequently all of these areas are encompassed and many times it is difficult to anticipate, in the early planning stages, just what flexibility is going to be required of the art.

Summarizing the problems that a good architectural art solution must answer: (1) to produce a better architectural feeling-imparting drama and appeal while main· taining believability; (2) to control production problems and relate the production economics to the usually short runs; (3) to offer a flexibility in the art that will allow it to be easily adaptable to a variety of uses.

Diniz utilizes line art as a base. Regardless of the apparent or immediate use, he makes a record line negative at this point. Then the original art or a print from the line negative can be developed in almost any direction with overlay color separations for silk-screen or litho reproduction, a painting in any medium, black and white halftone art, or further development into a completed line drawing.

Using silk-screen reproduction, he creates as many "originals" as necessary without an undue cost factor. A rendering in 20 x 30 size with five or six colors on a colored stock can compete favorably in price with any photographic process for even very limited quantities.

His development of the art begins with a selection of the right color and texture of papers. Most frequently his selection is made from Strathmore papers, but sometimes the subject may dictate something else. His renderings for the Korean exhibition at the coming Seattle World Fair were produced on rice paper.

Placement of the drawing on the page helps orient the relationship of space to the location and function of the building. Use and selection of color completes the Continued on page 62

CA, September '61

9TH ANNUAL WESTERN STATES PRINT COMPETITION sponsored by the Professional Photographers of California.

259 photographs were chosen from entries by photographers of Western U.S. and Canada.

Selections were made in three categoriescommercial, industrial and portrait.

An innovation for this year's exhibition was the independent awards given by five non-jurying critics and based on their individual viewpoints of merit. These critics were: Ted Poyser,V.P. and Executive Art Director of Gaynor and Ducas, Los Angeles; Jerome Donson, Director of the Long Beach Museum of Art; Richard Stolley, Life Magazine Bureau Chief, Beverly Hills; Kenneth Ross, Director, Municipal Art Department, City of Los Angeles; Millard Sheets, Director of the Los Angeles Municipal Art Gallery. Selections shown here are from the art director's viewpoint, chosen by Ted Poyser. His Special Award went to Ricardo Lopez for"Design in Blue" (page 47).

A portion of this exhibit was shown recently in New York City at the national convention of the Professional Photographers of America, received critical acclaim for its high degree of "creative freshness."

45

3

2

"5075 Lerco Lug Soldering" Hal Sobotker, Pasadena 2 "Mushrooms" Dennis Hodgson, San Francisco 3 "Zero Launch" Robert L. Schrader, Los Angeles CA, September '61

4

5

46

4 "Ion Gauge" K. Gordon Maughan, Pasadena

5 "Steel Mill" Jason Hailey, Los Angeles

6

6 "The Red Valve" Ray Simpson, Fullerton

7 "Still Life" Dennis Hodgson, San Francisco 8 "53 Kaiser Building" George Thanos, South San Francisco 9

"Surgeon" Rene Laursen, Santa Ana

10 "Design in Blue" Ricardo Lopez, Fresno

CA, September '61

7

8 10

9

CA, September '61

SEED CORN House organ of the Molehill Press.

John Averill, prop.

48

amer1corna Old George and Young George, father and son, did chores for the summer people at a Michigan lake. They were reasonably efficient but once in a while something of value got misplaced. If you mentioned the loss to Old George, but expressed confidence that the sheriff would find it, the missing object would show up. One day our good friend, Marguerite was buttering up the two Georges in hope she could get them to find time to do some extra work for her.

She told Old George that he was a very fine man and that Young George (SO at least) was a chip off the old block.

The two Georges ate it up. "Young George here," said the father, "has always been a good boy, always minded me and his maw and aint even ever been away from home." " 'Ceptin' once for 30 days,'' corrected YG.

CA, S eptember '61

J A was one artist who did not need to travel, to plunder the libraries, or to surround himself with a harem of comely models. The world about him provided subjects in rich abundance. If he did not find what he wanted in the streets and alleys or the zoos of Chicago, it soon turned up in memories of his youth along the Old Mississipp '.

Human critters he used quite a bit. He would sometimes look at a sketched figure and remark: "That looks a little like old Dunk Zopperlee." And he would add a beard-just in case. Animals, of course, rarely bring suit for invasion of privacy. So, like Aesop and the old monks, J A drew heavily upon the Kingdom of the Beasts for his humor.

