sepoct1967

CA

Magazine THE JOURNAL OF COMMUNICATION ART Richard S. Coyne, editor and publisher Richard Teater, managing editor Byron Ferris, contributing editor Vance Jonson, contributing editor Judy Graham, assistant to the publisher Nancy Siemers, circulation Carol Goodell, accounting Susan Hobson, production Jay McKendry, typographer Bob Bickford, associate typographer

p.o. Box 10300, 3437 Alma Plaza, Palo Alto, California 94303, Phone (415) 326-6040 VOLUME 9, NUMBER 5, 1967

On the board

4

Letterheads

92

Club news

6

Self-promotion

95

Materials/available literature.

10

Annual reports

100

Index to advertisers

12

Institutional brochures

105

Books.

15

Product! service brochures

111

CA-67, the seventh annual

21

Catalogs

117

Consumer magazine ads

22

Sales promotion

120

Consumer magazine campaigns

31

Folders / announcements

122

Newspaper ads

39

Books

124

Newspaper campaigns

44

Editorial

131

TV commercials

46

Illustration

140

Trade ads

69

Miscellaneous

151

Trade campaigns

73

Index to art directors & designers

157

Posters

78

Index to copywriters & TV writers

161

Packaging

85

Index to TV producers, etc.

162

Record jackets

89

Index to illustrators & photographers 164

Trademarks

91

Index clients & agencies

CA Magazine is published bi -monthly by Coyne & Blanchard, Inc., 3437 Alma Plaza, Palo Alto, California 94303 .

Subscription rates : U.S.A. a,nd possessions, one year - $14, two years - $2S ; foreign, one year-$lS, two years $27. Single issues : $2 each , except for CA Annual (No. S) at $7 and CA Merit Award issue (No. 6) at $4.

Copyright 1967 by Coyne & Blanchard, Inc. Trademark registered. Second-class postage paid at Palo Alto, Calif.

Send change of address notification at least 30 days prior to effective date, includes both new and old address.

No responsibility will be assumed for unsolicited editorial contributions. Manuscripts or other material to be returned should be accompanied by self-addressed, stamped envelope.

168

On the board The CA-67 Jury: Jerry Andreozzi, art director at Wells, Rich, Greene, Inc., was formerly creative director of Gilb~rt Advertising.

Chris Arvetis is vice-president, advertising design and sales promotion of Rand McNally & Company.

Ted Bethune is vice-president and executive art director of Cockfield, Brown & Company Ltd., Vancouver.

Bob Dion is vice-president and art supervisor of Needham, Harper & Steers/West.

Vance Jonson, Los Angeles designer and film maker, has authored many outstanding articles for CA including critical reviews of the New York World's Fair, Expo 67 and an entire issue on design in Denmark.

Herb Lubalin, designer and president of Herb Lubalin Inc., was the 1962 NSAD Art Director of the Year.

Hal Riney is vice-president and creative supervisor of BBDO, San Francisco.

We are deeply grateful to the distinguished gentlemen on the jury. It is a long and arduous task to select this exhibition.

The selection process of CA-67 followed a judging technique that has been developed over the seven years' previous exhibitions. To describe it again briefly, the jurors do their own screening and each one sees every

Bethune

Arvetis

Andreozzi Dian

4

piece. About 3,000 square feet of table space is used in the screening process. Entries are spread on these tables by category. When an individu.al category exceeds the table space, it is continued in additional set-ups. Any juror can pick an entry for further voting consideration by taking it off the table and placing it in one of the several available cartons. After all the jurors have reviewed the entries, a team of assistants removes the unselected pieces and spreads out a fresh group.

All of the selections from the screening are spread on the tables at a later time, again by category. A paper cup, upside down with a slot cut in the bottom is placed by each piece. The jurors are furnished with small ceramic tiles (a different color for each to avoid accidental duplication of voting) and they cast a vote by dropping a tile in the slotted cup. A majority vote places an entry in the exhibition. A slightly different method, voting in a printed catalog, is used for film entries.

Over 600 television commercials and nearly 14,000 print entries were submitted to the Jury.

All of the selected entries shown in this issue receive the CA Award of Excellence. Our following issue will exhibit over 250 additional selections that will receive the CA Award of Distinctive Merit.

Jonson

Lubalin

Your annual report is the most important single piece of corporate communications you publish each year.

Wouldn't it help to know how nearly a thousand other companies put their reports together? You can easily find out by reading Oxford's report on annual reports.

Every year we study the annual reports of hundreds of c6mpanies947 this year. We analyze our

findings in the areas of design, organization, content and mechanics.

Oxford produces this report as a ervice to all bu inessmen. We think it can make your job a little easier.

And we hope that when you start thinking about your annual report, you'll start thinking about Oxford.

More and more leading companies are using Oxford paper for their message. And a growing number.of companies are using our annual report on annual reports, to make tha t message more powerful.

For your copy, just write to us on your letterhead.

We make over 30 grades of paper, many of which are specially designed to give your report the dignity-and distinction it deserves.

Oxford Paper Co., 277 ParkAve., N.Y., N.Y. 10017. Printing papers for books, magazines, commercial printing, business forms and packaging. Offices: Boston, Chicago, ~m Detroit, Philadelphia, Washington.

Lasting impressions begin with

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I I I

Club News CHICAGO

The Chicago Copywriters Club and the Art Directors Club of Chicago have merge9 into a new organization named the Chicago Society of Communicating Arts. The membership will include art directors, copywriters, creative directors, illustrators and TV directors and producers.

DENVER

The new president of the Art Directors Club of Denver is Jim Arnold, Hoflund-Schmidt. Jan Spieczny, DesignDynamics, is first vice-president; Lee Reedy, Frye, Sills & Bridges, second vice-president; John Massey, Mullins Outdoor, treasurer; Margaret Ingraham, Frye, Sill & Bridges, secretary. Lawrence Rickards and Bob Coonts were elected to the Board of Directors.

I Kenneth D. Stanton, graphics coordinator for the University of South Florida was elected president at the recent directors meeting of the Gulf Coast Art Directors I Club.

Representatives from the Tampa, St. Petersburg, Clearwater, Sarasota and Lakeland chapters participated I in the election. users report added profits I The Art Directors Club of Nashville has elected Gary and better control of I G. Gore as president, Frank Lovell as first vice-president, William Holley as second vice-president, Robert Seale as GULF COAST

NASHVILLE

art production

secretary, and Robert McConnell as treasurer.

Professional quality stats ... reduced, en-I larged ... positive, reverse. . no darkroom needed with this low-cost setup, which employs the modern stabilization process. Stats come out 80% dry, ready to use. No sink, trays or messy processing; no hands in chemical

TWIN CITIES

Association of Professional Artsists of the Upper I The Midwest chose Del R. Neitzel of the Headlines of Twin

'-1

I

-WRITE FOR THIS- - FREE BROCHURE TODAY!

I

ART-O-GRAPH, INC. Department C A Sexton Bldg., Minneapolis, Minn. 55415

I I L

Name _________________________ Address

J I I

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City __ .___________ State _ __ _

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ZiPC~ _ _ _ _ _ _ __

l I

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Cities as president. Richard C. Helbig, Advertising Production Services, is vice-president; Robert A. Burgoyne, The Type House, secretary; Gladys Mako, Mako and Associates, treasurer. On the Board of Directors are Howard Burgdorf, John Keely, Les Kouba, Sherm Pehrson, Richard Gravender, Roger Kline and Morrie Holm.

o STATEMENT OF OWNERSH IP, MANAGEMENT, CIRCULATION, ETC. Required by the Act of Congress of August 24, 1912, as amended by the Acts of March 3, 1933, July 2, 1946, and June 11, 1960 (74 Stat. 208, Title 39, United States Code, Section 233) of CA Magazine, published bi·monthly at Palo Alto, California, for September/ October, .. 1967. 1. The names and addresses of the publisher, editor, managing editor, and business manager are: Publisher/ Editor, R. S. Coyne, Palo Alto, Calif.; Managing Editor, R. Teater, Palo Alto, Calif.; and Business Manager, none. 2. The owner is: Coyne & Blanchard, Inc., 3437 Alma , Palo Alto, Calif. The names and addresses of the stockholders owning or holding 1 percent or more of total amount of stock are: Richard S. Coyne, 3033 Price Court, Palo Alto, Calif.; Robert S. Symons, 290 Surrey Place, Los Altos, Calif. ; Emil B. Pardee, 1012 Ponderosa Drive, Zephyr Cove, Nevada; Maurice G. Hanafin , 64 Re· becca Lane, Atherton, Calif.; Frank Chambers, 2700 Pacific Avenue, San Francisco, Calif.; Wm . H. Arbogast, 788 Loma Verde Avenue , Palo Alto, Calif. ; Paul J. Crabille , 3607 Country Club Drive, Redwood City, Calif.; Lynn R. Hildebrand and Jeanne C. Hildebrand, 4147 Franden Court, Palo Alto, Calif.; Robert O. Candee , 2 Grove Court, Portola Valley, Calif. 3. The known bond holders , mortgagees, and other security holders owning or holding 1 percent or more of total amount of bonds , mortagages or other securities are: None. 4. Paragraphs 2 and 3 include in cases where the stockholder or trustee or in any other fiduciary relation, the name of the person or corporation for whom such trusteee is acting ; also the statements in the two paragraphs show the affiant's full knowledge and belief as to the circumstances and conditions under which stockholders and security holders do not appear upon the books of the company as trustees , hold stock and securities in a capacity other than than of a bona fide owner. 5. The average number of copies of each issue of this publication sold or distributed , through the mails or otherwise, to paid subscribers preceding the date was 11,605.

1 +1-3-Rlpcom......

Rhinelander DivIsion. It. ..... P'eper c.....w

"Stat it Easy" I

Club

ws

Art-O-Gra helps yo n organization nicating rt. The p riter creandpr ducer .

and mak

rs Club of Denver Spi czny, DesignReedy, Frye, Sills n Ma ey, Mullins , Frye, Sill & and Bob Coonts

president at the t Art Directors St. Petersburg, ters participated

has elected Gary lrst vice-president, t, Robert Seale as

.--

I I

I I I L

'lnsqmoO '9qSQ eia9R .f2 ,noieiviO '9bnsI9niriS1

6

CUL TION, ETC. amended by the Acts of tat. 208, Title 39, United bi·monthly at Palo Alto, nd addresses of the e are: Publisher/Editor, Palo Alto, Calif.; and , Inc., 3437 Alma, a ning or holding 3033 Price Court, Altos, Calif.; Emil B. ur c G. Hanafin, 64 Re· c enue, San Francisco, Ca If.; Paul J. Crabille, rand and J anne C. t O. Candee, 2 Grove rtgagees, nd other amount at bonds, 2 nd 3 de in uClary r lat on, the IS actin 0 the nowledge and belief holders nd rity t ustees, hold a nd securities in a capacity other than than of a bona tid owner. 5. Th average number of copies of each issue of this publtcatlon 0 d or distributed, tllrough the mails or otherwise, to paid subscriber preced," th date was 11,605.

Materials NEW YORK ART DIRECTORS

CLUB

46mANNUAi The best in advertising, editorial and TVart", 2-volume

1967

EDITION

handsomely bound and packed in slip case ... over 500 pages of black and white and full color illustrations!

• This limited edition is available only from the publisher ... will not be sold in stores ... will not be rerun!

• A collector's item - belongs in every library, ad agency, art studio, art school and artist's collection.

Special publisher's • An invaluable reference for artists, art directors, prIce ... commercial students, teachers, copy writers,

$24 50

photographers, retouchers, TV producers, typographers, printers, art suppliers and many others.

The Comet Press, Inc. 200 Varick St., New York 10014 Please reserve the new N. Y. Art Directors 2-volume 46th Annual for me.

NAME _ _ __ _ _ _ _ __ _ TITLE _ _ _ _ _ __

COMPANY_ _ _ _ _ _ __ _ _ _ _ _ _ _ _ ___ ADDRE5S, _ _ _ _ _ _ _ __ _ __

_ _ _ _ _ __

- - - - - - -- - ----- --------ZIP'-----Enclosed find check or O money order. including

5% NYC or 2% N.Y.S. Tax.

10

Bill us later at above O address.

(Rated companies and institutions only. please.)

CA/ IO/ 67

HEADLINE LAYOUT TOOL

A new layout and comping tool for Photo Process L ettering has been introduced by Lettergraphics International to save time in "comping" headlines, and make neater more accurate layouts of Swash, Ornate and fancy alphabets. This 264 page, 81h" x 2 3,4 " Ring book "fans " to show large alphabets of complete line of Lettergraphics lettering. Styles shown by sections; Serif, Swash, Scripts, etc. All page numbers correspond to Lettergraphics Custom indexes (also available from Lettergraphics). Ring opens to slip pages under layouts for tracing or lucy sizing. "Do a Comp" ring books are available to Lettergraphics clients at no charge. A four dollar charge to other interested persons, is credited on the first order. Contact your local Lettergraphics office, or write Lettergraphics International, 6107 W. Washington Blvd., Culver City, Calif. 90230.

DAY-GLO MARKERS

A designers set of eight Day-Glo colors has been introduced by Day-Glo Color Division of Switzer Bros. , Inc., to retail at $6 per set. The markers match the Day-Glo letterpress and litho inks and are suitable for every flourescent layout need. In color-coded labels, the markers are instant-dry, waterproof and permanent.

Available only by ordering direct from Day-Glo Color Division, Switzer Brothers, Inc., 4732 St. Clair Ave., Cleveland, Ohio 44103.

HATCHI.NG DEVICE

Rapid and precise hatching, lettering guidelines and intricate, multiple curves are possible with this device.

Simple push-button operation moves the self-contained ruler down any pre-selected distance from 0" to Y<I. " without raising from the paper. An accessory template holder allows attachment of any template or curve for unusual, multiple effects. The shatterproof housing rests firmly on rubber plates. Adjusting scale is divided to Ys2" intervals and is provided with a magnifying glass.

The clear 9~t2" acrylic ruler has )~2 " divisions with raised ruler edge for ink. For complete details, write The Lietz Company, 330 Corey Way, South San Francisco, California 94080.

DISPOSABLE TOWELS

"Studio Pals" large 13 Yz" x 18" size helps keep materials, hands , and clothing clean. Dispenser box of 75 provides handy desk-top convenience. Disposable feature gets rid of rags and cheesecloth that can cause accidental smudges and add unnecessary fire hazards. Special lint-free composition prevents loose fibers and particles from clogging pens or drying to brush tips. Built-in extra wet strength and absorbency soaks up liquids quickly. For a free test packet write to Fred Hotchkiss, Product Manager, Sorg Paper Company, Middletown, Ohio, 45042.

impressum light

Lmpressum italic

impressum bold

Meet the family Impressum is more than just a new type family, it is a new idea in type design. Not a large family, but a complete family ... all at once. You can use Impressum alone or in combination with other types. Completely

un-temperamental, it stars or co-stars beautifully with a host of other faces - and phases nicely with Fortuna.

To see how compatible all the members of this new family are, send for specimen tod ay.

BAUER ALPHABETS , INC., 305 EAST 45th STREET, N EW YORK, N.Y. 100 17

LITERATURE FOR YOUR FILES A request all y our letterh ead to th e followillg companies will bring Y OIl th e literature describ ed . .. free, ullless oth erwise lloted .

Sample Kit . .. of Multi-Colored Foils, Woodgrains , Marble Finishes, Embossed Patterns, etc. , in roll or sheeted forms. For Sample Kit information and prices phone or write: Victoria Press, 4150 North Milwaukee Avenue, Chicago, Illinois 60641.

Demonstration Packet ... illustrates the various effects that can be achieved by using different finishes of Beckett 1848 Traditional paper. Included in the demonstration are Coral, Linen, Handmade, Velvet and Smooth Vellum finishes. The advertising message has been removed from the copy on Smooth Vellum finish so that the picture is suitable for framing. Copies can be obtained from any Beckett paper merchant or by writing direct to The Beckett Paper Company, Hamilton, Ohio 45011.

Three-Color Booklet . .. contains information on the latest techniques in the three-color process and examples . of this process of printing. Full information on three-color printing in the booklet includes such subjects as filters and factors, chemicals, papers and inks, masking, screens and angles, camera techniques, and procedures for making each of the three negatives used in the process. Also shown is a complete listing of GAF Graphic Arts and chemicals. Copies of the booklet are available at $1.50 each and may be obtained from GAF Customer Service Department, Binghampton, New York 13902.

o

Index to Advertisers Amsterdam Continental Types Art-O-Graph Inc. Charles T. Bainbridge's Sons Bauer Alphabets Inc. .

Beckett Paper Company Bienfang Paper Co., Inc. Brown Company Caprock Developments, Inc. Champion Paper Inc. Chart-Pak, Inc. .

Comet Press, Inc. Crescent Cardboard Co. Gilbert Paper Co. M. Grumbacher Inc. Lettergraphics Inc. .

Mergenthaler Linotype Co. National Card, Mat and Board Co. Oxford Papers Radiant Color Co. .

Rhinelander Division, St. Regis Paper Co. Strathmore Paper Co. S. D. Warren Co. Winsor & Newton Inc. X-Acto Precision Tools Inc. . <1

12

C-2

6 70

11 159-160 165-166 163 70

13-14 72 10 71 17

12 18 C-4

72 5

169 7-9 155-156 19-20 71

15

Books VISIBLE PRESENTATION OF INVISIBLE PROCESSES Anton Stankowski Hastings House Publishers, Inc. 151 East 50th Street, New York, N .Y. 10022

$16.50

In spite of the mysterious title, this is a book about a man . Stankowski, one of Europe's most notable graphic designers , has grown with thi century and, at 60, produces work in his own framework as clear-minded as Dorfsman. The route of his bringing the invisible abstractions of a technical world to illustrated meaning is traced through 136 pages of a masterfully structured book-in itself a fine example of "graphic" design, graphic in the meaning of presenting information in clear form.

Over 750 of Stankowski's advertising and experimental works are pictured to show his mastery of relationships between idea and visualization. You can see the creativity happening.

Stankowski presents a different world from the "momand-family" realm of U. S. advertising. His interest is in forms that create action and tension on the printed page to explain technical forces and the forces of nature. He brings the invisible to human understanding with an artist's skill.

The book is a valuable gallery of a perceptive designer's development of a pictorial language for technology-a display of this language in use for print and advertising.

FORM, SPACE, AND VISION, 2ND EDITION Graham Collier Prentice-Hall, Inc. , Publishers Englewood Cliffs, N. J. 07632

$8.50

Professor Collier presents his own form-space version in a well worded how-to-do-it book of almost 300 pages addressed to the studio-painter student.

The drawing instruction concentrates on translating motor action to emotional thrust and includes such methods as using twigs and ink-dipped strings to create images.

The " space" section avers that today's attitudes are an out-growth of "cubist time and space:' This idea is thoroughly explored and illustrated with paintings by Duchamp and Picasso.

"Vision;' in the author's terms, means "the capacity of the human imagination to realize itself in the creation of a work of art:' A method is lined out to produce imaginative drawings.

No note is given to the current gallery attitudes of hard edge, post painterly, and subtractive painting.

In art supply stores everywhere. If you're still using razor blades, cut out. X-acto has knives and 28 interchangeable blades perfect for everything from cropping artwork to preparing mechanicals. Shown: X-acto #1 knife, 65¢ -

o

X-ACTO PRECISION TOOLS, INC. 48-41 Van Dam St., Long Island City, New York 11101, Dept. 2

15

BOOKS (continued)

Sir Herbert Read, in the introduction, says about form, space and vision: " ... the nature of !hese elements cannot be realized conceptually, but must be discovered experimentally. This is a book of exercises:' It is a handsome and well illustrated manual of experiments that can bring the painter student up to the time of abstract expressionism.

THE TWENTIETH CENTURY BOOK John Lewis Rheinhold Book Division 430 Park Avenue, New York, N.Y 10022

$25.00

Here's a well produced book crammed with illustrations460 of them. They become a fascinating exhibit of the scope of illustration in the 20th Century and its use on the book page.

Its background is explored on the first fifty pages (because this is a British book) with the 19th Century work of William Morris and Aubrey Beardsley and a discussion of Victorian and Art Nouveau influences.

Examples of the central-European "Neue Typographie" of the 1920s follow, noted with the author's claim that their origins "can be traced back to the work of William Morris:' The next 100 pages are a fine archive of book illustration including a section on painters as illustrators: Kokoschka, Klee, Dufy, Leger. The many styles and techniques of illustration in the first half of the century are shown.

A bit of nostalgia comes with a survey of children's book illustration with many examples: Beatrix Potter, N. C. Wyeth, even Hugh Lofting's "Doctor Dolittle:' An interesting device is a display of the illustration styles of ten different artists for editions of "Treasure Island:' The book completes its 260 pages with an exposition on the influence of paperback illustration and a discussion on the new kind of author-illustrator as fashioner of the books of tomorrow.

The author, a former tutor at the Royal College of Art, ends the volume with a wistful note, "In recent years, every time I have given a class of graphic students a book production/exercise, they have always gone out of their way to make hardback books look like paperbacks! The virtues of rounding-and-backing (strength, durability) mean nothing to them. A paperback is a modern book and the kind of book they buy, so for them a modern book is one with a drawn-on cover or at least bound with a continental sqqare back:' But the author's volume is a full and excellent tour of books and illustration that will delight anyone who cares about books. In spite of, or, perhaps because of, its British accent, it proves to be a depthful and significant book about books.

16

A PROPOSED MODEL FOR VISUAL INFORMATION PROCESSING IN THE HUMAN BRAIN Matthew Kabrisky University of Illinois Press, Urbana , Ill.

$6.95

The form of the title indicates that this book is written in the careful manner of a scientific treatise. If you can struggle through the scientist's jargon, however, you'll learn some amazing things about the mechanics inside your head. You might then call the book "How you associate what you see:' The explanations are far more complex than that, of course, but the book basically presents new information on how the brain makes patterns and recognitions of what comes in through the eyes and turns into thoughts.

Mr. Kabrisky analyzed nerve paths and fed the results into an IBM 1620 digital computer. This series simulated the visual system of the brain and produced a varied sequence of patterns; a model of how information is processed in the cortex.

The simulation is based on the observation that the nerve cells are interconnected bio-chemically in as mechanical a way as the electrical components of a computer are connected. Nerve cells indicate intensity of response by the frequency of electro-chemical discharge but the response pattern is the same "yes or no" indication that a computer uses.

Sections of light sensitive nerve cells in the retina, the film of the eye camera, send impulses to the back of the brain where they are constructed as reports of the image being seen. The reports are then switched to the vision area of the cortex, six layers of specialized nerve cells that constitute the outer covering of the brain. Each part of the sectioned report goes to a small group of cortex cells called a Basic Computational Element, about .05 mm thick. The stimulus travels up through the B. C. E. and an output response is produced that travels back down another track to interconnect with other cell groups. Mr. Kabrisky suggests that the response of the B.C.E. is conditioned by previous inputs as well as immediate inputs. This indicates an internal storage system, thought to be a "short term" memory process.

No explanation is given of "long term" memory systems but it is reasonable"to conclude that they are connected with "short term" systems. (Speculation in other works is given that large protein molecules found in nerve cell cytoplasm record responses in time sequence over the life of the cell to represent "long term" memory. The recording molecule is thought to be similar to the DNA molecules. Since nerve cells do not regenerate, such memory records can be held for the life of the organism.)

The response of millions of B. C. E. units through the connecting nerves of the grey matter produce patterns of visual cognition and the influence of built-in memory give recognition.

(Continued)

Gilbert Bond bats 1.000 with the Baltimore Orioles.