He did wonders with the barnyard tribe. His Cocks and Hens would have delighted Chaucer. His suspicious Billygoats and cud-chewing Nannies-his fancy Nags, sway-back Cows, and turbulent Bulls-all had personalities such that they never could be mistaken for any others of their kind on earth or in outer space. . . . Harry J. Owens

Nothing more typifies the Averillian art and humor, so fondly remembered by his fellow Chicagoans and more distant John Averill admirers, than the printed pages of

Seed Corn.

"The house organ of the Molehill Press," as he termed it, first appeared in 1949 and approximately four times each year thereafter until his death last year. The Molehill Press, located in the attic of the Averill home, was an ancient Jones clamshell press that he described as having "escaped the scrap drives of two world wars."

The first issue contained more drawings and less copy than those to follow, but it portended the choice reading to come. "Printing is a wonderful hobby," he stated, "far more enjoyable to me than yachting, golfing, hunting, fishing, etc., for it keeps me out of the fresh air. Like all hobbies, printing takes considerable time ... but the hours one usually spends at shoveling ashes and snow, mowing grass, washing windows, repairing things, etc., are ample."

Some of his drawings were printed from engravings but most were from linoleum blocks. Printed on an inexpensive and coarse paper, they produced some wonderful textural qualities. The type was Monotype Baskerville, handset. Writing in the first issue he said, "The type house that cast up this case of 14 point filled all the less used boxes to overflowing but shorted me on the most often used letters. This is positively my last "a." From here on I must substitute letters I hxve in xbundxnce for the one mentioned. I never rexlized before the probxble origin of the term "out of sorts."

In the early issues, the type aligned beautifully. Later, obviously set from a case filled with a mixture from several casts of varying alignments, the type bounced considerably. But this only added to the delightful, homely quality of the publication. To a question of why he always set the copy in Baskerville, Averill answered, "If you only have apples, you can't make a cherry pie."

CA, September '61

49

Miss La Vina taught the second grade. She was very modest, even prudish, but had a figure that would have made her fortune in burlesque. Had we had tv in those days and had she appeared with a plunging neckline a lot of picture tubes would have melted.

One day in spelling class she wrote the word f-e-e-t on the blackboard. She asked my cousin, Bryan, what the word was. Bryan had just moved in from the country and was very shy. When he mumbled that he didn't know, Miss La Vina trying to be helpful, said, "Of course you do know, Bryan, I have two and a cow has four." Bryan made a bad guess and to this day blushes when he recalls his answer.

50

He had the remarkable ability to see great humor and philosophy in the little episodes of everyday life. Sometimes he included anecdotes as told to him by friends, but mostly it was stories from his boyhood around his father's "reform" newspaper, or current happenings to a squirrel ir. the backyard, a stray animal, the neighbourhood, his succession of dogs- Kurt, Cornelius, Blenda. His favorite vehicle was the adventures that befell his own family his daughter "Liz," Anna Marie (Mrs. Averill, whom he often referred to as AM) and himself (always J A). A typical incident would be reported as follows: Anna Marie said, "You need a haircut." I paid no attention to her for she had been saying this for weeks.

She went into the pantry and began moving things around.

Pretty soon she came out with a mustard jar half-full of quarters. "Look!" she said, "if you will get a haircut the house will pay for it." She tried to hand me six quarters.

I refused them-it wasn't enough - no tip money. The phone rang while we were negotiating. It was a call from Minneapolis. I whispered to AM that it was an invitation to talk to the SAAD. When she heard me accept she took her quarters to a new hiding place. When I agreed to take the six quarters she reneged contending that the haircut was no longer a social luxury but a must for business reasons . So freshly barbered at my own expense I went

to Minneapolis where I was treated real nice. AM was glad to see me when I got home and contritely promised that if I got another invitation to speak and needed a haircut she'd pay for it including tip. Ten days later I was invited to Cincinnati. When I asked for the haircut money AM looked me over and decided I didn't need one. So I had to give my talk in Cincinnati with the Minneapolis haircut.