The Orioles have all the makings of a consistent winner. They combine power at the plate with good pitching, defensive poise, managerial savvy, promising farm club prospects and enthusiastic home town support. And to get that same kind of winning quality in their business papers, the Orioles tapped that reliable old veteran, Gilbert Bond. Next time you hear from the Orioles, take a second look at their stationery.

It comes across like a knee-high slider.

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GILBERT PAPER COMPANY/MENASHA , WISCONSIN

BOOKS (continued)

The effect of this network is to produce general patterns: 1 == recognized as familiar, 2 == associated as similar and 3 == "not recognized:' Aside from Mr. Kabrisky's demonstration, these responses might be translated to some meaning for the designer / artist. Because the responses are physical and part of human behavior mechanics , it is easier to understand why familiar messages are so acceptable. The "culture nut" who listens to the same symphonic works performed in year-after-year repetition is perhaps experiencing a physical pleasure of recognition read as "safe" by the brain system. The designer tries to bridge the areas of "safe-recognition" and "unsafe-not recognized" by using symbolism (associated similarity). But the area of "not recognized" denoted by creative design may cause an "unsafe" anxiety response that is actually physical in the mechanics of the brain.

Mr. Kabrisky's book, however, does not treat with such speculations. It is filled with complete and careful explanations of sight and nerve systems as preface to his experiments. If you have Robert Ardrey's books, Kabrisky's information will fill in the facts of the development of the human nervous system. One of his most de-

manding expositions is a discernment about foveal vision.

Only human beings and some birds (eagles, hawks) have foveal vision. The fovea is a dimple at the lens focus point of the retina where 1/1 Oth of the sensor cells of the eye are concentrated. It is so small that it captures only the area of the thumbnail if you hold your hand out at arms length. It is the point of sharp vision dominating by ratio the rest of the full field of vision. Kabrisky notes that, because of this, human vision can be likened to seeing the world through a tiny clear space in a frosted glass. This sharp point of vision moves around constantly, of course, and we have the impression of full vision. We normally see and recognize only about two letter characters at a time in a reading line of type. Everything else is "side vision" in ratio of cognition (though grasp can be increased with rapid-reading techniques). Most of our visual touch with the world comes through the tiny foveal window with side vision giving alerts that swing our focus to other areas.

Mr. Kabrisky, however, because of his science language, has made this book about the eye and the brain difficult to read, even though you use the eye and the brain to read it.

-Byron Ferris

New York Larry Ottino/Martin Solomon Co. 311 West 43rd St. (212) JU 2-4274

Los Angeles (Main offices & Design Studio) 6107 W. Washington Blvd., Culver City, California 90230 • (213) 870·4828

San francisco

Timely Typography 509 Sansome St. (415) GA 1·7520

GJJo~tOIl Franklin Photo Service 556 Atlantic Ave. (617) 426·0272

¥1€W Elr.I€@flS Ad Shop / Forsta ll Typographers P.O. Box 53234 (504) 524·0822

Sal\~\e~o Central Typesetting Inc. 720 State St. (714) 234·6633

IndianapoliS Service-Typographers Inc. 1233 W. 18th St. (317) 632·3433

Sydney. Australia Dolling/ Lettergraph ics 162 Clarence St. 29 34 31

Salna. S""eden

18

This is the sound of the 4th of July on Warren Casco Dull.

This demonstration started out in the form of two 35-mm transparencies, shot July 4, '67.

For our separations, we enlarged from the originals with one intermediate step.

Then we printed by offset on Warren Casco Dull (basis 80).

Casco is a balanced paper, making it a good choice for jobs with a wide range of colors.

(Like this one.) It's also an economical paper,

a good choice for long runs.

In this demonstration, Casco DUll's refined surface holds all the detail our platemaker and press blanket could pass along (vital with large blow-ups) . Its soft finish retains the "country" mood on our front side. Its surface efficiency supports the brilliance on this side.

Would you like to know more ab6ut paper surface efficiency? Ask a Warren merchant, or write us for our folder, "What's All This About PSE?" S.D. Warren Co., Box 4 , Dept. B, Boston , Massachusetts 02101.

~r~ Everyth i ng looks like the 4th of July when you print it on Warren paper

2

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'ou,,"ry I><io"" ,,,.,' horne 9"ADnlaee SONY TV

,\\n.

'o't'hadtMVat"ofWo"JpoOf-:rdSlrld

So there was this swingin' affair. And

they drank a lot of Coca-Cola. Naturally.

Because things go better with Coke after Coke after Coke.

It has the taste you never get tired of.

3 .-----

Sears figures that if you layout $48 for a tire that won't go flat every time you get a nail in it, you deserve a tire that won't go flat with a lot of nails in it.

Sears has a new self-sealing tire. It's called the Silent Guard Sealant.

You could drive it with a dozen nails in it.

You could drive It with a hundred nails in it.

It's guaranteed to wear for 40 months. In writing.

rig~te~:r~y~t~~~ ~~~ ~tu~~aknet:e

pretty good reading . You'll note there are no wherefores: no ifs, ands or buts.

Oh, there is one if. But we think you'll like it If the Silent Guard falls during the first 20 months, we'll give you a new tire free.

If it picks up a nailor a dozen nailswe'll fix it free.

Nomaybes.

Andastheysayinthe ads, nobody else can make that statement.

This is quite a tire.

Maybe if the other tire people had a selfsealing tire like this. they'd have a guarantee like ours.

The Allstate Silent Guard IS as close to being completely trouble - free as any selfsealing tire ever made.

A special patented sealant does the job.

This advanced sealant is layered inside the tire.

22

Patented new Sealant It'll cling to Just about any nail that can get In. And It keeps the air from getting out.

The Silent Guard IS priced from $42 .04 to $51.38, Depending on your tire size . Including Federal ExclseTax That'sthe advertised price-and that's the selling pnce. You never have to hag91e at Sears You can find self- sealing tires listed at $90 and more. But you can't buy a better, safer self-s~allng tlfe anywhere, for anypnce It's 28 per cent heaVier than the average of new car tires Its tread 151 5 per cent deeper and 14 pel cent Wider, It's got 44 per cent more carcass strength And because of Its advanCed deSign, tests proved the Silent Guard gives you beuer traction, better wear, better high -speed performance than most other sealant tires, That's a lot of better.

The Silent Guard IS a goodlooking job, too, It's got the new low profile, And new narrow whitewalls. Doubleband whitewalls, W ife- Proof whitewalls And the whitewalls are wifeproof. There's a new scuffing bar above and below the

We want to sell you a tire that Will get yOU home safely.

We honestly think It' S the finest. safest self-sealing tire your wheel can go around with And It'S guaranteed by Sears. Sears, Roebuck and Co. Get four. There's safety In numbers whitewalls to protect them being attacked by curbtngs.

You know that annoYing squealing nOise that most tires make on turns] Well , the Allstate Silent Guard has a patented squelcher to stifle the squeal.

And It'S got a patented safety shoulder for added protection B8(l·nntng to get the Idea?

Sears Isn't gOtng to put Its guarantee on Just any self-sealing tire, In fact, this IS the only self- sealing Ure 10 the world that Sears Will guarantee, Because when Sears guarantees, Sears guarantees Guaranteed by Sears We don't want to sell you a lot of Ifs, ands or buts.

Tread Uf.Gu.,antee Gu••nteedAg.einsf : AlIMIu,.. ofm.

:e~~:~!::,.,~:~= FcwHowl~ ; Fcwthe"'eofm.

cw==WiII Do : Repeotn-.l punctur. . .tnocn.r~ In thIoCHI of 1.1Iures,.nPdlengeiOftNbfe RepI.Io(:e".lnocn.r~. .tl.,",II'.occ.UIlI d"'flno 10m 20 IftOrtth. II we 1."••

1,.

1M1*1Od. nWllt be r.p4lCed.cNrgetog ontylhepropotbOnofCWT~tr"'.

:~U!:.ctIoderv!tExc:_T" Tread W. .-Out Gu...antee GUIot'........tAgeifttl . Tr... _out.

FOfHowt.ono : 40monthi WMts-.WilDo ; ln~ Icwthewe~e lt.chIotgu''lQcun''''l

1. . . . . .ng~IIIu.F...., .. b c lM

TuleuaMtpetCetltageallowWW;e

You get more tira at Sears.

ISears I

CONSUMER MAGAZINE ADS

4

Len Sirowitz, art director/ designer Paul Katz, copywriter Dick Richards, photographer Doyle Dane Bernbach , agency Sony Corporation, client 2 Harvey Gabor/ Dave Deutsch, art directors / designers Bruce Barton / Norman Solari , copywriters Rudolph Legname, photographer McCann-Erickson, Inc. , agency Coca-Cola, client 3 Howard Rieger, art ditector/ designer Hal Larson, copywriter Chuck Wood , photographer J. Walter Thompson Co., agency Sears, Roebuck & Co., client 4 John Danza, art director/ designer Gil Ziff, copywriter Mike Cuesta, photographer Jack Tinker and Partners, agency Miles Laboratories, client

5 Len Sirowitz, art director/ designer Leon Meadow, copywriter Mike Cuesta, photographer Doyle Dane Bernbach, agency Better Vision Institute, client

5

1ber'e',one (atleast.) ateveryparty.

She arrives aorgeoully dTelied. dripping with an· lique jewelry. And antique ideas.

Like this busi.nresl of ey~ Oh. the admits she', blind u a haL And without her husband at her aide,she can't leU friend from luanaer.

But she isn't admitting tomelhina: that', just u obvious. Her vanity isn't payin&oIf. What.eva- idea she may have about her looks,

!.heyaren'tbeinchelpedri,htoow. 1bere"nothing lOamashingaboutherpuuled. frowningaquint.

And thole harsh Iinel. that atraining 100k around t.heeyes.don'texactlymakeheraravinebeauly.

Whatlhouldlhedo? lltherea.Uycauihtbelween t.hedevil and the deep blue?

She should at:taprofcaionaleyeex.amination.

Good teei.na comtS in lOme remarkably am.art atyles and lhapes these days.

Not that &lUBeS will make her. Mill America.

But they can do away with the frown in,. They can pul an end to thOte lines of .train. Her limite will be Ttlued. Her look will beconfldtnl.

TItilalontcandoanawfuJlotforaciri.

And, of course, this isn't all . There', the small matterofhavingalharper. clearer idea of what'l aoineon.OfjuatplainlCtinlbe.tter.

Which isn'tex.actly a crime. BetterVWoftlutltute

23

1

2

Hertz rents cars where Avis doesnt:

Tear out this page and slip it into her copy of Vogue, Ladies' Home Journal, Harpers Bazaar or McCalis.

Algeria, American Samoa, Ceylon, Curacao, Cyprus, Dominican Republic, Ethiopia, Finland, French Guiana, Guadeloupe, Iceland, India, Iran, Ivory Coast, Kenya, Kuwait, Malawi.

Martinique, Nigeria, Norway, Pakistan, Panama, Paraguay, Peru, St. Martin, St. Vincent, Singapore, South Mrica, South Vietnam, SouthWest Mrica, Surinam, Taiwan, Tanzania, Tobago, Turkey,Yugoslavia, Zambia.

And vice versa: Uruguay.

That '. one reason why Hertz i o. 1 and Avis is 0.2. thing goes smoothly.

There are other rcasons: In more than 40 countries and Hertz can have a Ford or anolher good car waiting at the pier de~ndencie where we bOlh rent cars, Hem has more can to rent, al most major ports in the world. And at a 101 that aren't 50 major. more places to rent them. and morc people to make sure that everyIt lakes morc than trying hard to top

that.Hertz

-

r

IH " ' , •• If"

, , " ....... 1,· .... " •• '1' .

..... ' 1.• " · '

3 r,---------------------~~~~~~~~~--------~

There are a lot of good cars you can get for $3400. This is two of them: If you don', hoppen to need two cars, ther.'s only on. riling tho, you need less.

One cor thot costs as mucnos twocors.

Unless you wonllO pay a la' ofrt'loney foro 101 of horsepower thol you'll never

use. Ther.'s only one sial. in Ihe counlry wh.r. you con go lall.r than 0 Volks· wog.n.- N ..... odo INo sp •• d limil-

24

th.y'r.biggombl.rsoulth.r • .1 Th. only .xlra hors.pow.r you r.ally need is lor aU those pow.r godg.I1.Which youn.ed 10 driv. 0 corlholsi;t• .Whlchhos 10 be thot siz. 10 hold 011 Ihosehon.s All of which also mok.s the a ..... rag. cor cost almost as much 10 run as two Volks· wag.ns. Consid.rlng 0 VW g.'s oboul 27

miles 100 gallon ofgosondoOOvI-40,CXX) miles 10 0 lei of lire, &Iifyou'reshllnolsoldoe lheidea of two bugs for the price 01 one beasl, why nOllokead . . onlog.ofthis spe. ciol Inlro ductory oft.r : one Volk,wagen for kalf the price of two.

The/"e's this Irisn TOwn. Rosscarof!ry , All Irish stcreowners seem to piJlnttheir names on1heirStore; in bi:J old hand- Jetreril1g. f3ri']h1er than -the neDn .fNew Yor/( SIX hOUl'5dWJY_ Scme11mesthe storeS dOf1't e~en h3 ~e a 5i5" sayinj whattheV,5ell. Jfls1-the Mmes . JJn~ SAw this one 5~Op wiftlface curtainsdhc/a

m'/..'}niftc.ent /3el/e.-'~ cnina. tea "Jrttln the WIMow. So w~welTt/l1 , Only Itwasn fa 5hopatall Put s.o~ howse .The fady thnt fired thele didn't /filM rAll"/nvaslon. She said the chlf/a fIad been In herfam"y tor don/(eV'sv ears and waSh'f forsa/e,bl/f; sh~ }q)t!w wheJe we C<JII1d'j6t 8 similarser fOr/t; 1">lII"'S. $'f/<:l !

TheJ1 she d5l<ed illS t051i1yfor Some PISCI(lts and If'ls/1 tea, SO W9 d,d. And fhajillasthe tJe5tteil ,we e~,. had. Only I d()/1't KWJwdif was beCilI!Se of1he way she /'I?JJe fMtea 01' fhqfd"na s~ served If /Y1.

5

ka-Seltzer

extenninates the butterflies. /

CONSUMER MAGAZINE ADS

Mike Tesch, art director/ designer Jim Parry, copywriter Harry Hamburg, photographer Carl Ally, Inc., agency Hertz Corp., client 2

Ed Bianchi, art director Stanley Bendetson, copywriter Harold Becker, photographer Young & Rubicam, Inc. agency Remington, client 3 Roy Grace, art director/ designer John Noble, copywriter H~nry Sandbank, photographer Doyle Dane Bernbach, agency Volkswagen, client

4 William A. McCaffery, art director/designer Michael Kane, copywriter Timothy Galfas, photographer deGarmo, McCaffery Inc., agency Irish Tourist Board, client

5 Silvio Galterio, art director Gil Ziff, copywriter Jack Tinker and Partners, agency Alka-Seltzer, client 6

6 Salvatore Lodico, art director/designer Richard Olmsted, copywriter George Elliot, photographer Young & Rubicam, Inc., agency Johnson & Johnson, client

" ' •• dirtyw«ld l That's why you need these Johnson &Johnson surgical products.

You never know what kind of cut or scratch or scrape or bite your children will bri ng home next. You have to be ready to treat them all, with adhesive bandages and gauze and tape and antiseptics.

Don 't take chances with infection. Protect every little hurt with the best protecting bandages in the world. From Johnson & Johnson.

25

Quick, what are the names of these 5 Nabisco cookies?

CJhe

-----,

BODY I

ARPEGE

26

CONSUMER MAGAZINE ADs

3

Bob Lenz, art director/designer Alice Moseley, copywriter Mike Cuesta, photographer McCann-Erickson, Inc., agency Nabisco, client 2

Chuck Bua, art director/designer Regina Grant, copywriter Richard A vedon, photographer Tom Carnase, lettering of titles Douglas D. Simon Adv., agency Lanvin Charles of the Ritz, client 3 Roy Grace, art director/designer Charles Ewell, copywriter Stock Photo, photographer Doyle Dane Bernbach, agency Volkswagen, client 4

Pick the right day to test drive a VW and you'll have the road to yourself.

Sod when 'na weother was better, everybody was inviting you to come in and les' drive their new whotevers

But now that rh. weo,h.r isn', so hot lond 0 test drive is reolly a '8stl, the invitations have dropped off sharply.

Now maybe you con spore a little lime 10 try oul the new Volkswagen.

4

10 your VW deoler. III you con make it in your cor.!

He'll be happy to 10k. you out and show you how a Volkswagen works when hordly anything else does.

How the weight of Ihe motor on Ihe reor wheels makes the VW dig in and go, in the snOw or the mud, or even on ice.

Not tight this minute. Wail for a nice

As you poss all the stlonded cors Ihol

lousy day. The n8X' time it's snowing Or slushing or something like 11'101, drive down

possed their lest drives in balmier days, h.'11 tell you about the VW's other cold-

weather comforts.

Th. aIr-cooled motor. It doesn t freeze Over, so it doesn't need anti· freeze or a winter thermostat.

And if you have to leave Ihe cor oul ono cold weI night, it's gOI four coots of point and a sealed bOllom 10 keep it cozy, You'veevengotonedgewilh a Volkswagen if the worst happens and you gel stuck.

Whol could be easier 10 pushi

Julio Di Iorio, art director/designer lIon Specht, copywriter Harold Kreiger, photographer Jack Tinker and Partners, agency Bactine Skin Cream, client

~

r------------------------------------------------------------------------------------

How to live with your face while your body is changing.

While lovely things are happening to your body, not so lovely

~ like pimples and oily spots happen to your face.

It s your body's way. Nothing ),ou dot or dab or pat on you can

chanse it. But there is a way to bve with it.

AU you have to do is wash your face. Like you always do. But With somethinJ. new. Something called an antiseptic washing aam. Bactine Skin Cream.

Bactine washes away dirt and grease. But it does more than ~ your face clean. It fights germs and bacteria. And it keeps ftahting genns and bacteria. To help prevent infection. To keep your face healthy.

And what this means to you is a little pimple on your nose doesn't have to tum into two pimples and then three.

It means a small bump on you r forehead doesn't have to become a big bump.

And take a few weeks to disappear instead ofa few days.

And it means that when all of your pimples have finally gone away, your face won't have to have a lot of litlle scars to remember them by.

27

1

2

AFTER 209 YEARS OF MAKING FINE VERMOUTH, AMERICANS HAVE COME TO KNOW AND LOVE US FOR OUR ASHTRAYS. In Italy, we call that irony.

It pains us that Americans don't know our vermouth as well as they know our ashtrays.

They don't know that our people do more than just jump on grapes to make Cinzano Italian Sweet Vermouth.

They don't realize that we put ISO different herbs and spices in with the grapes so our vermouth can give Manhattans and Rob Roys a little something extra. (Some Europeans think our sweet vermouth is so good, they even go so far as to drink it on the rocks.)

Americans also don't know that we, even though we're Italian, have the courage to insist that Italian grapes aren't dry enough forCinzano Dry Vermouth.

So we use French grapes which are drier and better.

Few Americans realize that, for having the courage to let Frenchmen make Cinzano Dry Vermouth,our people are called nasty names by their Italian neighbors.

But this doesn't bother our people, because they know in their poor, tormented hearts that Cinzano French Dry Vermouth makes gin and vodka nice.

Very nice.

What really bothers us is what Americans know about Cinzano: that we make ashtrays.

Americans, you know us for the wrong thing.

4

Pussycats go where tigers fear to tread. fancy .:ors w!~h fer civl,ls me.. oreopttodJsOmeun!of1Clolrhln. 'j tnsncw,

lIte

etstl.!c

Then Ihen~'s the PuSS,"-OI: meVo!hv-agen KOrMonn Ghio.

11 S 0 little less fen/ oos, (1 Jitl'e

J ust be t ha nk rul you can have your eyes exa mined ever y year or so. Belter Vision I nst itu te.

28

more domesticated, for example I' CQI'l sp"'nd on evenillg 01.11 In ref"poratoJres thol

-n

r b~

o .;.~sn ! f'lf:H·dwoter ~ tlt .free.:"" If!. co '~d by tJl( A'ld 'ex Iteo In

weal!->N !'Isreoo Of thp. ,ns de Its fran t brOKes or~ ast kino fhol wvn'l bde • A~doi tnou h. ·snO'tlspO .... e.fJ./ as a man·eo ~ ng ItgN Of os SCe1:ldV (IS 0 wi d hv ' .f' at ; ' CSf T ~"v"'"

t~fl rPoor

:;,ye ,h .. f'!-;:Jr ""heelS

hr.""", fin j irs yvo ~ bod h mf"

'ro" on

The KARM VAON lk,wNoQG enHIA VIII IS/).

if

\ OM "yet ,e'f;;' y U

PH gr' $. nrlFo~ 'n f(ll"~

I'sn"w

:mp.

Tn;;l $ t-p,~ost'> 11-.6 GriO eng ne

I

mu," be<tef

lis bon m s fully sea,ed S the

"'uls;de jQkes a beating fr ·m boo

5

CONSUMER MAGAZINE ADS

Onofrio Paccione, art director/ designer/ photographer M. Kaufman, copywriter Leber Katz Paccione, agency General Wine & Spirits Company, client 2 Ralph Ammirati, art director/ designer Dave AItschiller/ Ed McCabe, copywriters Mike Cuesta, photographer Carl Ally, Inc., agency Schieffelin and Co., client 3 Len Sirowitz, art director/ designer Leon Meadow, copywriter Dick Richards, photographer Doyle Dane Bernbach, agency Better Vision Institute, client

Volkswagen's unique construction keeps dampness out.

For years there hove been rumors about nootmg Volk.swagens. CThe photographer

claims this one stoyed up for obout 42 minutesJ

Why noll The bottom of Ihe VW isn'llike ordinary corbottoms.Asheel of not steel runs under the cor, seoling the boltom fore and oft.

6

lce·coId Coca·CoIa has the taste you never get tired of.

Ifs Iways refreshln..

Thaf. why things go better with C.tke

after Csl!.e aftei' e,a..

Thol's nol done to make 0 bod boot out of iI, just 0 beller cor. The seoled bottom protects a VW from waler, dirt and soh.

Ali lhe nasty ,hings on the rood that eventu ally eat up 0 cor.

The lOp porI of 0 Volkswagen is also

"erv seaworthy. h's practically oi rtight. So oir l ighl thot i"s hord to close the door

4 AI Izen, art director/ designer John Noble, copywriter Philip Gottheil, photographer Doyle Dane Bernbach, agency Volkswagen, client

without rolling down the w indow just 0 lillie bil.

Bu! there's slill one thing to keep in mind

if you own 0 Volkswagen . Even if it could definitely nOOI, it couldn', noot indefini tely.

So drive around the big pud · dies. Especially if they're big enough to ha .... e a name.

5 George Gomes, art director Charles Ewell, copywriter Steve Horn, photographer Doyle Dane Bernbach, agency Volkswagen, client 6 Harvey Gabor/ Dave Deutsch, art directors/ designers Bruce Barton /Norman Solari, copywriters Rudolph Legname, photographer McCann-Erickson, Inc., agency Coca-Cola, client

29

2

1

A1ka-Seltzer: When you and your stomach don't agree.

Picture, if you will, a salami-pepper-and-onion sandwich entering your stomach.

It arrives, un-announced, and upsets your stomach.

Blindly striking back, your stomach upsets you and you get heartburn.

That's his way of saying "Watch it, Mac."

It's a pity you can't get together with your stomach, and decide what foods you can both agree on.

There is a communications problem.

Therefore, you must speak to your stomach in a language he understands, like Alka-Seltzer.

Alka-Seltzer is your way of saying "Forgive me ."

It has alkalizers which will soothe your up et stomach and reduce excess acidity.

You take care of your stomach.

Your stomach won't bother you.

The mainspring in it llulo\'3. i madt to tnt 256 )CaISOI 146 leather &lrap'-"hi<hc\C:rC'Onle5 finl .

.\1 Rut l\.li. tk..'fC'"' th .. tu:y LHlt m.o.'haot t!loiI[ Juat "tJ! tl\t« v.'u"juqC£n,lu(1'11.!t.d!n!( .l.1l,.."lIl'ru\t: l:..a...:h ".,·anJeq\M!. tJn(' ..ur "' nr,.(lu,d UIt ' ·1·::WC (llJr t,."t~t ~t Ollr CA.;t.llfvt &d:: I" 1I:w.IN.!V,flg .~ ~'Inil ~t l~(J yr.n f. jU/'t ~fatOf\..,h"'4"Cm.lke:'(J"",nyJlUE't"lWnrtlt .. Wc:.j.ln·1 lu\!M'I.IIyc.Jllt elM: "h,.).:an do bc:t u r,ol' "",110 ,. ~'W11 I.,,:\IO\U

h:.w

touy 5oyc>u11netd .. l<ttJQ.,u"J. mpsanUlOOIvbt...e oc:1Jtf fQ.rU tlCft::n .. Bu1&.vl. .'N{>uul ....T.U"e Ql,lt )"lO"U pJoNbly crt 1111.'\1 of rile bell Jt.c" bd!X~ d~t liut. theM' t!.av..... ' t t ... tI'lJ4ftJ(C't ...r'lO .... thll)"OUo;.Inbuytr'llatthin" '11.":1'" d~tmUl:bl'l~t

\\ hmYOU&1l!)W V. b.ttcnUNI. \\ l.t.::htlCi, f\A.l1Jbu,l.8ul.w.

3

If you think it's beautiful now,

wait until we chop it all down.

T o the avenJ1: American, those are fighting .....ords. All he can think of are aCTC:Sofvir&1nforest~ucedtouglytree

umps.

Yet thc truth is. most virgin forests are already doomed. They're waging a constant,l05ingb:&ttleagainstwscase:,inse:cts and wildli fe. A b:&ttle where death alw:a)'S more than offsets growth.

But when a company lIke O lin comes In and cuts down a stand of trees, it's like gardenlOg on a grand !Ca..le.

New seedllOgs are planted and grown under the best possible conditions. Excos undcrgrowthisthinned.Protectwesprays and fertiliz.ersareapplied.

The result is a healtPier, more abundant forest. One that's farmorcproductive than theorigina1 forest.

Now, we d on't cl:lIm to do this JUSt for the public welfare. After aJI, we do make a lotofpotperandlumberproducts.

But long ago it became obvious to the people in our business that they would have to look ahead.

T hat's why in 1941 they formed the AmerictnTree Farm sf5lcm-avoJuntary program of !cientific forest management by private landowners.

It's Jed to more forestry progt'C!iS in the past quarter-ttntury than in the entire previous history of our country.

For example, where in 1941 forest fire losses were 26 miJlion acres, by 1964 they hOld dropped to only 4 million.

And where before 19411C!Slhan5mil. lion acrc:s had been planted in timber, since then a lmost 22 mi ll ion acres have been planted.

Don't think the T ree Fann system is jU5t a se lfish w:aytogive ourselves a pcrmanent source of raw material", either.

It'~ not.

It's also designed to preserve wildlife, protect w:atershcds and evcn create public recreation ams within the forests them'tlves.

So when we go in and chop down some timber, pJo5C excu.x us if we ignore the dated cry of uWoodman, spare that tree!"

We're not ashamed of what we do.

Olin

OI ,... o..iah. M_~I .. Sq.;w,n..~ '.,.r .. Pd ... ;.... W'..... "-er-w~mI A,.. .. A•••• it ....

30

CONSUMER MAGAZINE ADS

4

CINZANO ASHTRAYS ARE ONLY ASHTRAYS. BUT CINZANO CANDLESTIC RE ALSO VERMOUTH.

1

John Danza, art director/designer Bob Schulman, copywriter John Danza/Bob Bleckman, illustrators Jack Tinker and Partners, agency Miles Laboratories, client

The Cinzano ashtray was supposed to be a vmbol of Cinuno vermouth. Only Amer;cans picked up the symbol in;tead of what the symbol stood for.

So we've made up another symbol: the Cinzano candlestick. Only this time we ("In't lose.

Because before you can light up the candlestick, you hav~ to drink up all the vermouth.

And that's a snap. Because there are all kinds of things you can make with our ,·ermouth.

To begin with, you can make excellent Martinis and Vodka !\<tartinis with Cinzano DI) ' ·ermouth. But you can al>o add Creme de Cassis and soda to make a \'ermouth Cas is. Or add sugar, lemon and soda to make a Vermouth Cooler.

And with Cinuno weet Vermouth, you can make a lot of thin~ besides Rob RorsandManhattan . You can addeognac tl) make a Lady Be Good. Or bitters and shaved ice to make a Vermouth Frappe.

Or scltzetto make a . pritur.

Then there are the Trocadero. the Continental, the Cin Cill and the Perfect.

Which are esoteric ways of combining our dry vermouth with our sweet vermouth.

You can even just pour our vermouth over ic,: ~nd drink it that way. Believe it or not, It s good.

Consider e'<I)"thing you can do with our vermouth from a purely busine...<like standpoint. begin to see the ad"antage in forabout our ashtrays and taking us candle,tick deal.

IF ENOUGH PEOPLE WOULD STO SMOKING AND START DRINKING, WE COULD GET OUT OF ASHTRAYS AND INTO VERMOUTH.

2

Donald Egensteiner, art director/ designer Alvin Hampel/Sallie Guthrie, copywriters Harold Becker, photographer Young & Rubicam , Inc., agency Bulova, client 3 Bill Taubin, art director/ designer Chuck Kollewe, copywriter Bob Monroe, photographer Doyle Dane Bernbach, agency Olin, client 4 Ralph Ammirati, art director/ designer Dave Altschiller / Ed McCabe, copywriters Mike Cuesta, photographer Carl Ally, Inc., agency Schieffelin and Co., client

IF YOU EVER SWIPED A CINZANO ASHTRAY, HERE'S HOW YOU CAN PAY US BACK.

THE VERMOUTH THAT MADE ASHTRAYS FAMOUS.

WCln\cntcdCinunollhtr2Y· h«:a\l5C' we ni\'l"(dthcv'd help peo-

ple ~~!;~;:r.::,n:th.

Insttadolgctti"lorriedaway wilhourvcrmOlnh,peoplchncbeen C'ltfT')'I"I . wayourasluraya.

If you'n: onc of Ibote pcoplc, we wouldn't m,nd ,l you pil.ld us bad:: by

buYQf

:;=;:ru':'don't

feci you o-cUI.nychlnl.)'oucanbuyourvcr_

~~:n·:h;~"=~:;':.

tnOl.uh forlAlrt. h 'lnotmadcby

j USlju mplIl&,onlupu. WCpUI Ihy mc,rOKmlry,lnd ISOOlhcr hcrt.andspKH,ntoll,SoCinuno ~wcctVcrmoulhcon l ribulettomC_

Ihlnaloacockuul.lldoclll'ljU5l 1i1l uplhc.a1asa. hdoclfl"tlaMcbadon

thc.rocb,tilhcr.

You can allO buy Cinuno Dry

\'cnnoulh. We lei Frel'l(hll'lC'nlmitc II,cvcnlhoulhwc'rel 'lllian, \\'cdo Ihllbea.1IK French anpn make.

dnervermouth. And I drie r ver_ ~~ makltS bcttu li n Ind vodka Ofcoonc,II'sp<*ibkthacyou'n: one of lno.c pcoplc who lova our

We plau~'n:,j tit.: n~mcCinu"" on m'II'..."l'( •• htr:lhl.,:au...... c :~::~~~,::~~d h~lr P.'1,1~ thinkuf

It k'\:nh In: liJ,:un:J Ilron~.

I'~"pk "larl~J thtllk,nj.! ,;I"'UI Cinunc)l"htr3)1 m.,",' than they th,ouj.:ht It."11 (InuI",\nnlolllth. ~"c\~c\,lOl\\o;up"ilhan.:Il61,m_

mid:I"i!\t)"Ut.'lhinkufCinuI'O ",;n~ 10 Idl tQU

lI;:rm."uh.

"',,,'r'(

hUll jI..~Ki II it..

(lI\un ... !-oAC("c ' 'cTmouthitn.Jt maJd') Ju-tjumrifl):"ullj:r:tfll.'t.Wc :tJJn ....... m:tf\.th)n ..... ,anJIJOo.hcr ..... rI"'lInJ ..f'IO:"- "'Cinu.I'IO~Il·.-d ' -erm"ulhtJo.;"n'tju,",6I1ullacock_

la'/"b .... It C"Il!noul .......Ifl1O';lhing. !:t~~· .. 'tta'tcwdunlherOCki.

~r:~nd~: :::~ :~If::i;~'

Ctnun<.lOr)- \'erm"uth;'!Nde inh:anQ:,,,'h,,hit rn.ttyul1lN1:1.l .. hcl\)lJoUrun .. tdt.:r ... ·n:an lutlln

We'dn thcrtc.llyouvermouth thM "'lInys. 8 11t we'd rather lave

InJII..... rt'dr""r.:hln;>oUh,uur\~r_

&nl$hcny.

YOUbuYln~~,:"!",~~.~':;..

cum~n). \\'cd<.ilhlJb.."CaIlKFn:nch

rr..JlIlh,,,,,'ju.cdl'},II"MlpLrdry.

And..uptrdl'}\cr,nuuthlmk... tupcr

fin and \odb dnnh.

\.l'r~~'h):knowhowioodour Hthi.ltrai,hc !atklpproach dohn', nub OJUr u:rmuulh m'~ fa-

mOlllthanvur ... hln)"l, ....c.n:prt_ pan,.J lount.:a,h l hc 1.Ii"~almmKk

o(thcmall.

Theli\lnJ.ahattfOOICinuno 8t~hUmbn:tla.

31

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For under $160, you can make 3 people very happy.

Or 1 person ecstatic.

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CONSUMER MAGAZINE ADS

2

Mistakes we make.

But we don't label them Chiquita: There ort" two kInds of people In

th is 'Nodd The ones who COt eo lot.

And the one. who couldn I co. e less We lilee to thInk of ourselves as

one of the former Sure, ..... e know our Chiquita Brond

Banana. don t a lways look lik. Ihe wQxed vel slon 10 the ten cent ~tore Frankly, we don t .. peet Ihem to Bul we do expeel them nol 10 b. overly speckled Or dry Orsk'nny And

Bob G age, art director/designer Phyllis Robinson, copywriter Dick Rich ards, photographer Doyle Dane Bernbach, agency Polaroid. client

w"" Ihrowoula whole" eefull Ifthey're He the one below, The way we .ee II, the Ch,qu,lo Brand 80nono seal belongs only on our be,I On Ihe pick of the crop, not Ihe run of Ihe crop On the plumpest, to,he,I , sweetest bananas we ve got ,t in us to produce Sure, we "admit we make mistakes, Bul w.. 11 b. darned if well label them Ch,qu,lo •

2 Joe Tranchina. art director/ designer Ron Mogel, copywriter Art Beck, photographer Batten, Barton, Durstine & Osborn, Inc., agency United Fruit Co., client

Chiquita Brand Bananas.

What does a banana have to be to be a Chiquita?

A funny thing

happened on the way to a better banana. ..

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Chiquita Brand Bananas,

W, tort 01 lib palling the phYIicaI 10 become a Marine.

The banana', gat 10 be the right height. The right w.ight. The right .wry. thing. light off, it hal 10 be a gaacI eight inch.. alone the outer curw. And at IeaIt one and a quarter inch. CICrOII the middle. It hal 10 be plump. The peel hal 10 fit Iighdy, The baftana he. 10 be . . and finn.

It hal 10 be gaacI enough 10 gIt through a 1S-paint inIpedian. Nat 0ftCII,

The Special Delivery

Banana.

e

O1icu-ta Brand Bananas_ Chiquita Brand Bananas.

33

1IIis is a bribe Tear out this page and slip it into her copy of Vogue, Ladies' Home Journal, Harper's Bozaar or McCall's.

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How to get the REMINGTON 500 for Christmas. r------------ ------ ------------- ---,I

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Ir •• _w""'.II'I'l«ltO"lWth. CNlIOlldtu$llhetuUlftledI'Iupanddown

10 smooth 9\i... )'OUr IKe no m.lter wn.1 ly~be")'OUhave

W 111 lhe 11'1,,.,. w .. ,r-t hMds

iW'CIlhell\WPHltM1ellOtthe~t

..... WI .... de~!tR~on E-=~'IIe . . . dcombS

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~:;.~:=:;~~~:~:: noon, ~r lac. wjrSl~ haWlemornltl.

4. Putnot•• nd picture 01

ahlv.r In envelop., and give 10 he,.

'iltneon'tWtwntheIoNl.un .... oU.t the fOOCball pme. your beercl rT'IIy,.n1 be 5llf'1C1nauptOttheOC*lot"t.kO("koflllyO.l ,weon~YOtk.~butdw'IIPI'CJDM)Iy

~.~I:k~W~:'be~;:'..ct~ plout~~:~~=::~I~.IOO

34

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2

CONSUMER MAGAZINE ADS

Ed Bianchi, art director Stanley Bendetson/ Alex Kroll, copywriters Harold Becker, photographer Young & Rubicam, Inc., agency Remington, client 2

k. ·coklCo<a·C<>ta h"$th.ta~t.,ov

M"erg.t~.1.

W. abuys retrMbm" TNt'1 ..by thulet C-' bolt......thCO... aftM Coke ~fter C.e.

The complete picnic kit?

Not with just one bottle of Coca·Cola.

Things (like picnics) go better with Coke after Coke after Cok After all, Coke has the taste you never get tired of.

Dave Deutsch/Harvey Gabor, art directors/ designers Bruce Barton/ Norman Solari, copywriters Marty Bauman/Rudolph Legname/ Carl Fischer, photographers McCann-Erickson, Inc., agency Coca-Cola, client

••'.!••

Coke in a basket?

Why not? In a glass, a boWe, or a cup for that matter.

Coca-Cola has the taste you never get tired of. That's why things go better with ~~ after ~~ after ~~.

35

Now that Gracie's learning to shoes belp them stay that way. walk, her mother's taking a These are tbe shoes that are giant step. The shoes she picks unlined. This makes them now may be the most important sorter, lighter, more flexible and more naturally correct pair Gracie will ever wea r.

They'Ucertainly be vital in than ordinary shoes. mooth, supple prime lea thers let tarting those little feet off on the right track. Or the wrong tiny feet move, bend and even one. Like practically all babies, " breathe" freel y. All through Gracie was born with perfect the growing years, this .fC;C;!;I~..~.~i,~~.~~c~,i~!~!!tJ!" '._' ,.. }~ ~!~s.~u~l~!~~Ja~~ bare.

foot freedom i important. In that first pair of shoes, it's crucial. So put your toodler in Jumping Jacks. It will s ho~' you're_on your toes.

The rest of the week she's a tomboy.

Pretty dress·up shoes tum the neighborhood's treeclimbing champ into a refined little lady. Jumping Jacks party shoes do even more. They protect your daughter's feet with a beauty that's not just skin-deep. Beneath their gaily feminine style is the same soft,

that lets all Jumping Jacks provide the lasting health benefits of barefoot freedom.

Prime leathers assure wear without weight so Jumping Jacks last longer-no matter how she wears them, or where. So the next time she's ready for a pair of really

~F~!:!l~~~I!,~~~~~~~!l,."..•''"'0"~'!~~:,~~~~~!'!~

After a barefoot 5umme:r, they11 hate wearing sboes.

We don~ blame them. Tbe~. nothing like going barefoot.

H your doctor bam't already told you tut, we will. We can afford to say it because we make the next best thing to bare feet: shoes with barefoot freedom. When tbe carefree, shocless summe:r is over, your child isn't going to love slipping into our sboes. But be will

comfortable than otber sboes.

Ligbter. Softer. More nexible.

More like going barefoot.

Jumping Jacks feel tut way because tbey're un~ned. And they're made of prime leathen for wear without weight.

All tbrough the vital growing years, Ihis special barefoot freedom helps prolect your child against the troubles ~ ~ !~~.~~~!~~~~ ~~ <." • • _ ~hat !.Lve 'pro..b~!!" f!!o!!?

..

36

..

eight out 01 ten adults. So this faU season, send your youngster back to school in soft, ~ght, aexible Jumping Jacks sb .... lie'll hardly notice that summer's

shoes, put that little tomboy of yours in Jumping Jacks dress-up shoes. And make her a Iadyfora day.

2

CONSUMER MAGAZINE ADS 1

Onofrio Paccione, art director/ designer/ photographer John Griffin, writer Leber Katz Paccione, agency U.S. Shoe Corporation, client

Once,I')'Ouwereague!.t3tthishotel,Ilhadlobelorallfettme

2 TA~ Transportes Aereos Portugueses

The only foreign country left in Europe.

Peter Hirsch, art director .

Neil CaletiCharles Ryant, copywnters Peter Turner, photographer Delehanty, Kurnit & Geller, agenc~ Transportes Aereos Portugueses, clIent

In t'101'JI Ihe),Nlvern ruined the ruins.

""~ Transportes Aereos Portuguese.

TAli Tranaportea Aireoa Portugueaea

The only foreign country left in Europe.

The only foreign country left in Europe.

37

1 --------------------------------~------~~__,

Beakilljo~

Pick a number.Any number.

t.

TeD your wife exactly what you want for Christmas.

(And while you're at it, tell her which mode!.) .1. T'bt f'CoaolftY C~ler: Paelr. Camera1 OIY'C'iy<:lubiil btD utlluJOJIorpr1nt'ib\ 60l'Gc~ ondf, blo\Ctf)ndwldt~:rI'lI' (bwe.t't' 3n),or.ber way to n ice picn,lJ«1, It'. IiJAtwriiJtl. Low In stcOI1dJ.. Sknric eye. Yet Polaroid bali figured aul. "NlIYto IhM&- the prl«. U,wuS,60.

_,.-ptk••

2. Moy""'" _? lb. mlDy de.luxe fnrum the ttOOOIfU) modcl doesn't, like _ ShUJ1 triplel~ m and S\1ptrim ~

po!i.I:'d-..imll.g.;:: tl.1 nllf:- IJ)d -yi:e'W1'inder. Can 1.I!/o1f' tbr .PoIJll'Old'po ~I' Kttlmdm:any Qlhet jCtt!!lw Wtk'1,(}lId I1T$8$.

4. Maybt «"t',n die de:luxf aaodd'2' 'l1il.r it i.bt.tincs1 aUlilftla.lwcalN'l'llf'Q.I.'roidhM.C'Ye:r uladc!. tlcuodo'Un.nphOlX'ipflhtotheb:t:iIa:

3. H ... about til< alm_1mnuy _

mabblac:,taftdwhittp'lctufCiindoon,,;\i toouJ.

Apc1Ii1 buy. 'iOOtF' rtlO5t«tbeirnportCI'I'tt

srron61 Bru.!ibtd t:hrotnefini.!.h. suppleleatbtt map: a beauty. IncludC'sfbshJUl\. UNJullJO,

lururc:.. 01 tht deluxe CoJorPM:tCrun(':fa. Evcn Ibe same bru.shtd chl'Ollle bod)'. 8111 IMsbulter hwsIng is Qlct.1lutd plastk.- i.tJmadCildirol1lC:, tbt St rlipn} lun ,nsteadO(lciUbcf. 1od~

nashgunlfnJcr l J25,

tbt\b , mat"tIlUtomltUe tunell,,~,upl(!lO

Oh. Abcut )'0\111 .11f-. VOll1l SlfIW'I! it witb hu when you stitt tUJn& aU IhoM' piKnlfu 01 till:

kIdo.

There's a Polaroid Land gIft camera at practically any price you want to pay. llndcf $60. The r..:onofl'l )' { ~"tlt Uk-I! Il ~b.-'j '"P IIJPllt1J r.'n ~and kUf'tC',itn1"5("1: (""t'lln e l'i Ifi'lll.'~ ' ~ ~"-!f' bi:::l..,,' JflJ lt:ol')t IKll1l,,;j')6d\t~"<H1d'S t>13t ~

po:;cJ~inl:i;lEe ,.an~ - ~ild\'i.: .. 'ij\J(,-f

r1ol'l.ljl.; In. ((":'Id (If Chh'mlC, ,~ ~t~"P n)'l'lfl rn'\t~W of kitlbee, Prk:t ttl

eM \.19:: the P"fJmid Pl'lttrait J.,;,.i

d~dt\I1.J"h,un,

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P"" .. rCl J h8 ~ fi~UTd OUl:,t 9."11), to ~ hrin" t"'~· pu;;e

l 'nder SHS. 11.a.~ man) delu'le t.:..~ hm:'j. the (\"onnm) fI'lOIJ i!1 &.1eltn l.

Unkl" 5150. l >h., l'j The f'iIX,t

.. :.tpplt- ~,uber ~\~lTl\ ~ be.U!~ In· dudl: .. ft.l\h ....n

l'udtr - 20.lbt\... 1ngt.1 _1~"f'¢W­

ndHS.25.A ;rtal t-U} Y\\tf~~ miIfll!f lfu: fmjM.m Rmfc::uUrcit.rlhe

;.I u !'~m~{i( .. lIm<:nJ P<lI..roid h~ nc'f

bl

n"tiHk ( 'an &;1 tning.~ l\Qfte of tfwo

and .. hlle pjdtlr~ It

Cam.:,"", f ~cn

rn:lurbU'l~'f1~ilhout1tJo,Jt molL('

ttk:~bru\hCd(hnlfl)C boJd) B u T t ~ YlutlC'r h~1Usln g ., 111<liIIl and

Ilutnm"u.: umo: ('l,powm ur to 10 or.c.. oOO.. 8 ruJted cllromc fint\h,

dtJUM: ("olor Pal;

tlthersc;&n

l'tl."!.l r-bu-l..Ilnd¥oohlf....

M:.... '.lmeraiO'l'I~"<C('Ir.Jbi;ll.1o.

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~te"ol>fin.kr ~~ )('!U' \C' gl1f Ihf' rl£hl ..etung Frtrlh a.;rk;a \ 1,1l wpo;rb;;~"IJp"~\'tfncrJs

lbe

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Show-off.

OK, decisionmaker.

Decide.

Th i~ i .. lilt l'il\ ~( :ullolluu ic ramers h '~:} Itrrlblesho", -ufl'.

bi:t(');. und ~ hit" film. Turn off aU Ih.. lig,ll", (,Xl't' pt Jlcrb;,ps u caudJe or ni!.:h,·lighl IIt'ilr Ih(, "Ubj'H't. Withou,

WO N )f't. II ~iIlIIJOl ~ ml into (J fl t'.

fitH" . it " illJ,:lle .H'u l.t perfe(·' fime

" ulurQid hu ~ r \u produ«d, Li ke LUi flol:lfOid C UlM 1\ 11"" f lun· trlt~. it " ill dtlh ctr a l'()I.' r Vfin! in M) <"f'cond ... .>\ prNt) lias-h) n('1 in il"'t'lf.