A regular feature of Seed Corn was the popular "See your name in print" column. This was a listing of a name and one occupation for a price of one dollar, or a "special bargain rate" of three listings for two dollars. Samples : Bob Middleton, printin ' type; Ben Grauer, talker; Leo Burnett, quidnunc; DeForest Sackett, hybrid corn ; Maurice Needham, birdman; Fred Boulton, still w ondering; Len Rubenstein, ceramist; Tommy, bartender. The purpose of the column was fun, and to pay the materials expense for the publication.

The column grew in popularity to more than a hundred names per issue. With a limited run (about 300), issues of Seed Corn rapidly became collectors' items. A copy went to each of the names in print and the balance was divided among friends and potential clients on a rotating mail list basis. The only insurance for receiving every issue was a name listing.

A memorial book, John Averill 's Seed Corn, is now in production, due to be released late next month in a limited edition. Mr. Owens' quotation is excerpted from his very moving introduction to John Averill. The book is a non-profit publication undertaken as a joint effort by Chicago's Society of Typographic Artists, Artists' Guild, Art Directors Club, Cliff Dwellers, and Caxton Club. A compilation of the "best of Seed Corn," it will be a handsome production-to be bound in a cover of bright red cloth to match the bright red shirts that J A was noted for wearing. It will be well worth the five dollars (four dollars for a pre-publication order before October 20). A coupon for ordering this book is on page 61 .

CA, September '61

Artist's haven't changed much over the years ... only their environment has changed.

Lacking the mass communications media and the advertising market, the artist of five hundred years ago entered the "commercial" cha nnels that were available to earn his daily bread.

For a pictorial view of our historical origins, we went to the Bettmann Archive and found the usual wealth of illustrative material. Those shown here, and many more, are available from the Archive. Among them, we found other interesting parallels including a great interest in and use of proportional devices, also some forerunners of the "complete studio service."

Something about old pictures seems to trigger the comic muse. We were no exception. Within minutes, the first gag line was out and the ham was flying high. So ... two sets of captions, ours and the informative ones.

ILLUSTRATIONS FROM TH E BETTMANN AR CHI VE

51

Designed for Artists by Artists

Nineteenth century draftsman working on gadgety drawing board which can be adjusted to almost any desired position .

Emperor Maximilian of Germany making suggestions to an intense· looking artist.

Woodcut by Hans Burgkmair (1473·1531) who, together with his friend Albrecht Durer, acted as art director for Maximilian's far flung graphic adventures.

"No, Hans . .. we need that space for Otto to do the calligraphy bit."

CA, September '61

Our Historical Origins (continued)

A

B

"Here's some terrific stuff by that new designer I'm repping out of Dusseldorf"

"You should have seen Sir Henry's face when I told him it was time-and-a-half for Guy Fawkes' Day."

c

.

~-r·~~

.-,;~~~~-::~~ -~"~,-_.-__••11tiii•11111•••~ "I still think this could have been done with a backdrop in the studio."

CA. September '61

D

"Dammit, Emma, you've moved a whole square."

E

A) Itinerant salesman of copper engravings (about 1710) . He carries a drug chest on his head. Until the advent of modern newspapers, prints were widely distributed as a means of communicating news to the illiterate.

B) Workshop of a copper engraver. Engraving

by Abraham Bosse ( 1602 -1676), French engraver and pa inter.

C) When the famed English surgeon, William Cheselden , was ready to illustrate his "Anatomy of the Human Body" (1713), he hired an artist with a camera obscura and had him trace skeletal details. Amanuensis is behind the surgeon taking notes for caption material.

D) Durer draws the reclining woman with the help of a squared·off glass screen. Proportion of the human body and its mathematical foundation occupied Durer's mind in typical Renaissance fashion. He tried to apply the rules he found to other areas of graphics such as letter design.

53

"You've almost got something, Roger. Try a couple of more passes at it with a little bolder approach."

F

E) Graphic arts studio of 1806 shows unity of creative and reproduction departments. In the engraving department, the etching master subjects copper plate to acid bath-lines drawn on waxed surface produce grooves in the plate for intaglio printing process.

F) German engraver/ painter/ illustrator Daniel Chodowiecki. The artist sits by the window while family peruses his portfolio. Enormous output of book illustrations gave Chodowiecki enviable status in 18th century Berlin at a time when most of his colleagues were still relegated to the ranks of tradesmen.

"Isn't it nice, Dear, to avoid that awful commuting."