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nut 11Ii~ m~Kl i! 1 hn'i r,," !Idler trkL II Ilpit.. ~ le('\ c . (l fs'llldnne ""ilh ,, "em!!;· [i,.(> .. lel'lrk l"~~ a nd " rrll1:-.r'-.:lble , ....J II,j"orh:r-dmuU f r .)

FClr hh hu l ("~. I.cmd .bf t'lllllfr.I ~ WI

38

ntHr h U:\t to norr) Ilbollt . Pf!('ial dis-

~ '\l)lN,rt".

hun',", ~(>llirl~" , Wlmt cl~ :t It J.lrvdu('t~ b.....tutif"l clOi;f'· U" .. u ith tilt' dOMHlli lind porlrilit rtlh,,'hllieub, II hll'i '11 triplC!'1 'ens. a

'-ifh. prclt~ ~ irl ;,: hJ IlIfo fir .... ) TId" on ... t~ prt tt~ hupre, ..h" 1HiI. Luad ,,,itlt .."IHr film. add the Uu ..h arid " ' .11'"1 .. huiltiuJ!. rbe elt'i. tric t·) ("ill f(md th ... lighl of ,hl'. fla~h ami

"'ulJ>t.riltll"'!'Icd.inHlJ!'l·, (1Illpled ranxe· fiudl'r. 1 e\J~o"lJre rllJl~~'" ("r ~·utor. 1 for hhll'k l4l1d ".!litc. Jr'", H,glu, ('mTtp~ct. ."tl'lI-lnlldina:, nUl don't !'Ia., \\(' didu'. ""rll )-OIJ, Ont"c iI\ in .he bou-.e.)utt'''l'g9inl!1'U

.... 1 thl' c'JHNlrt". \1IIorll9,je:dl,),

he onhe:lmhic•

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Thb, Qnc·.\j OJ wughu,' W htth~r you rid Ih~' tcoo~ m)' modd of ahc l'ohm,lIa Color P.u;k Cumer'.1 (If the delw;\' Job l,ln the nslu. }(xfre l;.oin-g to get n "hole lui ~)( call1 ~rll for flu:

60 second)-. blad. and .... h rIc in

m l.'lf(,)"

f/bt. Yel Pol,Hord h.u figured out

The under-, 60 one win gl ....e }'OU bIg , beaullful cnlor prints in

15. Wh,(.'h b wh.u ils all ubnul righ t'!

It 1,as IheSlIml! dCClmJ t)'c as 1M mn~1 c1tpen\j\e moot}

\("1\. IheMlll1chlm, L()au ... 'tJ<iH.J~ av.ayt()brio¥ttQUtl:lllhISJoV. prict,

What "HI! )OlJr SOlnt'thlng under-$ljO buy" The fin.C~1 1HI lom.ltic CIHMta Polart)ld h"h <:\'~' f pmduced, j, mak e-< bl"c-k IUHI\A.oheptt:turt\ indOl'tffSt'.Ao'ith out IlJ ... h, QUlomallC tunc f'~I" '" ~Urt~ up to IO!oCcond.). It .dlo~ 'S )C'Ju to do be,lutiful d Q!t('up ~orl. WIth the special d('l'i('op

anI.! l"'lrmlll ,,"udltlK."nl~ [I h~h a ..harp t!'"l r k l Ie"", IU~lc ,'l.p'~l.IrC' fJt'tgt.'\ Itlt ~''''lor. 1\1,(\ fl\f

hl.II.:\..

alh' \~hll~. ,u('!C run~d-r m l~e ~a>upkJ r:tI'Ig(' nnJ.:r. BriJ ~ hed t:hfiltni!" Iin, ..h, lcather tIotrilJl dt1J JfI.I'ihgunlhw ,*nm \\ e w Id )\lU ]t \r,.., dldn't 'o\c "

lC,ygh.

CONSUMER MAGAZINE ADS

2

Bob G age, art director/ designer Phyllis Robinson, copywriter Dick Richa rds , photographer Doyle Dane Bernbach, agency Polaroid. client

NEWSPAPER ADVERTISING 2 Len Sirowitz, art director/ designer Bob Levenson, copywriter Dick Richards, photographer Doyle Dane Bernbach, agency Mobil Oil Corporation, client

3 Frazier Purdy, art director/ designer Alan Himelick, copywriter Ken Thompson, illustrator Young & Rubicam, Inc. agency Eastern Airlines, client 'Ne don't know how many people there are hke him That's thewtole trouble: nobody knows.

He got hiS drIVer's license 30 or 40 years OQO, drove away, and hasn't been checked up on SII'lCe

No lenses In the world can make him see well enough to dnve. Yet nothing can stop him, either Except maybe a bnck wall. Or the edge of a cliff. Or your car With you In It. Or a good, stiff law Another thing that nobody knows IS how many dnvers .ren't legally blind.

Dnvers whose eyesight could be cor· rected If only they look the trouble. Or If only they were made to take the trou· ble by that same s!iff law Nineteen states do It. They make people take the trouble to have penodlc eye examinations before a license can be renewed And they deserve 10 be con· gratulated tor It. Sooner or later, the others Will follow along. If you live In one of them, we urge you to urge them to make It sooner rather than later.

But you obViously don't have to walt.

No state has a law agamst haVing your eyes examined every year or so. And common sense says you shculd, even If the law doesn't 'Ne at Mobil make gasoline and Oil, not laws. And the last thing In the world we want to do IS to stop people from dnvinQ. OUite the contrary. We Just hap· pen to have 26,500 Mobil 5tatms all over the map. Each one has a great big Sign In front,and we'd like you to see them all,sharpandclear'M © b i l,

We want you to live.

3

- ..

--___

........ ..... "....... .......... . . .........

........... '-ru...r..

--- _

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. . . . 111' . . . . . . . . . . . . . . . . . . . . . .

'-uo ....... ,.".,...,. ....... n.. ..... "-' ... , , _

Announcing the discovery of 700 islands.

TheBahomoINond, You1fmd ...... qlllle&~Ci'>'.. dJfer.... ond~. per6ecIIOfOYOCt*OfI Thebeochesorepd..oleyllo"coy"ondaclovd

1n .... "'.,coUMI~k)liIOpondpo!nl

ArId nowlhey',.1esa Ihon 3m hoIM1 owoy,ony

you con chorgelfon Eolifwn-,Chorge·A·l..ppbn, poyonlySK)ornotllh,plusolowMrYicechorge Ecnternse:xduwe8-doy8ohotnosVOCOflOnpock. ageK>ttwoisOS""'-M$26oltlOrn.Iln:ludMround• Inplor.,ulofn Wllhpri¥Olebalh,breoUostonc:lc:W. da,Iy. 'fOu,chooc.oloneoliWI$pKtoI ..... m s. o~

doy,onEawrn

grOUl'dlrONpof1alllontoondIrOftl'fOVrho.-, lTour

)etnon -liop IoMOfnIII+Ie80t.o..wJswt!.SJ*,eI leovesolJO.50OII'doolyITh4NI,w,lholilchongong pa.ormoodi,yovlt.nd."ourMl'"........

phoneECNIIfnOl62J.8900

ROI.Ind-Ir'P.k*tslk"k)WestEnd"S'b2I)~

IlQ-8CI Mol.~nowwIlttVO\ll'Y,ow.I . .. Of Andmoke~own~

e EASTERN

39

2 Christmas Day 1966

8 p. m.

Please understand, I'm not complain· ing. After all, we're old friends, I was practically weaned a t N·M and think there's no store quite like it. But, clear -M , it has been quite a day!

In a way, 1 myself am a little responsible. 1 mean when T om asked me what T wanted for Christmas, I was . .. oh, offha nd , as wives sometimes are. 1 d idn't know exactly and I sa id, "something exciting and different - just surprise me", That's what I said . f ad mit it.

• Well, this morning rolled around and we slept a little late (the children are gone, you know) I and then, the doOl'· belll'8ng. I thought it was a late package but when 1 opened the door, the

~~d ili~d ~~hbehi~d hr~ :aid,tui~~';

it , them."

The pear tree seems healthy enough planted by the front bedroom. I watered it again just before J started this leller.

I've a lways loved the blossoms. The partridge never got into the spirit of the thing though. He? she? it only sat on the bmnches (or about thirty seconds and then took ofT. T om sa id he saw it a l"Ound (our o'clock, roosting or whatever partridges do, down by the Rod gel~' pyracantha hedge. \ Ve really did enjoy breakfast out in the sunroom Ii tening to the cooi ng of the two turtl -doves. And the cage is very attractive. My, they do scatter seeds about though, don't they?

Our old friend. Mike Da iley, took the three F rench Hens to the farm. It's nice to know they'll have a good home.

The four colly birds are nothing but old Texas blackbirds, we've had a numbe r of these around this year ah-ead y. They' re a ll up in the bois d'arc tree - I really don' t know which foul' are mine, you've see n o n e blackbird , yo u ' ve seen them a ll.

I must say the men who kept bringing the birds were very pleasant. I asked the first few in for coffee but

1

~e~~i~kl~~ ~ibl~t :: letfi~~"~ stopped askin g' and anyway

r

got rather

~u~h::k~~e fJrVel~~f~:1 ~r~~ ~~~'i

If it only saves your life once, it's a bargain.

SIl~~~~;~~f~ lotoftl'lC:WylOfOUf Royal Master

Andma~you'rewonderlnahowmochbel ler IhenewRO)'aI ~tercOUIdPOUlblybe t hatwe're

And thil's lIIo <lhyout' Old Ilf •. no less setS;:e~don'l5Pt'ndlhllmuch lor a whoie

ask1na SCI much lor II Well. to betln Wl lh. Il'st!uI II ..... llhmorehlnd

But 1$ S8\'.nl tI'IC:Wy thellf$1 Ih'l'lI you shou id Ih.nllofwn.n)'OUDuyallrelOrwouldyoufa l~

knowyou'vepsomet h.nlsptCliJlonyourwheels wt'!ef'IyouM a polhoHl'170mp h l

Or sweeparound. ralMhckedcurYe Or pICk up a ne,1at 3 0'clock In lhemorn,nl Sltll and all. S751sa lOt of money for a Itre

alfleakage AndlrSaotlWOSpecliJlltacllOflbars lhiJlUS Roy.lmoIdslntothetrNCIlo'll'lpewet.shpper}

~~ : :;:nYOU'll'OUldever t hlnk anybody pU"

"""''''

Hand labor perlOfmed by men 'II'ho've been buddll'lilOfesioranaveral eol 19yean Irs got a brute of a eMUSS that's SCI WOI'lI ,

ell.pen$lV'I!llfeJustremember lhlS Moneydoesn'tdoYOUMlyaood·1 you·renot around 10 spend II

youtan practaUy loraeliJOoutblO'll'OUts

Sliesother than8251 4 f)flCedacCOldmllly

It'spasp<<:liJl redhnerthitl'lpsanyshafp oblectsyouPlCk upand~P5toblockoff lhe

So"fI, henyoulcdtaltheRayatMasterand

'IIIfOI'IderwhettlerllpayslOfyou lobuysuch an

.

stumbling over the wires.

Now the five golden rings are deli ghtful. I've been wan ting some of those antique-y look ing gold bracelets for some time. Tom said he chose them himself in Precious Jewels. The other things I und ersta nd he made arrangements (or wi th N-M's Party Plan· n e l~ , but 1 guess it's the thought that cou nts.

There might have been a little breakdown in the plan hel-e because the six geese a- laying and the seven swans a-sw imm ing all arrived a t the same ti me. I'm not too sure about this, I was back in t he bedroom packing my su itcase. With the help of the neigh borhood children, Tom herded the birds, if that's the word, down to the creek back of the MiUers. I believe kind and perma nent arrangements have been made for them. They're very noisy birds.

Just as I was leaving t he house, J anice arrived (rom Oklahoma City with the eight maids a-milking. he kept saying "can you believe our darli ng solid citizen Daddy wou ld do such a mad , wonderful thing" and other idiot remarks like that. \Vell, of coarse, as long as she had arrived. I wasn't aboul to go, she doesn't get home that often.

Now, let me tell you about those eight maids a-milking.

Quite obviously none o( them had ever been closer to a cow than a Quart of milk. Finally, I had to lead that poor, placid old bossy out to the yard (we had one just like her years ago when my Father decided to go in for Holsteins). I pu t her in the dog run and she's still there with a bale of hay and a dishpan of water. Tom says he is Scarlett O'Hara-ing her and will think about it tomorrow.

The nine drummers drumming and the ten pipers piping t ruly were a wonderful sight and sound as they came down t he block. Even with traffic backed up at both end (t hank goodness, we dead-end on the south ) the traffic policeman they finally sent out was able to get them through velY nicely, and I don't think they missed n beat or a note. They piped and drummed for Quite a while on the lawn but then it got ove rcast and Janice thought it might rain SO she invited them all in.

Of course, the catel'''~ had been there for at least an hour, (Tom really is a good organizer) . Good thi ng too because with the eight milkmaids and the nine dl1lmmers and the ten pipers and the eleven ladies dancing amI the twelve lords a- leapi ng ( I'll say this (01' them , they were honest young people, they never stopped) and the hiends and neighbors who didn' t believe it and came to see, we must ha\'e had close to eighty or a hundred people, maybe more. My sister called me from Austin and said she'd seen it on the six o'clock news, said she was sorry she couldn't make out a ny of the family too well but of cou rse, with a ll that dancing and leaping it's understandable.

One of the maids a.milking turned out to be a sorority sister of Janice's and they had a nice visit. And two of the pipers played for Texas several years ago so o( course T om cornered them in the den.

Thank you N-M , for a very Christmas. It was all \·ery .. . think perhaps interesting is the word I'll use here. Next year, however, when T om Hollingsworth comes in to the store to buy his wife her Christmas present, you might remind him of the cow. He's got her to (ace tomorrow and that may be even more interesting.

Sincerely, Cecelia Hollingsworth

The new U.S. Royal Master

3

Its adirty world E\'rntinYlCr.ltch"canjitet infC'cttd

in this dlny world.

~~~~;kr:~~.:~~:~~~~~tCh It kttpsout the dirt. and it huairvcntA mktlnthrhe:aliftR air.

AIW'aYlrtmt'mhttthis: adnncuthcall faRC1".

Su~t~bntproteC'ti~ba~thcl"C iL

40

NEWSPAPER ADVERTISING

4

Paul Wollman , art director/ designer Evan Stark, copywriter Philip Gottheil, photographer Doyle Dane Bernbach, agency Uniroyal, client 2 Dorothy Melze, art director Kathleen Bonifield , copywriter Patricia Crone, designer Tony Eubanks, illustrator Neiman-Marcus, client

3 Salvatore Lodico, art director/ designer Richard Olmsted, copywriter George Elliot, photographer Young & Rubicam, Inc., agency Johnson & Johnson. client

No matter how we slice it, with a namelikeSmuckers it has to be good.

Very good pickles.

4 Herb Lubalin, art director/ designer Lois Wyse, copywriter Irv Bahrt, photographer Wyse Advertising, agency Smucker's, client

5 Ira Barkoff, art director/ designer Stephen Herz, copywriter George Hausman, photographer Campbell-Ewald / New York, agency Forbes Magazine, client

5

Fun CIty survlvlll kit.

41

2

14 specialties at the not-very-proletarian Russian Tea Room.

1

If you were in the car rental business and you were No.2 and you had only half as many cars to offer and about half as many locations at which to offer tliem, and fewer people to handle everything, wliat would you say in your advertising?

Right.Your ashtrays are cleaner.

Hertz

(Who's perfect?)

Just where does the Russian Tea Room stand?

Slightly to t~!:., !,~.!!,.~~arnegie Hall.

W. ......... . _FIWd ... . -......... _ ........ _,...ot_2.900,a- .............. _ ...

4

3

The President The White House Wuhin&ton 25, D.C

Mr" President: There is one great · forest of redwoods left on earth; but the one you are trying to save isn't it. ... Meanwhile they are cutting do wn both o/them.

The pedestrian always has the right of way?

Ou •.,. ,""" d.. S6(l,OOO,OOO _",lOlled lit 1M,..1Ce 0I . pwk R Mill C_k -'dbuyf.. ~arIttdwoodC. .~II ..... UO.OOO'OOO - lhteqlli.-.Jalccl_

..._-.1,...._ ........ __)I _\lC'...

2u"· -'o-leda-'bo......

,...ctI - .... fhc~ ..........

SI'O.OOO'OOO _ ...,J_'.p-tlti..weykrlU... _ -W ...... tM~ MeM..hilcthc)l .... _~ . ..... TIw_ ... N.I--.I ..... t~_

~.li\~~ Y-.IIIICefdy.

::=~s..F_

==~::'O:::et.umbf. MQu. . . . .

TMtto II aJw'Y',kld who'd r.ther lIet,*,-"10

~~~:;r~:::::~~:::,: ~=l:.;:~:~~s!a~~.:.":::::::~::

W•• tMobil ••• in thegasolk14'lltIdo4lM~ W.M14ou,producllto'fOU~'fOI.I., •• dt'iwf. "'nd "u~yovlO,-..nberlhaldrivef'l""'bru"lI)'

woogttldIhaIPfila'r;an. ... pitifully .....

::::::'=:"E:::;: M"""b".1 yowgoodMft...

.

V

We want you to live.

42

NEWSPAP E R ADVERTISING

5

How do you know you dont have Syphilis?

Most people don't know.

In fact, most people aren't quite sure just what Syphilis is, let alone if they've got it.

Contrary to the popular myths, Syphilis is a diseasenot a dirty word.

Specifically, Syphilis is a venereal disease. It enters the body through the mucous membrane, spreads throughout the bloodstream, and it may eventually become fatal. This complete cycle can take over 30 years, and most of that time there are no obvious outward signs of it. But there are certain indications of the various stages.

1st stage: A chancre (sore) at the point where infection entered.

2nd stage: Skin rashes on the scalp, sole of foot, palms etc.

3rd stage: Blindness, insanity, heart disease.

Syphilis is contracted almost exclusively from sex relations with infected persons.

It is not contracted from dirty

toilet seats or public drinking fountains.

And Syphilis is not limited to prostitutes or uneducated people in the slums.

"Nice" people get Syphilis, and spread it to other "nice" people without knowing it. There are approximately 800,000 such uns uspecting Syphilis victims in the country today.

Syphilis is a curable disease. It can be diagnosed by a smear test of the chancre, or by a simple blood test. One shot of penicillin may be enough to cure it in the early stage. Later on a series of shots may be needed.

But there can be no cure without treatment.

As part of an educational service to the communities t hey serve, Group W and its stations throughout the country will be broadcasting a series on "The V D Epidemic': Listen to it. Mon- WINS IIADIOW day 00:00 P.M. _ _ ,!l!!.

Syphilis is not a dirty word. It's a disease.

Amil G a rga no, art director/ des igner Jim Durfee, co pywriter Mike C uesta, photographer Carl All y, Inc ., age ncy H ertz Co rp ., client 2 AI Ben usa n, art director/ des igner/ illustrator Al an G lass, copywriter McCa nn- Erickso n, Inc. , age ncy Russ ia n Tea Room , client 3 Len Sirowitz, art director/ designer Bob Levenson, copywriter Horn / Griner, photographer D oyl e Dane Bernbach, agency Mobil Oil Co rporation , client 4 Robert Freeman / George Dippel , art directors Richard Stearns, copywriter Marget Larsen , designer Clyde Thomas / Philip Hyde, photographers Freeman & Gossage, Inc., agency Sierra Club, client

5 Frank Fristachi , art director/ director Ann Anda, copywriter Delehanty, Kurnit & Geller, agency Westinghouse Broadcasting Co., client 6

We'll teach you to ~a foreign tanguage in thirteen weeks.

Free!

6 Bernie Zlotnick, art director/ desi gner lion Specht, copywriter Mike Cuesta, photographer Young & Rubicam , Inc. agency Peace Corps, client

You name It, we've lOt it. The biggest selection in town. Urdu and Ta.a:aIo& and Swahili and Hindi and Quechua and Spanish and French and Portuguese. To lisla few. AU (ree ror the learning. And when we say learning we don 't mean ordinary apeak and listen and read learning. No sir. When we teach you a language we teach you to cook in it. teach in it, play basketball in it, build sanitation facilities and (arm cooperatives in it. We teach you to climb mountama and span rivers in it, to have patience and understandina: in it. to do something important in it, to mk at yourae.lf and the world in it.

We teach )00 to make friends and get along with people in il. And we even supply the friends and people. Yes sir. With every foreign language)'OU eet, abeolutely Cree, an invita· tion to spend two yean in a matching foreign country.

So hurry! Hurry! Don't delay. It'. the chance of a lifetime. No catches. No gimmicks.

Nothang to pay. You Bee, it'. aU part of 8 pr0motion for a product we're interested in push· ing. Peace.

Write: The Peace eorps. Washington. D.C. 20525.

!_.. __ . _____ _

43

WEDNESDAY, OCI'OBBR 12, 1966.

Safer Drivers for Safer Cars Ttlowitkloet ... a.t.IoGal~fOl'..t"'.lIc.o. ~ DOW wrill.. IIIto . . .,.. law, obcluW DOl obK\Intbo~",,"HClfor,.,.ttr drt ..... ..t.l1'.

~~ ~ :r:!

=!. a=~~':~:!t.~

A f_lltau..,..,qllin a clrI". r til l&llo o_pleto tal w.. .... 11_ .. nHWod. auu .on ..... u.reqyl... ro*l1qof.,-..lc .. t, . tlIe.-forrrotY reuwol or onr')' ..-d _wal. About toil etal_

0.,.,.

,. .u.lrot-.for ......

odl~ror

..

...,.~

~or~t~::·Y:r";'~II=~:: :~~ opplkauc. f_bofllIfdOlit properl,.

Rot_ ..... N_ Yorl!. III oal,doaaaodaI aIt.-

=~~=~~~~:~~

apia.It Jo roqlliredof_ w t.o u..MdUlno

~~-:'=::~VOblct.odool ."od.

erotJo., uadlrtllo.w, til nctliin o_t.-t.wh_or t.II.... Jo~b\efrT"OWldR todollbl.thedrt'Ior·.

~gEJ:~f~~] .,r«tl.,.

N_ of t.llia ia

ao- wllo II\1alUIed tort,

~:t:t2:~t:,:.:::n:or~:

_Wboooudiapnnd pMandltOtllndllt,dlltr_l· ..u., aplMt tho.IdI,!J'. PoricIdlco,...t_tlqaad

=~

::.=::::.

1IiP_,. .......

otton u

...". IIlrM

c.,., tl.... ud ' -II ~ ~ . . . . . ~II • • OrI.,.... ...... _ ·LIupoctlo.oI ::;r~.t""tUII_r')'''lNpoeUoaof

Till death us do part.

• :=t.bMu1,fullOd.. toro..f1

1tI=~u;:e~:':I~':

1tI~'Suglyend't\JoIdlOd"forkM

.-...mberol young 1,.,.II4/'WM' 1oIt.,

V.horNtnll'lybrneln.wt)lOU""

1I.IIct\twlthetllWe!ll*tlourdllTWll

torbeln).coupIerrcnon......,., PIYIO'IlNr'Ion()eSIIr'G1 Too~

". nebon. __

..."lrwlngib'llllOffYaboutdylng1 allDMngCU' ~lObeb\.lflldlnb'tlalll8el, AAd notonly1he~~Ihe",,1

p!aonncelud$lI$ ....1 E¥eI")O'l8.~lbout'I Noone

rWly ImwIwhal 10 do AndautorroblllteotJdwltLbellIM ItOt rot con

' ..... lO bI .... IMd.ngc:a.aldIeth M'OI"IQ youngpeoolebetwell'llSW'Id

2=:::.lamredend'-'dCMt' hlley$lOhClfet"'fWfl'l

tar 11'1 v.t Nan.) II"IddollwllO"lbut~oulpollO?11

II for 1h.1hat medoeallC.-.ceCOl'\

~=u::c-:~=~ ,lsyoungl"",.Io.,.ontylongtnCUQtl 1Oacn1lCelhlmon;"~1

,::,t::..:.:t!wl'lal'thllppen.ng (IJ~not~~~be"'btost

0-. W"J IS by.-..stJnOll" bin... tIr..... nll'lll'lQ~."ICMOIOr ~Or ... ~Ordurw'cl

'*""0

~ slnc. holl'..,g ~I" I'I'WIIsByrewarntnglhegoodcJrwerl

lnAladalrnnlypur\dtltnglhl b.:l one$.Byl'laYlngun,bmneloneidow 1I'101rtws(\Jllt"chdonleust~9y ~lI'I(IrwtlOendT\lend"PfW&OIIIII

=== 8y ~.ng,ou

........-

AbooIeall. tJysettlr'lglOlc:tnt.

They '-tlhelhatper..,. . .

drIY1l"lO Ardnobody thculd. Ou•• 1hI

AIIId.,.......NQUICher . . .

contnwy.Thl 1T'IOft eapoeed ha¥ be c:cmelotoundOrlW'lgllchniQl.-. h betWr lhly'''QOII'lG Iobe.(Dxb'J,and ~ .. practlOl;" why not cW,*,,7)

Tlwypmbetlly ..... twYe!hebetair l.II'lCIIrNndongdhow.CIf~

So"",'

lnIurMCt~artllatmld

~NylOOOIF1WIb1eem1 Too

If4JtMobllarenot~or

:r:~=:"::::

.,.-.rtlOobeyll"oaobwlulruil&7 Too

-*'eB. We selIOMQl ...... ntod b .1tw'Qn we 'llllnt......,.,....lO be . potenC..! customer flnotkldly, ~ And ..... ........ t

tulWaltnemteIveI7Too""-~10r

~k)O)IOUtIQ"irI"tJIIlVN?

... 1y) . . aIarmecI..aughtl"UI thet ~ 191O.1 "450 )IOUng.tultl .... 11

Hor.oIcen ..... getlhemlb tJe oid .-.cugtI1O be W'l$I tr10UQih bIbt ~',

dteonc:.tl-="~

100".7

M@bil

"kIbocty censQ))(Ulgpeople fn::m

We want you to live.

==~"'MObIi WI want you to he.

And how to Ive til marring

'~soonasl

get behind the wheel I sober up!' ho~d_8CiCICIW*"'c..tm.. drMq'lllh)."...luIIdtwl~

='O'...

--

~ lrClhr a/Nltd""~ 1I'I

o.c.oo. ~d

..... ,..,.,..t.a

M don . . lrClhr a/Nltlhy'letn:l-

_in NlwYcn., ~d""dr--.1I'ItO _ lIIId t.:l~ chWIg.

~E:::::::: ~bdrftot.A

_ _ dt'rlt(WIclrn'Poll

~""'~""'nI...-p ~

~EU.-a " IIiIxh*:,,*· nwqcm."rro..wa illllt ..... ~

44

•

2

National City Bank~ Check&Charge is a checking account for Doctors, Lawyers, Indians, Browns,-Barons, Salesmen, Decorators, Architects and other responsible moneymakers who don't get a regular paycheck.

NEWSPAPER ADVERTISING

Len Sirowitz/ Al ex Tsao, art directors / designers Bob Levenson/Sam Katz, copywriters Mike Cuesta, photographer Doyle Dane Bernbach, agency Mobil Oil Corporation, client 2

Herb Lubalin, art director/ designer Herb Lubalin/Lois Wyse, copywriters Lou Myers, illustrator Irv BahrtiLeo n Schnall , photographers Wyse Advertising, age ncy National City Bank, client

ltll at.ofor peopie who may be laced withunexpeetedftnandalemerge:nclea.

cheddn, .....

Cheek ~Cha .... i.. nt tbatmaketitpcaibleforyou townteyour

own loan wbenever you need money.

Here'.howltwOl'u:Youllmplywrite cbeeb.and NaUonalCity Bank maket lure

thatallyourcl\ecksarecove:red. You payfor tbe moDf1 you UM: only for u 10111 uyou

Uleit. Cbeck 4:.ChargeilnotanOrdlnary cbeekin&, account, butt.hen NaUonal Citylt

r:.;~r:!:rvfces~ftt!:r==rn':t..

=:~i!~~~=?YOU

euvieetbat iljUltright for you.

"Now that you're no log.ger

married to that TVset and the Cleveland Brpwns,how about remerobering that I am y'our wife, and I cannot put up With this

dishwasherless,one bath, no garage house any 10ngeJ,and I Wanfanew house, and I want to look for one Sunday.And don't teU mewecan'tgetam~e because we can at NCB which

stands for National City Bank which stands for nice, convenient, busin~p'like ...which is just about every!l!!Pg a bank shoUld be, isn't It?"

C.OD.

Jfyoo think moneyis tist!t thisiswhatyoubetterdoWlth your1962 car: Give it acootofpaint, wirewheels,vinvI upho\sterY, Rnnlich ho 1S.Faislevcarrriats,

;hl~sid~~~the

back,stripingonthesides,a luggagernck,and a ski carrier.

And you knowwhatyou'll bedriving?

Anoverpriced1962car:

~

Or you could pooh-pooh all that loose talk about tight money with a fast-and-easynewcar loan from NationaICityBank.

Your newcar dealer will arrange your new car loan.Or, doit yourseifat anyofficeof

~CityBank.

45

2

TELEVISION COMMERCIALS

When you have a little scratch, it's a dirty world.

So even the smallest scratch can get infected. See why you need a BAND-AID Sheer Strip? It keeps dirt out ... and lets healing air in. In this dirty world, protect every scratch ... with a BAND-AID Sheer Strip ... made only by Johnson & Johnson.

Sal Lodico, art director Richard Olmsted, writer Joe Rein, producer Horn/Griner Productions, prod. company Steve Horn, director Young & Rubicam, Inc., agency Johnson & Johnson Band-Aid Brand Sheer Strip, client 2

Alka-Seltzer invents a new disease, The Blahs.

The Blahs is kinda like the blues ... only physical.

It's when you're down in the dumps and you don't know a cold is working on you. It's when you're not feeling right ... but you don't know what's wrong.

It might be a headache on its way. A stomach-ache on its way. The Blahs ... who needs 'em.

You know, we wouldn't have invented a disease unless we had something you could take for it.

Alka-Seltzer. If Alka-Seltzer can take care of real big upsets ... think of what it can do for a simple case of The Blahs.

George D' Amato, art director Herb Green, writer George D' Amato/ Herb Green, producers Pelican, prod. company Morty Gorstein, director Jack Tinker & Partners, Inc., agency Miles Laboratories, client

Keep

46

2

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Boss: Good evening, Cookie. Making any progress?

Cookie: Sure, Duke ... sure.

(Move in on corner seal) Anncr. (YO): You'll find quality in our corner.

Boss: All right, Cookie, it's your 98th try.

1st Counterfeiter: It's the right size ...

2nd Counterfeiter: Yeah ... and the shape's the same.

Cookie: The right color ... the right number of little holes.

1st Counterfeiter: It crumbles perfectly ...

Boss: It just don't taste the same.

Anncr. (YO): That beautiful buttery Ritz taste ...

You can't fake it ... or disguise it.

Ritz Crackers. Made only by Nabisco.

Ron Becker, art director Laurel Cutler/ Bob Klane/ Stephanie Hanbury, writers Jerry Kates, producer Howard Zieff, prod. company Ted Pahle, photographer Howard Zieff, director McCann-Erickson, Inc., agency Nabisco, client 2

Anncr. (YO): The big, new World Journal Tribune is here.

It's the evening paper you spend an evening with.

Ralph Ammirati, art director/ designer / producer Jim Durfee, writer Videotape Center, prod. company Carl Ally Inc., agency World Journal Tribune, client

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Him: Do you eat out a lot?

Her: No ... do you eat out a lot?

Him: No. You're very pretty you know. No, you're not pretty ... You're beautiful.

Her: I am?

Him: Do I talk too much?

Her: Yes ... No, no, I was joking.

Him : My mother" and father went to Canada Her: That's terrific.

Anncr. (VO): Hey, they're in love. They don 't know it yet, but they're in love. And that can do things to you. \Vith Alka-Seltzer, though , you can weather the storm. With Alka-Seltzer by your side, you can ease a tension headache, soothe a love-sick stomach, and relieve a foolish heartburn.

Sal Auditore, art director Bob Schulman, writer Sal Auditore/Bob Schulman, producers Harry Hamburg, prod . company Harry Hamburg, director Jack Tinker & Partners, Inc. , agency Miles Laboratories, client 2 (I st garage, whinnying and thumping of horse)

--

...)

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Anncr. (VO): Ever notice how many ferocious cars are . around these days? They're named after wild horses ...

(2nd garage, ferocious growling and clawing) ... and there are more tigers than you can shake a stick at ...

(3rd garage, violent swishing of water and snapping of teeth) ... and even man-eating fish.

(Final garage, silence) Well , maybe you're not the ferocious car type.

Maybe you'd rather own ... (door opens) a Pussycat.

The VW Karmann Ghia. It's sort of a tiger that's been housebroken. It looks like an expensive sports car, but in the back is a Volkswagen engine that averages 28 miles per gallon and costs Volkswagen prices to fix. You get the good looks of a sports car and good sense of an economy car, all in one.

That's the Volkswagen Karmann G hia.

It's a Pussycat.

Al Izen, art director I designer Marv Honig, writer Jerry Gold, producer V. P.I., prod. company Peasly Bond, photographer Ed Casper, director Doyle Dane Bernbach, agency Volkswagen, client

2

TELEVISION COMMERCIALS

Background of rock music: "I'm going driving with my baby I'm gonna love, love, love her till I die .. :' Anncr.: We at Mobil sell gasoline and oil.

We are in favor of driving and in favor of love, but not at the same time ...

We want you to live.

Len Sirowitz, art director/designer Bob Levenson, writer Aaron Ehrlich, producer M. p. 0., prod. company Len Sirowitz/ Aaron Ehrlich, directors Doyle Dane Bernbach, agency Mobil Oil Corporation, client

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(Ballad) In days of old a tuna clipper Sailed the Seven Seas For months on end they'd search the best For Chicken of the Sea One sunny morn the lookout sighted Tuna flashing past The Crew jumped to, their catch was good They headed home at last Bad weather came, their ship was battered By the waves that drove When a mermaid fair appeared and led them To a sheltered cove And so to celebrate the lass Who saved them from the sea They've placed her picture on each can Of Chicken of the Sea From the sea Come~ Chicken of the Sea We've tamed the taste of tuna Baked it fresh and tenderly Gordon BeIlamy, art director Don Patla, writer Pat Maloney, designer Ken Clark, producer Vic Haboush Company, prod. company Bob Schwarte, animator/director Dancer-Fitzgerald-Sample/West, agency Van Camp Sea Food, Company, client

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Demonstration in diagram and live action of how to pull out of a skid.

Len Sirowitz, art director/ designer Bob Levenson, writer Aaron Ehrlich, producer V. p. 1., prod. company Dave Quade, photographer Bob Singer, animator Len Sirowitz/ Aaron Ehrlich, directors Doyle Dane Bernbach, agency Mobil Oil Corporation, client 2

Anncr.: For some time, Carling's been talking about fresh beer. Now, we're getting suggestions on ways to look like fresh beer. Like this one ... and this ... and this one-it's ingenious ... and this one- uh huh !

And then one of our bright young men came up with this idea- he's no longer with us.

You see, fresh beer isn't a matter of looks.

It's not a gimmick. It's a fact that freshness makes Carling Black Label taste a little bit better.

If you really like beer, this should mean a lot.

Steve Kambanis, art director Harry Gittes, writer Steve Kambanis / Harry Gittes, producers Harold Becker, prod. company Harold Becker, director Jack Tinker & Partners, Inc., agency Carling Brewing Company, client

obit

We want you to five.

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You think you got troubles? Try getting a headache and an upset stomach at once.

You take something for your head ... and what about your stomach? You take something for your stomach ... you're still stuck with a headache. Why not take something that will take care of both?

Alka-Seltzer has a pain reliever for your head .. . alkalizers for your stomach.

With Alka-Seltzer, you can't lose.

(Audio of bowling alley, room vibrates) John Danza, art director Gil Ziff, writer John Danza/ Gil Ziff, producers Harry Hamburg, prod. company Harry Hamburg, photographer/ director Jack Tinker & Partners, Inc. , agency Miles Laboratories, client 2 It has beaches ... it has mountains ... it is mysterious . .. it's obvious ... it's twilight ... it's sunlight ... it roars ... it giggles ... it's tranquil ... it's exciting . .. it's wet ... it's dry .. . it's hot .. . it's cool .. . it's wild ... it's tame .. . it's real life .. . even though it's a dream world.

That's Jamaica.

Ben Spiegel , art director/ designer Camille Largi, writer Lee Tredanari, producer Cinemetric, prod. company Tibor Hirsch, photographer Doyle Dane Bernbach, agency Jamaica Tourist Board, client

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Anncr. (shouting over noise of electric razor) : This is an ad for a razor blade ... a new razor blade from Gillette. If you own ... (man shuts off electric razor) ... if you own an electric razor .. . and you want to stay happy with it . . . do not .. . we repeat ... do· not try this new Gillette super stainless steel blade" because if you try it once ...

Man: Yeah?

Anncr.: We don't think you will ever be able to go back to your old electric razor.

Man: What are you making trouble for?

Bill Taubin, art director/ designer David Reider, writer Ernie Hartman, producer V P. I., prod. company Howard Zieff, director Doyle Dane Bernbach, agency Gillette, client 2

When you read the new World Journal Tribune ... there's a lot to sink your mind into.

There's Dick Schact picking on Mayor Lindsey ...

There's Jimmy Cannon on sports ...

There's Eugenia Sheppard discussing the rise and fall of women's skirts.

There are so many interesting things in the new World Journal Tribune it takes four entirely separate sections to contain it all.

When you read it, you forget about anything else.

Ralph Ammirati, art director/ designer Ed McCabe, writer Ed McCabe/ Ralph Ammirati, producers Televideo, prod. company Frank Herman, director Carl Ally Inc., agency World Journal Tribune, client

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Anncr.: When the sun and the sandwiches and the kids and the cars all gang up on your stomach or your head, there's just one thing in the world for you.

Alka-Seltzer on the rocks.

Those cool , bubbly alkalizers and the pain reliever can make it all bearable again.

One for the road. Alka-Seltzer.

Bob Wilvers, art director Gene Case, writer Bob Wilvers/Gene Case, producers Audio Productions, prod. company Dick Miller, director Jack Tinker & Partners, Inc., agency Miles Laboratories, client 2

... a year's supply of tuna fish ... and a forty horsepower outboard motor ... and 23-inch color television set ... and now, the biggest gift of all, Rip ... on this, your day ... your fans want you to have ... a brand new, shiny Volkswagen station wagon.

(Rip's face falls) Anncr.: Rip expected to be surprised today, but he didn't expect to be this surprised. He was banking on one of those sleek, snazzy station wagons.

But what Rip doesn't know is a Volkswagen can hold about twice as much as a snazzy-looking wagon.

In fact, it will carry off all of his free gifts.

Atta baby, Rip. What do you think of the old Volkswagen station wagon now, huh?

Don't take Rip's word for it folks. He got his free.

Size one up for yourself. You never know when you're going to have a big day.

Ken Duskin, art director/ designer Marvin Honig, writer Jerry Gold, producer Televideo, prod. company Jacques Letelier, photographer Jacques Letelier/Ken Duskin, directors Doyle Dane Bernbach, agency Volkswagen, client

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This demonstration is being brought to you by Mobil.

We are going to put a car on the roof of a ten-story building and then push it off to make a simple point.

If you drive at 60 miles an hour and hit something, it's exactly the same as driving off a ten-story building. And it will get you to exactly the same place ... the !TI0rgue.

When you drive fast , remember ... this is how it is ... but it doesn't have to be. At 60 miles an hour you need 360 feet to stop. If you leave 360 feet , you make it. If you don't ... you don't .

We at Mobil hope you will remember that fact.

Our business is to sell you gasoline and oil . .. and we want you to be around to try them.

We want you to live.

Len Sirowitz, art director/ designer Bob Levenson, writer Aaron Ehrlich, producer V. p. 1., prod. company Dave Quade, photographer Len Sirowitz/ Aaron Ehrlich, directors Doyle Dane Bernbach, agency Mobil Oil Corporation, client 2 (Audio of flight instructions and checks) Anncr.: This is what it 's like from the pilot's seat of an Eastern Whisperjet. Anybody who sits up here has to earn the name Captain. He's an experienced pilot before he ever comes to Eastern. But he learns how to fly all over again. He spends the next 10 years working his way up ... first as flight engineer, then as co-pilot, on every aircraft Eastern flies , from the Convair to the big jets. All in all , he flies a good 15 to 20 years before he can call himself a Whisperjet Captain. Few men ever make jet captain .

It's about as high as a pilot can go.

Stan Dragoti, art director Bob Elgort, writer Michael Ulick, producer Audio Productions, prod. company Mike Zingale, photographer Harold Seletksy, music composer Clary Warnick, music director Young & Rubicam, Inc., agency Eastern Air Lines, client

you to.

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Anncr. (VO): Hertz has a competitor that says they try harder. Probably because they can't talk about anything else. They can't talk about having a lot of cars to offer their customers, because they have only half as many as number one. They can't talk about convenience because they have only about half as many places to pick up or leave a car. They can't even talk about price, because they charge just as much as number one. So they make a big thing about trying hard , about clean ashtrays, about all the other services a customer should expect ... automatically.

Hertz regrets that we had to do this in public.

But it had to be done.

Rent a new Ford from Hertz. We're number one.

Ralph Ammirati, art director/ designer Ed McCabe, writer Ralph Ammirati/Ed McCabe, producers Tempo, prod. company Mike Cuesta, photographer/director Carl Ally Inc., agency Hertz Corporation, client 2

Anncr. (VO): Esteban Ruiz grows cotton in Tipitapa, Nicaragua. He has 25 acres. Enough to support himself, his wife, five children and seven grandchildren.

Not in luxury, but in independence.

In November 1965, an invading army threatened Esteban's land. Bollworms. Eating five times their weight in cotton every day. Bollworms by the millions ...

Esteban faced ruin. And so did every other cotton farmer in Nicaragua. But Union Carbide had what they need , a powerful Carbaryl insecticide called Sevm.

We developed it to take over where DDT leaves off.

With Sevin you don't need special equipment.

You can spray it by hand. So we flew 50 tons of it to Nicaragua right away.

It stopped the bollworms dead.

Donald Egensteiner, art director Peter Griffith, writer Neil Tardio, designer/ producer/ concept V P. I., prod.company Dave Quaid, photographer/ director Young & Rubicam, Inc., agency Union Carbide Corp., client

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TELEVISION COMMERCIALS

There's only one Acapulco.

You can fly there on Eastern and charge it on Eastern's Charge-A-Trip Plan.

We want everyone to fly.

Stan Dragoti, art director/ producer Bill Rindfuss, writer Audio Productions, prod. company Dick Miller, director Grant-Murtaugh, music composer Clay Warnick, music director Young & Rubicam, Inc., agency Eastern Air Lines, client 2 With these tools, the junkie destroys his life.

Driven by a need which becomes a torture, he may also destroy other lives. As much as half the crime in New York City is committed by dope addicts.

Governor Rockefeller wants this crime stopped.

Under the Governor's new narcotics program, addicts can be taken off the streets for three years.

Three years of medical care, psychiatric treatment, retraining, till the day they can face the world without these tools.

Bob Reitzfeld, art director Gene Case, writer 'Bob Reitzfeld / Gene Case, producers Tempo, prod. company Mike Cuesta, photographer/director Jack Tinker & Partners, Inc., agency Friends of Governor Rockefeller, client

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(Circus music) You've seen this trick done before ... but with a Volkswagen station wagon, it's no trick.

It's big enough to seat nine comfortably.

However ... in a pinch you can do much better.

Of course the hole in the roof comes in handy ... and so do the four-feet wide doors. In fact, it can hold things ordinary station wagons wouldn't consider.

Ladies and gentlemen ... The Volkswagen station wagon and friends.

Ken Duskin, art director/ designer Marvin Honig, writer Jerry Rodgers, producer Televideo, prod. company Jacques Letelier, photographer Larry Goldwasser/Ken Duskin, directors Doyle Dane Bernbach, agency Volkswagen, client 2 Wife: We never used to have to travel this far to find a decent picnic spot ... I told you we should have started earlier ... half the day's gone already ... they let anybody on the river these days ... well you'll just have to wait, you know how your father is once he gets started ... can't you keep the dog quiet ... was that a drop of rain or are you splashing ... Harry, the leak you fixed is getting me wet again ... watch out for the rocks ... honestly, I think your eyes are going ... couldn't you park closer ... I should have listened to Mother, she always said you were about as handy as a bear-she wanted me to marry Silver Eagle, he had horses-but no, I had to pick you ... oh, if you want anything done, you just have to do it yourself ... look at the ants .. . well leave it to you to pick a spot with ants ... do something with the kids, they're acting like Indians ... some fun ... you slave over a hot fire all day ...

(Voice over) Family picnics and Laura Scudder Wampum Corn Chips ... two great old American customs.

Stan Jones, art director Terry Galanoy, writer Robert Milford, producer VPI of Calif., prod. company Bill Fraker, photographer Charles "Chick" Green, director Doyle Dane Bernbach Inc., agency Laura Scudder's, client

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This is a jet without wings.

It rests now on four Goodyear tires. But soon you will see it race across the Salt Flats of Bonneville and shatter the world's land speed record.

For this is Craig Breedlove's car, the Spirit of America. Breedlove will drive it to a two-way average of over 600 mile~ per hour. At that speed, more than 100 tons of centrifugal force will try to rip each tire to pieces ... unsuccessfully.

(Super: The Fastest Tires on Earth) Tested beyond the speed of sound to help Breedlove set a new land speed record- 600.60 1 mph .

Goodyear-the fa test tires on earth.

Gerry Severson, art director Mike Siosberg, writer Rick Downer, producer Chris Petersen Productions, prod. company Basil Bradbury, photographer Young & Rubicam , Inc., agency Goodyear Tire & Rubber Co., client 2 Rockefeller (VO): For the past eight years, New York State has been governed by this strange-looking gentleman.

This is me, as you may have seen me in the papers.

You notice I have my ups and downs. When I open a new road, when I announce new state scholarships or a pure waters program, somehow a twinkle comes into my eye.

Why, there seems to be something likeable about me.

But when I veto someone's pet project, or knock an item out of the budget, or sign a bill to get the money to pay for the scholarships, my portrait gets painted a little differently.

The plain fact of the matter is, if you want to be a good governor, you're gonna make some people mad . . . (on camera) and you're gonna get pictures like those .

Bob Reitzfeld , art director Gene Case, writer Bob Reitzfeld l Gene Case, producers Videotape Center, prod. company Adrian Risso, director Jack Tinker & Partners, Inc., agency Friends of Governor Rockefeller, client

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Charlie Brown: Butternut Bread ... Danish ham ...

Butternut Bread ... cheddar cheese ... Butternut Bread ... beefsteak tomatoes ... Butternut Bread.

Linus: Delicious .. . but who has a mouth big enough for that?

Lucy: Say, where's my sandwich?