CA, September '61

r a cOLOR

DUOTONES 10%

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CA, September '61

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CA COLOR CHA R T

COPYR I GHT 1g 31

BY T HE JOURNAL O F

COMME R C I A L ART

•

P RIN TED

CA , S eptember '61

BY LITH OG R A PH Y

USING 1!5 0-LI NE LEVY

SC REEN

More requests have come to us for articles on typography than for all Qther subject matters combined. The logic behind this, we assume, is that typography is used in graphic design more than any other single element. Few projects are executed without it.

With all that practice ... if you place any credence in the old proverbs ... there should be a great deal more perfection than, in fact, exists.

It would not be difficult to write a witty essay on typography if we had only to present it from a critic's viewpoint.

It is an extremely difficult subject to approach in a manner that is analytical, constructive and brief. . . but, here we go, the hard way.

T YPOGRAPHY is an art requmng imagination, intuition, common sense and an understanding of certain basic rules and letter forms.

56

It's challenge to the designer in the selection and placement of type has not been seen sufficiently appreciated ... or met. The reasons for this are probably: (1) a deficiency in his formal training in the understanding of type; (2) the lack of easy accessibility to simple, concise presentations of the history, classifications, nomenclature, methods, and psychological and functional measurements of typography; (3) the complexity of the subject tends to block the process of learning by doing.

This background, though not readily available, is essential to dealing with the fundamental facets of typography .. .function and taste. Without it, a designer's imagination and intuition are often unprofitably or improperly channeled and the level of taste is generally much lower than he exhibits in other areas. Furniture designs of several different periods or styles may be individually handsome, but few artists would mix them together in one room. They mix up type this way ... frequently.

Let us state for the record that we have to write in generalities in an attempt to make black-and-white statements and not a birds nest of qualifications, innuendos and provisions for exceptions and variations. In the area of critical comment, we do not mean to imply that we have not seen some very fine examples of typographic design executed recently.

We have previously gone on record with the statement that some of the finest of today's typography has appeared on the pages of McCall's.

Such recognition of Otto Storch is certainly not singular. His approach to editorial page design has made a tremendous impact. His use of type has influenced all areas of graphic design. This is fine; it's a good influence.

It is shocking, though, to see some of the strange forms of typographic mimicry that have developed, the frequent shallowness of penetration CA, September ' 61

of this influence. Storch uses type as part of the picture. He utilizes a number of faces that haven't been seen frequently in contemporary typography. He uses body type sizes, and relationships and placements of heads that are different. Any one or all of these factors that have been adopted, become trends. A few of the display faces he uses have become trends of themselves.

These are all facets of the imagination that Storch has applied to his typographical design; but they alone do not warrant the appraisal we made. It is his understanding and almost rigid adherence to the rules of good typography and compatibility of letter forms, in conjunction with this imagination, that makes his typographic design great. Study his work carefully, now or after several of the articles in this series have appeared.

It will be clearly evident.

Undoubtedly someone will point to exceptions. They are, we contend, isolated cases where there was a purpose of deliberate or intuitional discord.

Typography is a fascinating subject. It is impossible to go into it in depth without being drawn into it's history wherein all of today's letter shapes were created ... most of them several centuries ago.

Typography is also a very complex subject for study. There is an incredible number of type faces. Over 5,000 designs of the Roman alphabets exist today. Other complications arise from different faces bearing similar names and similar or identical faces bearing different names. Also, many of the names of type faces are incompatible with the terminology of logical systems of classification and identification.

Any attempt to master the recognition and identification of all the type faces would be a monumental task and of little value except possibly scholarly satisfaction. From a practical standpoint, comparatively few faces will do the bulk of the work.

It is useful to be able to recognize the characteristics of a type face, to evaluate it in terms of compatibility with other faces.

To discuss the characteristics of type, it is important to be familiar with it's terminology.

SERIF-ASCENDER

HAIR LINE ( THIN )

CA, September '61

57

In a general way, every type face can be allocated to one of the following classifications: Roman, Antique, Heavy Display, Text, Sans Serif, Italic and Script.

ROMAN Roman faces can be divided into two major divisions, Old Style and Modern. A sub group of the first is often classified as Traditional.

Old Style Roman Nicolas Jenson cut the first known of the Old Style Roman designs in the 1400's shortly after the invention of printing in the Western World.

All of the roman faces that followed were patterned after or influenced by Jenson's design.