Don Albrecht, art director Alex Anderson, writer Bill Melendez, producer/director Bill Melendez Production, Inc., prod. company Nick Yasu, photographer Frank Smith/ Ruth Kissane, animators Dancer Fitzgerald & Sample, Inc., agency Interstate Bakeries, client 2 Anncr. (YO): This is Mr. Sho Anardoro. He's here to introduce you to the '67 Buick Special. (natural sound) Anncr.: When you think about it ... padding makes a lot of sense. That's why we use a lot of padding.

More padding than you would expect in an economy car.

In fact, in the Buick Special ... practically everything is padded ... except the price.

Tony Parisi, art director Rupert Johnsen, writer Tony Parisi! Rupert Johnsen, producers Andy Jenkins, Prod., prod company Lenny Stark, photographer Andy Jenkins, director McCann-Erickson, Inc., agency Buick, client

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2

Anncr. (YO): Hey kid. Want to go to college? Maybe you'll catch the eye of some coach, get yourself a scholarship. No, you don't have to be nine feet tall to get a scholarship, or a blooming genius either. Why, if you can get into college, you can get the money to help you go to college. From New York State. Two hundred thousand new state scholarships and grants are sitting there waiting, every year. Two hundred thousand new chances to make it, every year, even for you shorty ... tubby ... butterfingers. The man who did it, the man responsible for those new scholarships is Governor Rockefeller. Who was no Bob Cousy himself.

Bob Reitzfeld, art director Gene Case, writer Bob Reitzfeld / Gene Case, producers Howard Zeiff, prod. company Howard Zieff, director Jack Tinker & Partners, Inc., agency Friends of Governor Rockefeller, client 2 The combination cold. What is it?

Let's take a look. Colds do not stop at the nose.

With a cold, you are likely to develop many other unpleasant symptoms. A simple sore throat and that feverish feeling, the 4-6 combination. Bodyaches and that blah feeling .. . the 3-5. Put them all together and you got the 4-6-3-5. You can have a feverish feeling and an upset stomach, the 6-7 ... bodyaches ... and a stuffy head, the 2-5. And here's a rare one ... the 5-3-7-2-4, and 8 ... heartburn ... Heartburn has nothing to do with a cold, but you may have it and a cold. The possibilities are enormous. For relief of the combination cold and other incidental symptoms, you need Alka-Seltzer.

Alka-Seltzer has a special pain reliever for headaches, bodyaches, blahs, that feverish feeling ... alkalizersfor stomach upsets, heartburn ... gargle with it, drink it straight or on the rocks ... the stuff's terrific.

Sal Auditore, art director Bob Schulman, writer Bob Schulman / Sal Auditore, producers Hollywood Productions, prod. company Herko Groot, director Jack Tinker & Partners, Inc., agency Miles Laboratories, client

Alb-Seltzer

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Anncr. (VO) : Orange. Cranberry. If you could squeeze and mix their juices, you'd have a great new breakfast drink. But just you try!

Oh sure, that part's easy. A fresh , sweet orange ... chock-full of luscious golden juice.

And now the cranberry ...

Woman's voice in background: Oh darnit!

Anncr.: ... the cranberry, deep red, full of tangy, tart-sweet flavor ...

Woman: Oh for crying out loud!

Anncr.: ... the cranberry, bursting with delicious, berry-red juice ...

Woman (exasperated): Come on now!

Anncr.: I said bursting with delicious, berry-red juice ... (plink of one drip) Okay, that's where Ocean Spray comes in. We make gallons of beautiful, red cranberry juice cocktail ... and mix it with concentrated orange juice. It's a great combination. We freeze it and call it Ocean Spray Orange-Cranberry Juice Drink.

Wouldn't it make a nice change for breakfast tomorrow?

Orange ... and cranberry!

Bill Harris, art director I designer Lore Parker, writer Chris Eaton, producer Hornl Griner, prod. company Steve Horn, photographer Doyle Dane Bernbach, agency Ocean Spray, client 2

(Kissing sounds in the background) Woman: I use Johnson & Johnson Antiseptic Cream for my detergent hands. It soothes and helps heal.

Man: Mmmm.

(Woman giggles) Hil Covington/Jerry Collamer, art directors Bert Neufeld l Richard Olmsted, writers Hil Covington, producer Harold Becker, prod. company Harold Becker, director Young & Rubicam, Inc., agency Johnson & Johnson First Aid Cream, client

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(Arabian music) Anncr. (VO): The camel can go five days without water.

The air cooled Volkswagen engine can go forever.

Stan Jones, art director John Annarino, writer Robert Milford, producer Screen Gems, prod. company Dick Cunha, photographer Jim Lichtman, director Doyle Dane Bernbach Inc., agency Volkswagen Pacific, client 2 (Crowd roars) Starter: Get Set! (Pistol fires, crowd roars louder, contest proceeds) (Cut to locker room) Old Pro: That was pretty good pie for a change.

What was it, blueberry, Tiny?

Tiny: Yeah, blueberry.

First contest kid? Follow me.

This is Alka-Seltzer. Gets rid of that stuffy feeling.

When you've been on the circuit as long as I have, you'll know.

See you around, kid.

Anncr. (VO): Next time you overeat, take what the guys who overeat for a living take.

John Danza, art director Bob Schulman, writer Bob Schulmanl10hn D anza, producers Howard Zieff, prod. company Howard Zieff, photographer/ director Jack Tinker & Partners, Inc., agency Miles Laboratories, client

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(Sound of girl running up to gate and entering museum) Anncr. (VO): 100 years ago Lewis Carroll wrote "Alice's Adventures Under Ground" as a Christmas present for a girl named Alice. It's more than a book. It's Lewis Carroll talking to one little girl on paper.

Alice (VO): I wonder if I shall fall through the earth . . . how funny it will be.

Queen (VO): Burn the house down.

Girl: No! Character (VO): Now for the evidence .. . and then the sentence.

Queen: No. First the sentence, and then the evidence.

Alice (VO): Why did you call him Tortoise if he wasn't one?

Character (VO): Because he taught us. (Giggle) Anncr. (VO): Lewis Carroll meant for this story to be read the way he wrote it, the way he drew it ... by hand.

University Microfilms Incorporated, a subsidiary of Xerox, has made it possible. With the permission of the British Museum, they photographed the original manuscript. Now you can have a special 100th Anniversary edition. It's available now in your bookstore for $4.95.

It was a unique Christmas gift 100 years ago.

It still is today.

Character (VO): Wake up, Alice dear. What a nice long sleep you've had.

University Microfilms is a subsidiary of ...

Xerox Corporation.

George Lois, art director Robert Montell , writer Jack Goldsmith, producer PGL Productions Inc., prod. company Bernie Hirschensen, photographer Al Viola, director Papert, Koenig, Lois, Inc., agency Xerox Corporation, client 2 (Quick cuts of pictures and sound of news) Anncr.: There's only one radio station in New York where you can get news ... the minute you want it.

WINS Radio, 1010, Group W.

Peter Hirsch, art director/ designer Jerry Della Femina, writer Peter Hirsch/Jerry Della Femina, producers Harold Becker Productions, prod. company Jerry Shore, photographer/ director/ editor Delehanty, Kurnit & Geller, agency Westinghouse Broadcasting Co., client

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Anncr.: Look at the world through this man's eyes.

He has a torn retina. The retina is to the eye what film is to a camera. Repairing a torn one used to mean hours of surgery through the outside of the eye. It meant incisions. Stitches. Lying in bed for weeks with your head between sandbags. And afraid the stitches would let go every time you sneezed. Today, a torn retina can be welded back in place. Painlessly.

Permanently. In less than one thousandth of a second ... by a beam of light.

It is called: the Laser. It organizes light into an intense beam of concentrated , pure energy. Light energy in a new and versatile form. A laser can be brighter than a billion suns . .. so powerful it can drill holes in diamonds ... so controllable it can be focused to light up a crater on the moon , destroy a single ca ncer cell , or, as in this case, repair a damaged human eye.

Union Carbide Technology made the first laser possible.

Donald Egensteiner, art director Chic Blood, writer Neil Tardio, producer V p. 1., prod.company Dave Quaid , photographer/ director Young & Rubicam, Inc. , agency Union Carbide, client 2 (Gun shots and horses running . .. switch channels ... " intermittent showers" .... switch to rock music) Anncr.: Nowadays even a quiet evening at home isn't what it used to be. That's why everyone in the family needs Actionwear ... Actionwear, a whole new kind of clothes ... clothes that are tested and approved for people who move. Look for the Actionwear tag.

It'll free you from care.

Actionwear. Available at good stores everywhere.

Norman Tanen, art director / designer Liz Buttke, writer Bob Cotton, producer Gordon/ Youngman, prod. company Jerry Kalogeratos, photographer Jerry Kauffman , director Doyle Dane Bernbach, agency Monsanto, client

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2

What makes Volkswagen the most seaworthy car on the road ? The bottom for one thing, a sheet of steel runs underneath the car, sealing the bottom fore and aft.

As you can see, that keeps moisture out . .. plus all the nasty things on the road that eventually eat up a car.

The top part of the VW is also built very solidly ... it's practically airtight ... so airtight you can hardly close the door without rolling down the window a bit.

But there's still one thing to keep in mind if you own a Volkswagen ... even if it could definitely float ... it couldn't float indefinitely.

George Gomes, art director Charles Ewell, writer Jerry Gold, producer V. P. I., prod. company Drummond Drury/Jordan Klein , photographers Bert Lawrence, director Doyle Dane Bernbach, agency Volkswagen, client 2 (Calorie ticking is heard over entire commercial) Woman: Mmmm, I'll have shrimp cocktail , duck with orange sauce, salad with French dressing, baked potato, roll and butter please. For dessert, chocolate mousse, coffee with sugar and cream.

Anncr. (VO): You know how it is. You go out on a Saturday night and you say to yourself, "Oh, I'll enjoy myself tonight-and try to make up for it tomorrow: ' But, oh that tomorrow. These famous last words are one of the reasons we made Carnation Slender.

Carnation Slender is not a liquid diet you have to think of as "tomorrow's sacrifice:' It tastes good.

It comes in a packet and turns a glass of cold, fresh milk into a complete meal's worth of vitamins, minerals and protein. But only 225 calories.

Carnation Slender. It'll look good on you.

Frank Kirk, art director/ designer Dick Tarlow, writer Jacques Latellier, producer/ photographer Televideo, prod. company Jack Tinker & Partners, Inc., agency Carnation Company, client

.iW ~~~25 65

TELEVISION COMMERCIALS

2

Anncr. (VO) : In a mother's eyes, no boys ever gets enough to eat, especially after he leaves home. Think.

What does she ask you every time you see her: "Hello, Son. Are you getting enough to eat?"

This is no idle question. She's not asking whether you're stuffing yourself; she's asking whether you're getting enough vitamins . No boy outgrows vitamins . Because no boy outgrows growing. Even after you're 21 , you grow.

Hair, bone cells, muscle cells, blood corpuscles ...

And none of these things grow right without vitamins.

Now that you don't eat all your meals at home, nobody can see whether you get enough vitamins. Unless you know yourself, you ought to take One-A-Day brand MUltiple Vitamins to be sure.

After a mother spends 18 years of her life growing you right . .. it would be a shame if it all went to waste.

Howard Russo, art director / designer William White, writer Magi Durham, producer C. P. I., prod. company Harry Hamburg, director Jack Tinker & Partners, Inc ., age ncy Miles Laboratories, client 2 If you've been away for a while, you probably don't know that there's a new Volkswagen out that doesn't look like a Volkswagen. The new VW Fastback. It's got everything that people who like the bug like, plus a little more room and luggage space .. . and a little more horsepower and pick up. So , if you happen to see a good-looking Volkswagen ... don't panic.

George Gomes, art director Charles Ewell, writer Don Trevor, producer Televideo, prod. company Jacques Letellier, photographer/ director Doyle Dane Bernbach, agency Volkswagen, client

I

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66

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TELEVISION COMMERCIALS

2

A polaroid colorpack camera for under fifty dollars.

No kidding, under fifty dollars!

(Theme music) Is there any other way to take pictures?

Staphylococcus Aureus.

Candida

Germs ~~::t!~!:':""'J

Bob Gage, art director/ designer Phyllis Robinson , writer Lee Tredanaria, producer Elliot Unger Elliot, prod. company Doyle Dane Bernbach, agency Polaroid, client 2 (Background sound of child brushing teeth with message supered on bathroom scene) Anncr.: If you've missed reading any part of this message, it will be repeated tonight ... at 9: 30.

Allan Beaver, art director/ designer Larry Plapler, writer Elektra Film Productions, prod . company Delehanty, Kurnit & Geller, agency Chemway Corporation, client

But .am,bady ... daM samethitlg about it.

Dr.West's.

an........,_.,.. ___ toothbrush with an anti-germ compound.

This inhibits the growth of germs on it for at least four.

Or.West's

Dr.West's cals ...

67

1

2

TELEVISION COMMERCIALS

Last year, more than 700 people were killed in traffic accidents in Oregon. More than 700! Some people in Portland wanted to do something drastic about it. Last Christmas weekend , 700 irate people plunked themselves down on this highway to bring the problem to everyone's attention. Mr . Tice, president of the PTA was there.

Mel Gordon, county commi sioner ... and so was Officer Mithune. It worked. The death rate on the New Year's weekend was thirty per cent less th an on the Christmas weekend. You can do omething, too. You can reduce the death rate where you live. Keep your eyes open for danger spots. Report them. If something needs fixin g, make sure it gets fixed. We at Mobil are here to sell you gasoline and oil . . . and we want you to be here to try them. We want you to live.

Len Sirowitz, art director/ designer Bob Levenson, writer Aaron Ehrlich, producer V. P. I., prod. company Dave Quade, photographer Len Sirowitz/ Aaron Ehrlich, directors Doyle Dane Bernbach, agency Mobil Oil Corporation, client 2 Song: Vitalis grooms every hair on your head.

Every, every, every, every, every, every ... etc .... . . . every hair on your head.

Anncr.: Vitalis is a greaseless liquid. It spreads more easily than a cream ever could ... white cream or clear.

It reaches each and every hair ... to let you groom every hair on your head.

Song: Every, every . . . etc ....

Roger Flint, art director/ designer/ producer Larry Spinner, writer Audio Productions, prod. company Dick Miller, director Dick Langenbach, editor Jimmy Fagas, music director Clay Warnick/ Jimmy Fagas, music composers Young & Rubicam, Inc., agency Bristol Myers-Vital is, client

M bil

We want you to live.

68

TRADE ADVERTISING

Jon Fisher, art director Michael. C. Lipton, copywriter George Hausman, photographer Campbell-Ewald , agency Forbes Magazine, client 2 Lewis Byck, art director! designer Paul Katz, copywriter Simms Taback, illustrator Doyle Dane Bernbach, agency Volkswagen, client 3 Keith Bright/Norm Gollin, art directors! designers Jerry Pan, copywriter Peter James Samerjan, photographer Jerry Pam & Associates, agency Stella Stevens, client

The heir to American business.

The child ren who are bored with the world will 800n be Cona-ressmen.

The ,irl' in ,0·,0 ca,es will loon dimb out and join the PTA. And the world. believe it or not, will be ready to accept them.

Bec.tue the attitude. (rom the put fiHy years. which chanled these teddy bean into iconoclasu. are moldin, the future of the rest of the world, too.

Somet-un ,outrageoualy.

Which i. why the put tmy years i. the subject of Forbe. Fiftieth Annive, -

2

Nry r.ue. (It will be published lh~ com in, September 15, 1967.)

We will dissect this fifty -year chunk of hi tory to help bu inesamen find ideal and directions. tl1llnlely enough. 80me of the direction will come from the advertisements that you will be runnin, in our .peeial Fiftieth Anniversary haue:

When Forbes writes about how 8 bUlineu ,rew, your advertisement can tell butinesamen how your own company hal developed.

When we write about the possible path' an Industry milhl take, your ad can ditcu.. your company'. own potentials.

Thi., it leerm to Forbes, makes the ad... important as the editorials.

But that .hould be expected (rom a ma,uine that only talQabout busineu.

Ideally, o( course, aome o( the kid, who are about to take over the world thould lIto read this lpeclal issue.

Or have it read to them.

Forbes: capitalist tool

3

69

2

Sure Negroes can get into broadcasting As long as you' re Sammy Davis Jr. or Ella Fitzgerald you'll have no trouble at all But what If you're Sammy Brown? Dr Ella Jones? And you don't sing? Dr dance? Dr blow a mean horn? What If you're just an average guy who wants a chance to make it in broadcasting?

Well, let's face it. That used to be a story of an entirely different color.

But now things are definitely looking up. Because now there's the Broadcast Skills Bank. They don't know too much about rhythm. But they know a lot about getting you a job in broadcasting.

In fact, they're sponsored by the leading broadcast companies ABC,CBS, NBC and Group W, In conJunction With the National Urban League. And the Jobs range from messenger to manager, from copy boy to engineer, from propman to performer.

• They'll even help you get part-time Jobs, on-the-Jobtraining and scholarships Wnte, or come In and enroll.

If you've got what It takes, you'll get the Job. If you don't, It won't be because you're colored

Broadcast Skills Bank Contact your local Urban league

3 Polaroide

--'_... c.-,,_,'OO_II\( __

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ALL AREAS

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One of the nice things about turning out a complete ID card in 2 minutes

is that you can turn out another one 2 minutes later.

Whether he watches the birdie or not, there isn't a (aseer way to get him a complete ]0 card.

And we do mean complete. In Cull color, with data, validating signature and all, laminated, and Kale<! in a plastic pouch.

In two minutes flat.

And if you han to rClhooc: beeauK the .ubjcct blink. or there', cvealau glare, you can re hoot on the pot.

There', no waic (or procellinl. None of that bu inc. of a temporary card that can lead t'o security problem..

The sy tem that doc. all thi. i. the Polaroid 10·2 Land Identification ystem. It consi.ts o( a camera (that'S a picture o( it on the riehl ), a timer, a laminator, a die cutter and a pouch Kaler. (The complete .ystem fit. on a d~k top.)

Here's how the .y.tem works:

Type the employu'. penonal data on a standard tabu· latinl card. Inurt it into the camera. Take the picture.

That one click reco rd. both the .ubject and hi. data on one piece of film. (So the card's practically impossible 10 lam per with.)

The color picture develop' in 60 second.. Then it'. laminared, trimmed, and lUted in a pLutic pouch .

(Ine pouch can he pre-embotted (or accurate dara collection.)

Two lirls working as a team can ea.lly illue 200 card. an hour.

Is that the kind o( efficiency you can dOle your eyet to?

Polaroid ID System

For more infwmacion, wriCf: InduJCri.t M.rk~ i n.. Dept. 104. Po1.roid Corp., Cambrid&e. MaiAc.h~ Olll9.

70

TRADE ADVERTISING

Keith Bright/Norm Gollin, art directors/designers Jerry Pan, copywriter Peter James Sa merjan , photographer Jerry Pan & Associates, agency Stella Stevens, client 2 Frank Fristachi, art director/ designer Ann Anda, copywriter Stanford Smilo, photographer Delehanty, Kurnit & Geller, agency Broadcast Skills Bank, client 3

Jack Mariucci , art director/ designer John Annarino, copywriter Tony Petrucelli, photographer Doyle D a ne Bernbach, agency Polaroid, client

4 Andy Langer, a rt director/ designer Robin Bielski , copywriter Melvin Sokolsky, photographer Doyle Dane Bernbach, agency Monsanto Textiles Div., client

-rmilimagey,y'know,andI Iowlftin'ncwplaces. rm lClrtd lodcJllhlOflhighup,Bul lha't'elOlcllrnrmum

Ind~~~~~==:.=-?-;=

·Nooh,JU511n,ltWaslu\ly.~

.[~~~!F{,;:::~ ThcWCaJ'·JnttdtagmeanllruarantftdfashlOn.(Ouaf.tnlftdloraycar'snorrna1 .....car.

OrMonsanlOrtpta«llt,orrtfundSlhcCll5tornn'l moncyJThc Wcar-~Itd program means nalion· alprlnlandTVIdvCftising.

Wc'wshownyou onlyl kwwmpia fromIMWcaf·~ttd hnClofllewmanutacturtfl.

ThtffartOVCT200manubcturm inIMprocram. lIyou·rcnotllrudyin Welf. DatC'd, shouldn'lyoulOokinloil?Andwhlltyou'fCIook, inglnIOWClf·DalcdAcrilar(doo'lovcrIookWcar· OattdnylonandWeaJ'·o.ttdpol~er,

71

George Lois challenges Alexander the Great.

Good old genial, jocular George Lois.

We went to him and asked him if he'd say a few nice words about our engraving service.

"I'll say nothing," he said. ''I'll give you a lough job.

U you're worth your saIL, you'll do it great.

Ifnol , runadelicatessc n,"

2

72

Exactly fOUf days later we tiptoed back to his office, and showed him the engraving.

"SoT' " But look at the sharpness," we said. ·' thecolor. the tones. Surely DOW you'll say something wonderful about AJexander Engraving." " Beat it," George explained, "I should praise you for doing your job right?"

2

TRADE ADVERTISING

George Lois, art director! designer Ron Holland, copywriter Carl Fischer, photographer Papert, Koenig, Lois, Inc., agency Alexander Engraving Company, client 2 Bernie Zlotnick, art director! designer Bert Neufeld, copywriter Tony Petrocelli, photographer Young & Rubicam, Inc., agency Cluett, Peabody-Sanforized Div., client 3 Bob Brandwein, art director! designer Jim Richman, copywriter Dan Budnik, photographer Batten, Barton, Durstine & Osborn, agency Holiday Magazine, client

The HudJon RI~r wasn't .1~YSllCwt'I'.

~?£fEir:~~

~~~~~~~i:?:~i~~:

you about the H udlOn. He s~.u o( wh.u il WU , .'hll it

kllt~~ ~~~~ed 10 lith, and fif\1

music;l,nddh' mionl, PI.eft

Holiday for October is hu.

Holiday is the.rl of mun·

n~arandfarlwly.

~r:i!s.~~l::~!r':~~$~ ~n~~~~~:;~cu.::~~~r~~70

" jsilonto Ikflnudl.

Holiday d06 nOldt.1 m lhc

::~I~~alltd the ruryo! theien.

BlII bcfon' you loc:k up your

73

If the people of New Hampshire can't run a successful gambling business, maybe they should hire someone who can.

New Hampshire Lhoughtgambling wa a sure thing. Start a lottery and make big money fast.

But in t.hree years of operation, lottery earnings dropped from $2.77 million to $2.49 million to $1.84 million. Professional gamblers must have had a good laugh at the New Hampshire amateurs Forbes Magazine ran apiece on the lotterybusi· ness because it was a business. A government owned and operated business at that. And one that could mean lower taxes in lottery states. (New York 's lot·

tery is just getting sta rted. Florida and Kentuck y are interested . Other states are watching. ) But for New Hampshire the big payoff never really came off. Forbes found that Federal laws kept many out·of-state consumers from buying lottery tickets. Illegal competition-the pros-si phoned off consumer dollars, And the publicity that generated first year sales didn't help second and third year re· peat sales, The gambling business, then, is much like any other business, a gamble, With marketing,

merchandising and consequ e ntly, profit problems, Forbes is always poking its nose into other people's business. reporting what it finds to the business community-warts and all. In New Hamp· shire we found man age ment trying to bump up lot· tery sales with a ll sorts of busi ness techn'iques, With one exception, Bringing in the outside expert.

Forbes:capitalist tool

Mllkwentup20

74

TheheirtoAmericanbusiness. who.,.

TIwo duld,IOII bond wilb ,hoo _rid ...,l1_beCon,, _ n

TIM."LI1n.o.ou ... w,lI_n

dllnb_1 and join 1M PTA

And I""""""' . I:»l ..... lIor-. ...m

blttwel,.lO~IIwom

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2

TRADE ADVERTISING

$34 million for a new wing?

We call it Capitol punishment.

Ira BarkotI (a), art director/designer Emil Dispenza (d,f), art director/ designer J on Fisher (c,e), art director/designer Jon Fisher/Emil Dispenza (b), art directors / designers Paul Koreto (a), copywriter Stephen Herz (b,d,f) copywriter Michael C. Lipton (c,e), copywriter George Hausman (a,c,d) , photographer Stanford Smilow (b), photographer Stone Langley (e), photographer Campbell-Ewald / New York, agency Forbes Magazine, client 2 Al Beckerman, art director Bob Colwell/ Tony Piano, copywriters Mary Moore, designer Will Aimesbury/Bob Colwell, photographers Ries Cappiello Colwell, Inc. , agency Progressive Architecture Magazine, client

Coreress expects you and me to pay $178 a square fool for a.-west ~ thaI will: (I)Destroytheclassic:e~oftheCapitol ;

(2)W,,"00Iscrneirreplaceablehistoty.

We say it's a sin. On oor editorial pages.

Our stand may not influence Coreress. But it will influencean:hitects. lWJdes~ and~and spec writers, too.

Progressive Architecture has the Ia'i"sl

audience in the field , and they read us religiously. fl<lcause we take a stand. We say whal we think.

But being critical is only part of it The real idea is to erealea sool·slirrir4! envirtrmenlon oor editorial pages.

II's the leasl we owe oor profession. II's the leasl we offer our advertisers.

Progressive Archilecture is a publicalion of Chapman·Reinhold, Inc.

We speak .., for &Qod.-c:hitec:ture because we're Progresshe.

Habitat: a losing proposition.

But we think its awinner.

Montreal's Expo 67 bui~ it and they'll newr gel their money back.

They took a precast concrete house. then hoisted it atop another precasl concrete hoose.

They kept it up lor;! enough to build Habital 1967, a hoosing project that has Iosla lot of Canadian dollars.

But we like its interplay of lighl and shadow.

Its inlJutsi'Je desijvl, its advanced oonstruction.

We think concrete ta'l mean a breakthrtlUlll> inurtlandesijul.

Ardwe said so in an entire issue devoted to """ ooncepts in ooncrele. We said it to the largest audience in architecture.

Dooor ~agreelNotalways . Somebooks,

like Progressive Architecture, they read and don't always agree with. But sane books they agree with and don'l read.

Our ~ don'l ha.... to share oor conclusions. They share our carmitrnent.

Progressive Ardlitecture isa pubhcationof Chapman·Reinhold, Inc.

We speak .., for &Qod architecbre because we're Progresshe.

The new Whitney Museum: Eyesore to some;eyeopener to us.

At least it chases the squares 1NIO'j.

So they're carmitted to Progressive Ard1itecture.

II forces the onlooker to make a choic:e. Toopen So you notonlygetthe largest audience in the his eyes wide and meet modem art half way. field: qineers, architects, desijg1ers and spec

~=th:::-~~=~T.'" ~':"~~~~~~~~onoorpagesthe We said so. On oor editorial pages.

At ProgressiveArchitectureweS21'fexactly

what we think.

Whether-our readers agree is not the poinl We're CQTIT1itted to prcwess;ve architecture.

challenging, wide awake envirCl'lllOf1t it crallOS. UkethelM'litney, we open our reader's eyes.

Try us. We might open yours, too.

Progressrve Architecture is a pubfication of O1apnan·Reinhokt Inc.

We speak .., for &Qod architecbre because we're Progresshe.

75

a

b

HOW I SHED AN ENORMOUS BEER BELLY IN 15 MINUTES FLAT WITHOUT DIETING.

Wbathas216 shCl!J) shiny teeth and catches flies?

c

d

e

76

f

g

TRADE ADVERTISING

Allan Beaver/ Rick Baxter, (a,f) art directors / designers Steve Singer, (b,e) art director/ designer Nick Gisonde, (c) art director/ designer Frank Fristachi, (d) art director / designer Jay Wolf, (g) art director / designer Larry Pl apler, (a,b,f,g) writer Marshall Karp, (c) writer Helen Nolan / Ann Anda, (d) writers Helen Nolan , (e) writer Peter Papodopolus, (b) photographer Stanford Smilo, (c,g) photographer Tony Petrocelli , (d,e) photographer Carl Fischer, (f) photographer Delehanty, Kurnit, & Geller, agency Talon, Inc. , client

This is an ad for Anaconda Aluminum

2 Jim Markle, art director/ copywriter/ designer Bob Coburn, copywriter Jim Nugent, photographer Griswold-Eshleman Co., agency Anaconda Aluminum , client

This is an ad for Anaconda Aluminum This is an ad for Anaconda Aluminum

77

Bug out.

2

See the Grand Ca

n.

AMER-ICAN AIRLINES TO NEW YORK 3

78

4

POSTERS

5

David P. Vanderveen, art director/ designer Wm. F. Andrews, photographer Robert Nardin, retoucher Russell Deremo, production Stevens, Inc. , agency Import Motors, Ltd, Inc.-VW Dist. , client 2

David Jones, art director Janet Boden, copywriter Paul Elfenbein, photographer Doyle Dane Bernbach, Inc. , agency American Airlines, client 3 Frank Fristachi, art director/ designer Ann Anda, copywriter Delehanty, Kurnit & Geller, agency Westinghouse Broadcasting Co., client

6 - J« hy: H, '"., ..... loIN" but he c.... lMfOd. 1 .000pellftd. "~horM fln"

4 Steve Singer, art director/ designer Helen Nolan, copywriter Delehanty, Kurnit & Geller, agency Westinghouse Broadcasting Co., client

5 Al Scully, art director Bill Backer/ AI Scully, copywriters/ designers George Elliott, photographer McCann-Erickson, Inc., agency New York Racing Association, client 6 Al Scully, art director/ designer Eli Silberman/ Al Scully, copywriters Dan Rubin, photographer McCann-Erickson, Inc., agency New York Racing Association, client

~ (c:"·4)~,~ IHI Thofeu&". 'KIl .

=~~;W:e!::~~'::',~~ ~~'''",--'-

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To know us is to love us.

The BigA.

7 Al Scully, art director/ copywriter/ designer McCann-Erickson, Inc. , agency New York Racing Association, client

The Big Ais onlY 43 furlongs from liere.

(A furlong is 1;8 mile)

79

1

Exhibition

2

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Governor Rockefeller spends ~/o of his budget on education. Too bad kids can't vote.

80

4

5

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POSTERS

.

Bruce Montgomery, designer University Art Museum, client

IIIF. ~ •

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2

Julio Di Iorio, art director/ designer Jim Symon, copywriter Harold Kreiger, photographer Jack Ti nker and Partners, agency Friends of Governor Rockefeller, client 3 J ul io Di Iorio, art director/ designer Jim Symon, copywriter Harold Kreiger, photographer Jack Tinker and Partners, agency Friends of Governor Rockefeller, client 4 Ronne Bonder, art director/designer Bill Claxton, photographer Edstan, line conversion Gordon Youngman, Inc., client

Duke Ellington July 31 to September 2 ITHE~GRILL I Dining and DancingJike it should be. 65th Floor, Rockefeller Center, PL 7-8970.

6

5 William A. McCaffery, art director/ designer / illustrator deGarmo, McCaffery Inc., agency Brody Corporation, client 6 John Berg, art director Milton Glaser, designer/illustrator Columbia Records, client

81

Americans, you know us for the wrong thing.

2

Comes in 3 economy sizes.

3

Mass transit.

82

4

POSTERS

Ralph Ammirati , art director/ designer Dave AltschilIer, copywriter Mike Cuesta, photographer Carl Ally Inc., agency Scheffelin and Co., client 2

Mas Yamashita, art director Ron Levin, copywriter Bernard Gardner, photographer Doyle Dane Bernbach, agency Volkswagen of America, client 3 Si Lam, art director Ed Bigelow, copywriter Bernard Gardner, photographer Doyle Dane Bernbach, agency Volkswagen of America, client 4 Herb Lubalin/ Aaron Burns, art directors Herb Lubalin, designer Shelly Sacks/Mack Leslie/Gerrit Jonkman/ Diane Mitchell/Larry Ross/Nurit Karlin/ Nancy Zaman, illustrators Irv Bahrt, photographer Tom Carnase, lettering Students of Allgemeine Gewerbeschule, Switzerland/Friedrich Peter/Giorgio Giaiotto/ Raphael Boguslav/ Aldo Novarese/Stanley Davis/ Hans-Furgen Wolf! Karl-Heinz Domning/ Wayne Stettler / Zolton Nagy/Barry Deutsch/ Jay Schechter/Georg Salden/ Ernst Friz/ Walter J. Diethelm, type designers Herb Lubalin Inc., agency Visual Graphics Corp.! Harlin Quist Inc., client

III C1bllch u

O~rcb(d~' ~tllt[llp

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APOE[

Benjamin Franklin

CANSURVIVE

EVERYTHING . \BUfA RINI

The worlds atheatre in which some of the worst people . have the Hest sea .......

-:=-:,::':-.,:.:" :,::: ::-;;,: ~- .. _

I WISHlHE BALD EAGLE HAD NOT BEEN CHOSEN AS THE REPRESENTATIVE OF OUR COUNTRY; HE IS A BIRD OF BAD MORAL CHARACTER; LIKE THOSE AMONG MEN WHO LM

BY SHARPING AND ROBBING, HE IS GENERALLY POOR,AND OFTEN VERY LOUSY-THE TURKEY IS A MUCH MORE RESPECTABLE WITHAL A NATM OF AM

..... __ •

83

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What does it all mean Harry?

Thoroughbred racing is a fascinating hobby.

Especially when you know something about it.

BigA.

3

Its a dirty world

84

5

POSTERS

1 Al Scully, art director/ designer Eli Silberman/ Bill Backer, copywriters George Elliott, photographer McCann-Erickson, Inc. , agency New York Racing Association, client 2 Al Scully, art director/ designer Eli Silberman/ Bill Backer, copywriters George Elliott, photographer McCann-Erickson , Inc. , agency New York Racing Association, client 3 Mutsuo Yasumura, art director/ designer IIon Specht, copywriter Young & Rubicam , Inc., client

4 Mutsuo Yasumura, art director/ designer IIon Specht, copywriter Toto, photographer Young & Rubicam , Inc. , client

5 Mutsuo Yasumura, art director/ designer Richard Tarlow, copywriter Young & Rubicam , Inc. , agency American Red Cross, client

PACKAGING

6 Murray Eisner, art director Lind a James, designer Norman Kohn Studio, studio Montag, Inc. , client

6

85

1

86

PACKAGING

3

Fred Troller, art director/ designer Hans Haen, photographer Geigy Chemical Corp., client 2 Richard Arnesen, art director Vito Simanis, designer Dick Boyer, photographer Weyerhauser Co., client

3 Felix Muckenhirn, art director/ designer Ray Altier, copywriter Werner Muckenhirn, photographer Geigy Pharmaceuticals, client

87

2

1

3

Shall we dance?

88

If molehills look like mountains -.

------------

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PACKAGING

1 Kurt Weihs, art director/designer/illustrator Papert, Koenig, Lois, Inc., agency Century Cycle Company, Inc., client 2 Fabian Melgar, art director/ designer Cooper Color Corp., client 3 Felix Muckenhirn, art director/designer/illustrator Ivan Manson, copywriter Geigy Pharmaceuticals, client

RECORD JACKETS 4 Howard Blume, art director/designer Bill Sharp, copywriter Ron Bradford, illustrator Blume-Sharp, agency Chess Record Co., client

5 Robert Cato/John Berg, art directors Joan Bayley, copywriter Don Hunstein, photographer Columbia Records, client 5

89

RECORD JACKETS

Ron McQuien, art director/ designer/ illustrator Bob Boatman, copywriter Bloom Advertising, agency Zale Corp., client 2 5·

Robert Cato/ John Berg, art directors John Berg, designer Roland Scherman, photographer Columbia Records, client

DISPLAY 3 Bob Dion, art director Mike Jolivette, copywriter Nicolas Sid jakov, designer/illustrator Needham, Harper & Steers/ West, agency Continental Airlines, client

TRADEMARKS

7M GIIIER

4

Rupert Finegold, art director Fred Harsh/ Rupert Finegold, designers Harsh-Finegold Inc., agency Eagle Spring Water Co., client 5 James C. Allison, art director/ designer Ann! Corp. , Watergate Yachting Center, client

8

6 Herb Lubalin, art director Herb Lubalin/ Alan Peckolick, designers Tom Carnase, lettering Herb Lubalin Inc., agency Family Circle, client 7

9

Herb Lubalin, art director Herb Lubalin/ Alan Peckolick, designers Tom Carnase, lettering Herb Lubalin Inc., agency Curtis Publishing, client 8 Don McQuiston, art director/designer Kirsten Pedersen, illustrator Chapman McQuiston Michetti, agency Mr. Piano, client

10

9 Esch & Baker, art director/ designer Esch & Baker/ Ed Strong, illustrators Curtict!-Burns, Inc., client 10_ Wayne E. Hallowell, art director/ designer / illustrator Graphicus/ Dimensional Design, studio The Village Secretary, client

91

1

2

II

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1253mcgillcolleg......nue montteal2 , quebec

telephone 878 -9693

3

4

6622 UnilJerslty Avenue. San Diego. Calrfornlo 92115 Telephone 58275:38

•

92

5

LETTERHEADS

Peter M. Krohn , art director Dennis Goddard , designer Designers Three Inc., agency The Market Research Group, client 2

..

Harold Printup, Jr. , art director/ designer Ted Collins, photographer Graphic Process, special effects Harold Printup, Jr., client 3 Don McQuiston, art director/ designer Kirsten Pedersen, illustrator Chapman McQuiston Michetti , agency Mr. Piano, client 4 Tom Kamifuji , art director/ designer/ illustrator H. Tom Kamifuji & Assoc. , client

5 Herb Lubalin, art director/ designer John Pistilli , lettering Herb Lubalin, Inc., client 6 Wayne Webb, art director/ designer Robert Vogele, Inc., agency John Ball & Assoc. , client

93

2

1

o ~

~---------------------------------7~

----------

T I

o

o

Ollul prtparallon PASTE-UP / ARTWOR'" / NEGATIVES / PLATES

o 4

3

.::.

•••••• ••• ••••

Esch&Baker.lnc.

837 Sibley Tower Building Rochester. New Yor!< 14604 Telephone: 325-2771

amtel AMERICAN TELETRONICS CORPORATION / 4444 GEARY BOULEVARD / SAN FRANCISCO, CA 9411B / (415) 221·1B42

94

LETTERHEADS

5

Herb Lubalin, art director Herb Lubalin / Alan Peckolick, designers Herb Lubalin Inc., agency Ford Foundation, client

,.

2 Ben Lim, art director/ designer Roberts/ Fenton Adv. Ltd. , agency Paste-up Services Ltd., client

3 Esch & Baker, art director/ designer Esch & Baker, client 4 Jerry Berman, art director Jack McKee/Barbara Gray/ Jerry Berman, designers Jerry Berman & Assoc., studio American Teletronics Corp. , client

5 Bradford Boston/ Archie Boston, art directors/ copywriters / designers Boston & Boston Graphic Design, client SELF-PROMOTION

6 John Gorham, art director/ copywriter/ designer / illustrator John Gorham Graphic Design, client

6

Please send your answer to John Gorham. 36 Collingwood Road, West lodge, Horsham, Sussex

95

1

2

C

96

J

3

SELF-PROMOTION See the impossible between 6 and 7 pm.

Sidjakov and Kamifuji sign russo-japanese peace treaty.

Be a witness. Drinking and talking allowed.

(Drinks on Kapes).

Be there.

Tony Russell / Kit Hinrichs, art directors/ copywriters/ designers Bettman Archive Inc., photographer Russell & Hinrichs Assoc. , client 2 Thomas B. Smith, art director/ designer/ illustrator C. Larry Gilbert, copywriter Northlich, Stolley, Inc., client 3 Nicolas Sidjakov/ Tom Kamifuji, art directors/ designers Don Staley, copywriter M. Halberstadt, photographer Nicolas Sidjakov & Torn Kamifuji, clients 4 Herb Lubalin/ Aaron Burns, art directors Herb Lubalin, designer Shelly Sacks/ Mack Leslie/ Gerrit J onkman / Diane Mitchell/Larry Ross/Nurit Karlin/ Nancy Zaman, illustrators Irv Bahrt, photographer Tom Carnase, lettering Students of Allgemeine Gewerbeschule, Switzerland/Friedrich Peter/Giorgio Giaiotto/ Raphael Boguslav/ Aldo Novarese/Stanley Davis/ Hans-Furgen Wolf/Karl-Heinz Domning/ Wayne Stettler / Zolton Nagy/Berry Deutsch / Jay Schechter/Georg Salden/ Ernst Friz/ Walter J. Diethelm, type designers Herb Lubalin Inc., agency Visual Graphics Corp.! Harlin Quist Inc., client

4

AGRAPW·CINTERPRETATlONOfACAR£FULLY SELECTEOCOLLECT ION Of liTERARY PASSAGES WITH APOLOGIES TO AMBROSE BIERCE MAURICECHEVAliER ELY CULBERTSON GEORGEElIOT CLlFTONFAOIMAN HENRY FORD BENJAMIN FRANKliN EDMUNDGOSSE JOHNSTUARTMILL ROBERT MOSES H£RBERT J. MUUER HECTOR HUGH MUNRO CASKIESTlNNET OSCAR WILDE AND ANONYMOUS

Nothin

~

likeHl~

excesss.

Robe rt Moses

97

2

1 GRAPHIC DESIGNER ROY SCHLEMME

REPRESENTED BY SUSAN WOLFF 505 E. 79TH ST. NEW YORK CITY TELEPHONE : 249-5993

GRAPHIC DESIGNER DON TROUSDELL

REPRESENTED BY SUSAN WOLFF 505 E. 79TH ST. NEW YORK CITY TELEPHONE : 249-5993

In retaliation to AlRoss'new beard, Mo Lebowitz has cultivated aset of sideburns.It's another report from The Design Organization,Incorporated,showing corporate growth. D GRAPHIC DESIGNER ALAN PECKOLICK

REPRESENTED BY SUSAN WOLFF 505 E. 79TH ST. NEW YORK CITY TELEPHONE : 249-5993

PHOTOGRAPHER GEORGE ADAMS

REPRESENTED BY SUSAN WOLFF 505 E. 79TH ST. NEW YORK CITY TELEPHONE : 249 -5993

"' 3

BRADFORD BOttON A&e: 241"atsold

21 yurS old

Heilnt: 6'2" Weight: 200lbt.

FOf'JldiscriminJitincdnlp OfIJlnllition lpeocialiri", in Annual Repclfh, 8rochuru, PKkl(e ~J", .~ired Mail, Tr.,,,,a ..b and complete Corporat.

Identity Procr."'I, i.lriM tlOSTON KLAN ., either OM of our KI,'It,.,.I. 'nLosA.npin; 931.a751or931-8163. lnNNPOrtBuctt: 540-41l0.

98

Spl!c:...It,: 8i1lbo.fd • • m",.uin • .ndne.spaper~rtipmeftt• • direct mail,trade"'Jlrks, and twochurn.

,ndc:ompletecorponteMMntrtYPfOlfJlml.

Merits: RepreMnled In allofttle major5tlows in th411 CCKlntry

Repre:sentediftlUofthemajorshows inthecountry

(AIGA. CA, NYADC, TDC, ADLA, Gr.phll) .

leA. TDC, AIGA, NYADC, ADLA,Graphi.) .

Brochurel, Padlacedesi&n, AnnlialreparU, dirKtmaH,

For btds: CaU 931-8163. los AnseiH

or714· 540-4110, NewportBeKh

4

SELF -PROMOTION

Roy Schlemme, art director/ designer George Adams , photographer Susan Wolff, client 2 Mo Lebowitz, art director/ copywriter/ designer The Design Organization, Inc., client

3 Archie Boston/ Bradford Boston, art directors/ copywriters/ designers Boston & Boston Graphic Design, client 4 Horn / Griner, art director/copywriter/ designer / photographer / cI ient

99

1

Thtap'lIC'y',billinpru.l'mm$S3,OOO.OOOinl9G6to J40,OOO,OOOlnl!M;6,'JfratlfylnI2U' \ineA'UI!.

Earnlnl'l'QIII!from69centaaah.relnl!N)5tQalcentl! in 196(1. Althoo,h the h,.c~ .... u ~m.lIer than we

~~;~~I~~~ l:~-:e~~~~o;'~~~~~~~n::i!~:

filfUl1! reHect.lhe dla.ppolntlnll' per(ormlln~e DC our

London om~lI!. which ""u .d~uSl!ly .ffectoo by the

I ;!:~~~0;~~:~f=~=L~'f.;~tf·~:!>~E~~· :~:r\::I~~~h~~d~d=;.~nner:::::~~hA, ho....OomellUally, tl\f1re were a number of IlC«M.Int changa.

~.~~.;:mYi~r~.-:!':fe:h:!u~tr:~ ::r-;!~n':tC:!i

IIOphl.tlealecladvutiMrL In Decftnber, Uniroyal (U.s.

Rubber) cboM WI to handle their Nauphyde line ; addcldtothIlUllimyalb\»i_w,alrudyt..d,!.heu.. allfnmentmadeu.lhe'~l'IC)'fortheeompany·.Home

~~I~~=::;:;,~:~!;,~!::.~~D': Df!t.erge.nt. Earlierlnthe~u,P.Ce~U&towork

::: ;:'::!'!!.f:n':.i..C::! ~~d~:' ~\~;e:: company .... ithColy,Round·tbe-ClockStockinp.HunlW_n, Clark on and Brealuwne FoodJ. Early In 1967. weacqulred aeontrollln, Inte...tln the