Characteristics: the serifs are inclined and bracketed-the swells are drawn on an angle; not too great a difference between the thick and thin lines; a great deal of freedom in the design.

Typical examples: Bembo, Caslon, Cloister, Goudy Old Style, Poliphilus.

a

Transitional Roman

58

Transitional faces differ from the typical Old Style in two ways-the serifs, though still bracketed, have slighter fillet curves; a more pronounced difference exists between thick and thin lines. Some of the earlier transitional designs were cut in the 1700's by Grandjean, Fournier and Baskerville.

Typical examples: Baskerville, Bulmer, Fournier.

a

Modern Roman The development of the Modern Roman (a design classification, not to be related to types of recent vintage) is credited to Giambattista Badoni. Copying Fournier's transitional style in his earlier years, he later carried the modern to its logical conclusion.

Characteristics: unbracketed or slightly bracketed serifs, decided contrast between thick and thin lines and a sharp, mechanical look.

Typical examples: Badoni, Century, Regal, Times Roman.

a

ANTIQUE Letters of the Antique variety, also called Egyptian, could be included under the broad classification of Roman. Much bolder than the early Romans, they were first cut in Scotland in the early 1800's.

Characteristics: mechanical, monotone weight, slab serifs.

Typical examples: Beton, Clarendon, Egyptian, Karnak, Stymie, Tower.

CA, September '61

a

TEXT Text letters, also called Old English and Black Letter, were influenced by the Gothic architecture, the style of lettering used in ecclesiastical writing of the period.

Characteristics: tall, spiky, black.

T ypical examples : Engravers Old English, Goudy Text, Cloister Black.

a b

HEAVY DISPLAY Heavy Display faces, also classified as Title and Fat Face, are a collection of very black letters that usually have been derived from other faces but the abnormally forced contrast between thick and thin lines defy the descriptive characteristics of other classifications.

T ypical examples: Cooper Black, Bristol, Goudy Heavy, Thorowgood, Ultra Bodoni

SANS SERIF Often called Gothics in America, the Sans Serif faces have also been termed Grotesque, and Doric by the type founders. The earliest were cut only in constant, heavy weights and capitals.

Lighter weights and lower case appeared after 1850 and a variation between thick and thin lines was introduced by German founders after 1900.

Characteristics : no serifs, very mechanical, usually monotone in color.

Typical examples: Futura, Spartan, 20th Century, Vogue, Venus.

a

ITALIC The first Italic was cut by Aldus Manutius in 1501 and the classification was named after the place of origin. Originally an independent rival to the Roman faces, Italics were based on the Italian cursive hand and were close-fitting space savers. Claude Garamond was the first to combine Italic with Roman and set the pattern for its present subsidiary capacity.

a

SCRIPT Based on the same derivitive as the original Italics, Script types are sometimes grouped with the Italics. The Scripts being based on later versions of handwriting, they are usually given their own classification, function mostly as an alternate to hand-lettering.

Typical examples: Artscript, Brush, Coronet, Mistral, Rondo.

a

Though the specific act of fitting a number of type faces into classifications serves no practical purpose, recognition of the characteristics and the classification of an individual face serves as a useful guide to f eeling, mood and compatibility with other faces. We will go into this and other areas of typographic design in the ensuing articles.

CA, September '61

59

CA exhibit form Mail to: CA Exh1:bit • 80.9 San Antonio Road • Palo Alto • California Phone number:

Your narne and address:

Description and purpose of work subniitted:

Background information, side-l1:ghts, solutions in creating the work:

Production information (when pertinent) D Lithography

D Letterpress

Other:

Paper stock(s) used: Special problems and solutions:

Check list of materials enclosed: D Please check here if material is to be returned and postage is enclosed.

The following mater1:al is available: D Original art D Original photos D Mechanicals D Separations 0 Lithographers' negatives or positives 0 Engravers' progs 0 Additional backgronnd information O CA has client approval to reproduce this material.

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StudioPlease include this form or the equivalent information wWi each piece of work .cmbm1:tted.

It's impossible for us to see even a small part of the outstanding work that's produced in this country unless 1) someone is thoughtful enough to put us on the mailing list; 2 ) it appears in national magazines; 3 ) someone sends it to us. The latter is the best, for we have some information-or access to someone to get it from. When we send a blind inquiry, we always seem to wind up corresponding with the purchasing department or the special test charts section of the personnel department.

If you've created something you think would interest our readers, why not send it for consideration?

There may be reasons why we can't publish it ... but there may be a lot of reasons why we will.

We've found out (the hard way) that the best way to get things is to ask. The last time we published an Exhibit form, great things came in. So, here's another. Please submit.

Don't miss this non-profit, limited edition book of the finest Averillian art. .. the choicest, most outrageous writing of this beloved humorist.

0

We've been very fortunate. A lot of artists and designers have subscribed to CA. Maybe we could do better if we kept "Subscribe Now!" pitches going out in the mail. Probably we should be spending more time on creative selling, but it's more interesting to make a magazine. It takes all of our time, anyway ... so we've had to count on new subscriptions being sold by the brownies.

Printed in high-fidelity offset-every stroke as John Averill struck it, every word exactly as set down in the immortal pages of SEED CORN! Order now while you can still get the pre-publication price (before October 20th).

This is a book you will treasure in your library ... ideal for that different gift.

We deeply appreciate any assists ... like your showing this copy of CA to a friend ... or giving him the subscription blank below. A new sub will still be in time for the two big issues in November and December, volume one and volume two of CA-61.

John Averill's

SEED CORN CA • 8 09 SAN ANTONIO ROAD •

PALO ALTO • CALIFORNIA

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CARLOS DINIZ

(continued from page 44)

drawing and further establishes the mood. Sometimes the color is laid over a white base, other times directly on the colored stock.

For longer runs, or for later reproduction in promotional literature, the same art is applicable to lithography.

Printing on white stock, the art for the silk-screened white, reversed, creates a background color that simulates the color of the paper stock. Frequently the number of colors can be reduced in litho by using screen combinations.

Using the same approach, Diniz often presents floor plans and other structural information in an exciting and visually pleasing manner.

Carlos Diniz' offices are located in Los Angeles, but his assignments have come from clients in most of the major U.S. cities, including Honolulu, and even as far away as Australia. Usually the work is begun from a design created by an architect-the execution is developed from plans, elevations, specifications and reference material or direct viewing of the site.

Occasionally Diniz is requested to perform in an idea capacity. Certain exhibits for 'Century 21' (Seattle, 1962) and the Los Angeles Exposition (1966) are, as he puts it, "our dream stuff."

62

CA, September '61

"the

Second Color~~ PUBLIC AT I 0 N DATE IS DEC EM B ER 10th

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

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

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

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

Printed by 150 line screen, lithography, on heavy vellum stock under close production control, bound in a sturdy multi-ring binder (charts may be removed when necessary), the Second Color is designed to be the most useful and usable color guide-modestly priced at only S12

r--------------------SPECIAL PRE-PUBLICATION OFFER You can order the Second Color now and take advantage of the special pre-publication price of $10.50 plus postage ... we'll bill you with the shipment. Or send a check or money order and save the billing and handling costs. Get your copy of the Second Color for only s950 postage prepaid.

Quantity prices on request.

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

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

California residents add 4% for state sales tax.

DESIGNING ALOUD

by WALTER LANDOR

Is there a MORAL ISSUE when there is no difference?

64

One of the most challenging responsibilities the designer faces in the creation of a package is to communicate to the consumer through surface graphics, and sometimes custom-shapes, the advantages of buying this brand over that brand.

He must translate specific concepts of brand uniqueness into the non-specific language of the visual. He must convey the demonstrable difference-be it better ingredients, superior taste, or greater freshness.

But suppose there is no demonstrable difference in the product-a growing fact in this era of ever-increasing product similarity due to homogenization of taste and standardization of production. Is there a moral issue in the attempt of the designer to project a difference in those instances when there is none?

We do a lot of thinking about this, and we believe not-because package design in itself can create a difference. It can increase the consumer's enjoyment of the product. Is it immoral to aid and abet this?

Skillful design can increase anticipatory enjoyment which adds to the actual enjoyment of the product. It can also heighten the consumer's evaluation of the flavor and even the aroma of the product.

A number of studies conducted by our research affiliate have proven conclusively that most consumers will rate differently the flavor of the same beverage or food item when sampled from containers of different design.

As long as people live by their senses as well as their rationale, and rely heavily on their eyes and their taste buds, it seems to us that there is nothing wrong with intensifying their enjoyment by invoking their visual sensibilities.

CA , September '61