~f~~!~~f.~hI'Q hhIlaU'S' di8tributKm r:~·ro=~ :;:! :~: ~n~:~~i!u7~:~:;t~:~n~~:~· ;:~ ~:~~!:~e(::~I~~;

rr)'ou'vfl~nlo~rmud.),

II •

the Sole![ can be ped.1I!d like.n ordinary bi~yde, or POwered lo auI 9 mph",'lth.amall,fronl.-wheel-motInted

motor that runt 200 rnnaon a ,ailon of rpII, Wepl.ntoeontinueloinveitipteopPOrtunitiain

whichourn1.rketin,.kiJlI.ndnnand.lrtllOlll"l:ft~an addt.othetarninIilPOwffoffllllilJlln'(.Irnewe.nterp~ Allln.n,we're.optim~tlc.boutlhe)'N.rahead

C _ _ _ n . I TAn.IlOOnO'I .. CO.. II: A. . . .II:1' ..... uo ....... ,.... f,,~u..l" .. "' ... <Ioo4~6 _ _ :NI, If66 .. ndlNl

P.pn-l,K..... Ic, .....I.. Inc..owlbbaldl.t..1H

W4't... \WIl)·.bftit· ..... I"~I.h'kIt

_t>om... IJn,.."'.r'lIllt~~"""ll,~ta'l illiC~~""""~'OP*', ..u '1'I""fId.ltt#ti:l4:MJ"II~._t '~""'a'"'w~_o»'><t.d~,ItII:.,15

!\j,I!olI.,"1..,t.~'""f'~· ... 1t$l·.rbitl!1I"

:::~~~"":'.~!:~~,;:~.. ::-,:;:::-,:!;:;:::r.:1:.!;f.....

ht>m ,.iHmH

S.. Ur"'Uf~... "··fI'm_rk4("".

!£!r:;m:w:,=:::£!ii~ J_befo... ,.".,llIkIoIfGrI_Wl• ...

P.".,lalonf(K'1I.lttd8U1t..ndUnl\.lldKln.....,.lncometufll

.,.d~onlln.rrrnclu~.""bt.laorthe_MIIl • ....,ord... nd.llthot!oe ...lldltln.pnx:t<!u .........'t<:IMld.Ad

_r7Intll<!d",um.UlI"H:". W.pN\'lou.IYU.lmi~.nd

Thtbetlo.rdGtDlr.don .. ndS ......kholde ... of 1'.~rt, Konl • • Lor.,I"".~ WI h.. u lumrn-.l the touolldlte-d bar.nci .hHt of PlIPfrt,K~nl ., LoI .. IIII:• • ndSul:MlldIJl1I"uofNO'Vembo!r lIO.l9MlndthereL.tedatalellMntoli_andretained .. rnln•• fortlM ' ..r thotlltndtd.Ourtumlnatl<la ..... mad.

In~.IIN .. lth ........ llyKC>fPt~.udltll\'.touKb.rda.

100

~iiii

ANNUAL REPORT

2

1

George Lois, art director Tom Courtos, designer CBS Photo Dept./Carl Fischer, photographers Papert, Koenig, Lois, Inc., client 2

Arnold Saks, art director/ designer Time Inc., client

T"-'l~.. ""NewfnotMd'*'~ .fdlr-oIdlntll.8f~"

e.t.y' . . . ',.le¥ISmilll111'..,....

lOn.V___ He • • 1tIe ' _ ' III' w.',IoYr'HI1 MriMOII "T"- "Mdf III'l"'" . . . . . '**'M"" ..... OII Mlurw::_AmeorIc:Ml..".W .,.bM..... lflMe~It~ .. .

I_III'~T"-_...... ocw..

IIyLh"'-ot..,.,O,.yvw.t1tlCll II••• " a.to.,. who.".... whole ~.'1"'

..... . 1tII1:hI1rn...

At' . . . . l'hcl\ard .. etunn..n.dllIII 01 1tIItT_lIN N-..s.mu.• _kl.lCIoI_k lMtlnc~ :W

1KI..-, 107report11nw3lO who t, .. cloM 1O _1II1I11ofI

,tr.,.,.

WOro. ..C:II.-..klOlnlorlll"".IIOf' oIwl'I.tlnlMwookl_vointon..

and U'e en EspaiWt took Its readers to the moon. At the same time a newcomer, U'e Asia

21

Mil itary, included " back home" features that appeared nowhere else. Time International, on the other hand , carries identical copy everywhere (except In Canada) but publ ishes different editions for varied advertisi ng requirements.

Color: " The purest & most thoughtful minds are those which love colour the most. " Ruskin 11 was a colorful year for Time Inc.'s publishers and broadcasters. " Fast color" was the key phrase. Since Lite was founded , thirty years ago, Company printing specialists have been working with in the industry 10 hasten the process of h igh-speed four-color pr inting .

At that time, it was a crude and lengthy business. A twelve-week closing was required for the preparation of four-color engraving plates.

By the late 1940's, lead time had been cut 10 nine weeks. Time Inc.'! Springdale laboratories had continued development work on the electron ic scanner. POI had been organized and was operating commercial scanning studios in New York, Stamford and Chicago. During the next decade. under constant pressure Irom Llf. and others, Improvements In film, photography and engraving advanced the art. The Introduction of lightweight. lam inated printing plates made possible faster press speeds and shorter make-ready time. In the early 1960's , Life introduced " crash color," and the breakthrough was at hand .

Ed'lDtolt_LoI<I&ooq....c. M • ..,.

1... ",.. tU_EMyoac:klOlltIJ~ IlltOO1 • ...,pent. . . .,,~at_1tI-' pU.OIII _ _ booII....."...- " " ' " clay, ""-01"",--._ 1lUfC1IMM1Iy ....... bI<l_ .... . . ,

• _ _ IIC_ltwleoul'ltly

=.

- " .. lI ___ ·.IrI,.....,.Df ~ Cdy

~~-=-":.:=..or

:till

TIme-Life Booka: "Knowing I lov'd my books. he furnlsh 'd me, From mine own library with volumes that I prize. " Shakespeare. The Tempest Now In Its seventh year of operation, Time-life Books stands 8s one of the country's ten largest book publishers. Fo unded on the premise that Time Inc.'s edUorlsl talents could be

successfu lly applied to book publishing , Tlm.Ute Books has sold more than 60 million books comprising 180 titles. lhe great majority by mall order.

Every seven working days, during 1966, TIme-life Books published another volume in one o f Its popular series. Twelve million copies were sold In the U.S. and Canada in 1966; added to that were the foreign--Ianguage editions d istributed by Time-life International. Grand total: 16 millk>n books. an increase of 2 million over 1965.

Final volumes were published In the 34-book set of the Life World LIbrary and Ihe Time Reading Program , wh ich now stands complete at 108 10ft cover volumes.

Two new ventures were launched In 1966- the Time-LIfe Library of Art and The Story of Great Music. " Music " brought out si x albums. each conta ining four high' fidelity record, Ings and an Illustrated book. In January of 1967, a third new series. the Time-LIfe LIbrary of America. was Introduced ; " The Pacific States" was volume one.

The Internationa' Book Soc iety, comprising large, richl y-illustrated ed itions of outstand-

101

/

COMPARATIVE STATEMeNTS OP CONDITION

102

JNV£~"TttE.NTS

Dl\lIOENDS

2

ANNUAL REPORT

John Pearson , art director/ designer Winthrop Sargent , IV, copywriter Quinn & Johnson, Inc. , agency South Shore National Bank, client 2 Gips & Danne, art director Lee Giest, copywriter Richard Danne, designer General Dynamics, client

UYNOG&.UU. Orl..ny 01 doeotelopmtnc F· l11 aarcnh to me .........,Rrf'lCafo..~aadlt"t'aluauoIII ( bdulmr:oI_bc~ cIndopcd_'IlQ~",bomber'f'llniclnandODt"'" _ _ _ _ l _anpkml

Aw.ou,ta me IOTa£ pn:wram COIIunlla for MOther ~, openuooalmodrhoirbef. IIIAatt:lOproduruoofordcll'ftf)'to dleT-aol All c:.oa.m.adol me URJRd Scaca A. Fom: ~.1967 1P'~In~,dlarl#UJ.hundu.InwrCOftCr.n,wbJchQIIi

for_1lUb&241)l..aalt l)1 I'-I1IA ( forlhl-T.aicalA. c-un..nd ). 24f. 1118 ( forrbeNny).64f&.III(forlht ScnRa-t A. Ccmmaad ) , 24 f · t IIC ( for die 1.a,aJ AUltnIiul All foru ), .nd)OF-IIIK ( for_bpI A. FotaolGmlc 8t'1mn) .

Othcrhi&hlpoirhepntlQdudtd:

Conmct • ..ankforfoutl'leWnacleuiWlmarinct., _ _ wF

-oolhlplandtwO_mtatehllolbmnliJlaforthtUniml SoeesN• ."

Thebca-"'IcldclJ\'ft1lQ~quanricietolRcdqoe 1hou1dft. 6nd.maa-IO-. . millile&,andol ,lC'tP-mountfdlinak-

..xbIndIXIOlnrdIOJfIIIIm'I' T1Wncy·fWO~unchtsoiAtIa...,.u"uncta'ldtlCld.

TbcI'l'I!abiJwyoi AtlasOWbftputtwO,anhNntncdlM. numberollllCmuYC' .....nbbucdonlaunchand • .,.. ~ OurCmmwbqu.d-hJdtoIm·hw:kd.pptt . . .. ..

coni-a- ~1Ch AtJu. r.U pJaad Sutwqor IfIK'l"CDh .. ~"pretJIt'orba.,d:leIl'lOCMl._"UICMher ...

JIIOft'dlGab.l.,.IO~_ .. h~"Ntllllftdcrchtwd.lbllal

_01.--

"""'..".. Wlrik 1966 rqwnmml. mnc...n ~ in bodI

.... 111111~~~_J'ft..a.6tdWMhour_..t1 pro6fabi...,_l:lrfmtecom.taCUft&_. .. rhepabllCin~hlft ~ hmJfl 00 proM ma.~_ "haft

-IbIr

,... .. wNdl.,~OW'optf"llloftiaodwc ...lCndlOdolO Thelcqoeopromabil.wy, mcnrhaa .. produca:orproflhlftA,lict IllhowwellrholeprodYcuandprosn.msarcproduadUld -.cLWe~~aedinIIQlJOfdontoupandcOlU' _~rprnon""Jl"'"Y_~~I.fOidrnllfyand

urilllltmo.rll'ldl.. tduals • .mchth~pomIt .. I. mdfOrcward

9:;ZW~"~'I.CIF't.cwa.Prn.Inw

J-ty21. 1967

the bcncfw 01 FftYIOUJ hpaMlOft fJ South Q~ aod Matbkhnd, 111.- O¥cr tht pMf Ii.-e ,un. MatbkhNd Lme hu woptOftd

.. _knflOMJOll~· TbelACreMltl&lIItolO'lCfIFfl futnKabJ' dwllftllftduMry, bowna, hubem.~twonlMdemaod forokium Umahu ,...«-.adkwde.l~~, .a-produa_iD

opm.t-nh fw-nIa ~ bas c1rdiotd. 11uJ drop .... been pudalt,oI.tbr ma-ad lilt 01 doIomlUC hmet.,.,..w.-1O .. t.m.nptductloa.

~l---.·oxr

Tbeproducuoaandakola.JiDl966browffftmanCoaJ...:I UIUa'dEkarIC~IIDpfO"'CId~o.utbrpraJ'ftf

lO.ecthtlftCtCUlC'ddcmand,prRarilybr"""""UIiliofI, Cftamtbr·~IyIUOO&«unoftI1·

ThrlbaholUEUtCdEkcmc ... IOOpncnMOW1Xd~ JboaSdhroltuo~thtalJDouoool.pomooolF~·.U'IIM8.-e

UCIIICbJ"lWld tnnWI u, beck.., for U.... ElKn-ic'. Lunrmi 1thp~ .. hdbl.-e~ICI.bdltJ"CCIInpeCC:fewlol\a: lam uut.y ""'"''''" c-n.a1OCl 01. 61th ~Jf'O'Iod mllW,

IocarcdlDjdttIonCounq,llt.no.. .. btsr\JlUt'lCdfewffftmanCo&L

Salaoicompr!'MCdplClbrowUqwdCarboftacopcntioN: ~colJOW .. bodadomeKlCandln«mluonalawkeu.

lblDppart tht pow . . ~ few aJ_.lJmm~ ..... andCl'J'OF'llChqlll"'_haftbeen~ow ... producuoa 0"...1.,. Qww. . . . 1rpUfJJOIJ PWK_comp~~ me,euIDCa1wanu,., IIIUIOiIcokn'Ctbeo.c..,NUwkb oxyp.lUtfOImaadllpproduaL

I. 'IOroMt, 0Dar." _ ha.-e braa buiIdtn&. a:.apks which 18duds'_IW"~hOQpbftc.. _ _ rortbcptOducuon oIluJl1pur.,.el«n-otJuch,.t.opaod._manu.&auriD& f.ot.,.kwrbrproduc_ol_ldlnJekcttotlaaodcaredwddiq wft.AhJodrotm~pWK_alIocompleud.

o....FIondo.

Demaodforcarbon~_-.dbr-.c'lhaa60ddlerftw ~rInP'&f-rcDd1~arflcauhOQlO~' _ _ .... IOI81Crnte.A_plamIllNadnd_wuoGpentlOCl dur...,tht,euaad .. aItnd,-aappl,ana:aJ1 puuol5p&An With co..

A"JIOI'n:~Iftaur-Alradoublcd_carbono.mde producDoathneforthclft.'Ond'lIIXwtduarbrteynn,WMhintht UDMtdSura_'~1OprGC\lfftDbHanddilc.rlbouon ~LqtudCubooIC·.poIiooauthclodlnJlUpphtt­

olco., lAlIqud.pxwsorlOhd (dry a) ftwma.

103

l

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1,"",

s.tOl .... ~"IO., 1~ I1'JU.d

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"'t;'!'fIQI;\,"".,.~hl'I"f<.VI'YlIf\Otlcw.:k 1'>.un'll!oef"'~l.IIfImon.lI.oml<UUIuJ.",

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wpr ...',II\ccl'lol,,1!Ift'

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mtl'llt'C't, dln",~ ~~Jlrf'fe"'"" 1,..

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ik

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vtw,r'I IlJclc.t~

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104

"',Jot<flf~

"r.ttf\I\f1·!,m\C:f·JIqI: !'''IIflJLl'..uo..f<thn f''Il II.dot IffII( ~_,..II,-rdlCt(j"",.n,w .. ,",""

)~!IIct:1 ctml!!'!lttlt ,~tnt ~~;I.' ,I>. .1) of Q\lol1

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~!,tol1lliA·ii~.f'."'ko.l~'I"f"I""'dlJ!O!j$hf~")of;ol'tk,.,,~ 1"J:",nJttll."""~,,J • • "~f~<tIf!lorl'l<r!f'1,., ..m

2

ANNUAL REPORT

Robert L. Steinle, art director/copywriter Detlef Hallerbach, designer/illustrator Advertising Designers, Inc., studio Seaboard Finance Co., client

INSTITUTIONAL BROCHURE 2

Milton Glaser, art director Myrna Mushkin Davis, copywriter Vincent Ceci, designer Barry Feinstein, photographer Albert B. Grossman, manager for Peter, Paul & Mary, client

TE THOUSAND MILES

POSSESSION , I'ETEII

.-

. ...

~.

~....:.­

~'2.!-_

105

1

............. _ ..."... _1-.... .... _ _ ._._•

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2 ~----------------------~ It's lime for some straight talk about Number Ones and lumber Twos. h' lime somebody separated the fa cts about the kind of person you are from the malarky No.2 uses to describe you. And it's time someone passed on the facts to everyone ooncemed.

In 1963 No.2 firsl made its competi. tive challenge to Hertz. Now nobody's knock· ingcompetition. It keeps US all our toes, pushes us to greater aooomplishments and rna beeven brings out some new ideas and better wa ys of doing things.So up till now the Avis cam paign, aggressive as it is, has gone unanswered. But it's reached the point where Avis has abused the privilege of being the underdog. We ca n't ignore the challenge any longer.

The Avis campaign is based on in;:innations, smears. and slurs. In short, telling ~'erythingexcept the facts. ~'halthe~'\"ebeen saying has confused the public and gi\'en ~'ou

For years, Avis has been telling you Hertz is No.1.

Now we're going to tell you why.

a bad rq,utation. We'vehad enough and .....e·re about to say so. 10twilh insinuations but with the facts. Straight, honest facts.

But before we go into that, let's take a close look at the Avis insinuations. Here'swhat the Avis ads and TV commercials have been implying about you: 1. ThaI you give your customers the shortend,2. TIlat you don't care what happcns 10 your customers, 3. That you won't go out of your way 10 be helpful, 4. ThaI you're sloppy, 5. That you're careless, 6. That you're not nice.

1. That you're a phony.

That 's the way No.2 has been describing you and us 10 the public for the past three years or so. How do we feel about all this?

Confident. Confident that all those things Avis is implying about you are false. ConfideJlIlhat we can clear up the confusion. And confident that you won', have to take any more from

that will put the confusion over No. l/No. 2 back into the right perspecti,'e. We've gotten togetherall thefacts lhat teJlthestoryhonestly and we've built a brand neWO'1ldvert~s ing cam· paign around them.

On the next page you'll find the first ad thai kiclcs off »ur new o. 1 campaign. It's got all the facts and sets the standard for the ads that will follow. You can read it now, but don't worry if you can't remember it all. By the lime we're through running it you'll know it by heart. And so will your customers, your new customers and all the No. 2'&.

We've also made a handy pocket-sized folder out of the first ad so you can pass it out to yOW' customers and carry it around with )00 to remind any No.2 of his (or her) place.

. (

He who goes around picking on bigger guy eventually gets hurt.

106

No.2. Their story can't stand up to facts.

We're going to set things st raight in the strongest possible way. With facts. Facts

3

INSTITUTIONAL BROCHURE The New York Times

John R. Rieben , art director/ designer Walburn Newcomet, copywriter Robert Prokop, photographer N . W Ayer & Sons, agency Container Corporation of America, client 2

Mike Tesch , art director/ designer Steve Smith , copywriter Mike Cuesta, photographer Carl Ally, Inc. , agency Hertz Corporation, client 3 Richard Nava, art director/ designer Paul Davis/ Cliff Condak/ Robert Andrew Parker/ Arno Sternglass/ Saul Lambert!

Philip Hays / James McMullan/ Jerome Martin/ Teresa Woodward , illustrators Joseph Reynold s, photographer Delehanty, Kurnit & Geller, agency Westinghouse Broadcasting Co. , client

lew York

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107

1

Reader's Dip puts extra weigbt

~oct~B Crunch.

108

2

INSTITUTIONAL BROCHURE

The Pacific Will Surprise Your Senses

Louis Portuesi , art director! designer Ronald Schiff, copywriter Sandy Hoffman , illustrator Reader's Digest, client 2

Gene Despard! Bob Dion, art directors Mike Jolivette, copywriter Gol1in & Bright, Inc. , designer Charles White III, illustrator Peter Samerjan , photographer Needham , Harper & Steers! West, agency Continental Airlines, client

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109

1

capture the thrill of learning?

Surely Its capture I,critlcal for without It one never reatly lives. The Ihrill of learning knows no bounds or age; it knows no subJect or priority of Importance. It knows only Itself.

Wlthout i! man is capable of the mundane and routine j with It the Impossible and the sublime come wllhln hIs reach. The unfolding of life for youngsters can bea beautiful thing.

Turningeachcornercanbflnge)llcltlng new roads to know and ponder, or It can

re ...ealanotherdeadend , Traglcallywe /ose many children before they have a fighting chance. The thrill of learning Is replaced by the fear of consequences and they grow protectlveshell5 that shield them from

f" Uureand unhappiness _ the heart:aches that come from their first faltering explofal!ons Into the unkrlown.

I woJk alone. I walk softly. and IUJpefuUy.

To ;on"e

the thrill of learning

Is an eternal purpose of education.

Great teachers Isnlte this spark and we become Immersed tn something because someone breathe5 vibrance and enthusiasm Into us.

This boo!(letaltemplS to capture children caught up In Ihe thrill of learning as lheybegln their long journey through our educational syslem. The school coutd be any kIndergarten Of S "headstart" program w!lere underprlvllegedyoungslersare brought together and Invlted to savor the

wonders of the world beyond . The pictures might be called an accumulation of moments In the day of a child _ moments

ofcurloslly, tun, sadness, wonder, confusion, anxiety. Taken asa whote, the batance must weigh In fayorof Inlellectualexcltement and curiosity. Anything less burdens subsequent learnIng and dulls the zest for living, and without zest there Is the monotonous rhythm of existence.

" Ellery true senlus has been a disciple before being a creator."

110

2

INSTITUTIONAL B ROCHURE

Murray Eisner, art director Richard Miller/ Peggy Miller, copywriters Norman Kohn, designer Vernon Merritt III, photographer Norman Kohn Studio, studio Westab, Inc., client

PRODUCT j S ERVICE B ROCHURE 2 Dick Kline, art director/ designer Tom Vobbagy, copywriter Dick Richards, photographer Doyle Dane Bernbach, agency Volkswagen, client

What kind of car is it?

Club car

Second car

111

1

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112

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PRODUCT /SERVICE BROCHURE

2

James Miho, art director Dick Sullivan, copywriter George Tscherny, designer Sam ZaremberlIohn Naso/Robert Perron/ Albert Squillace/Stef Lein Wohl/George Tscherny/ John Miho, photographers Needham, Harper & Steers, agency Champion Papers, client 2

Larry Klein , art director Ralph Andreas, writer Giulio Cittato / Larry Klein, designers Jon Pownall, photographer Larry Klein & Associates, agency Picker Nuclear, client

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113

arryHouchnl , "the man who could walkthrouan walls," WIS born EtviCh Weiss In Appleton, Wrsconsrn In 1874 Son of. scholarly Huna.flanr.bbl , he was. phenomenally Sirone and Imlglr'lltl'l't! child AI rune he I,uaht hltl"lSelf 10 PICk up pins wIth htseyelidswhdenana'rllupside-down .. from.lrapezer The applause mI<M an indelible ImptesslOO.nddelermined htsdestiny AI 16 he look lhe name of his Idol, lhe areal French magrcl.n, Roberl-Houchn "126 he conqueredEuropeAl31.ndforlhenexttwo dec.Jdes he reigned as lhegrealesl escape art,st theworkt has ever 5een, What lay behind Ihis frery Irltleman's genius? Hrs portraits grve. clue look at Ihosehauntmg,hYOrlOllCeye5 Could this be an ordinary mortal?

ButHoudlnIWMaenutneIYllfted,loo-

• perfectionist who truly maslered hlsdiffl· cult.nddinaerous.rt He was .Iso. publicist wrthout peer. He knew hOw 10 make the headlines, even If he had lOMite lhem himself Most of .U, he built his W't'de career MOUnd the dream of e'o'erYmcxSernman-ecape Nothrnacould t'OId Houdini He: escaped from dungeons. str'lt' Jackets, h.ndcuffs, chains, sealedcofflns. \Iflder'Nater sr...es. rlvetedbcMlefS evenlromagallows Strangely,lor. manwhomesmenzed mil· liOns, HoudIni waged a relentless crusade aplnslfraud Es.pec"lIy psyche phenomena And mediumS When In 1922 SciMtltlC AmerICMI maeaztne offered $2,500 to any medium who could plotle his occult powers, Houdini topped the ofter with

S5,OOOofhiSown ThiS led 10 the famous 'Maraery-"ca5e

MafaeryCt.ndon.IDNut,fuISOC.etymalron knownn"Tht-BlondeW,\chofBoslon," was

.materl.lillnamedlum Amonlolher tI''llnKS. she materialized. sech.JC1,ve shade c.lle<I "K.lle Kina, " who IIOfle<l l!'ItolM room _,th very Ilttl~on (he!' drtu~ trans..

PI(~t but shewasn'l) fNdea fewPHSreS.t thesomt'Whalshal<,.nl~ts.nd'lanlShed

Thlswastoomuchfortioodmi Hechal

tenled M.raerYlndconfronled her In. serlesofseances.llendedbywt\fW\5eS Alas. nospooMs.ppeared The EscapeKIn& had trtumphed agam But the sandali.red sp.rltuallsts 0' Boston MYH IQlpYe him Houdlnj died as melodramatICally as he had lived A young Canadian student CMne to his dreulng room one night and ~ed to test the master"s SleeHke abdomlf'\ll muscles Houdml,amngallhet.me.<tCQu1esced The boy unloosed a thunderboh to lhe stomactl be'Ofe Houd,nl coold brace him· self,Tendaysl.ter, al 52, lhemlnVrhOhad deheddealh.thousand tunes was dead Hose crowds attended the tuner.1 Many eventlng red lona.flerlheusk twas sealed and Iowefed Into the If .lYe

2

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••• • ••

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114

••••••••••••••

PRODUCT /SERVICE BROCHURE

Hal Josephs, art director William R. Henderson, copywriter Pushpin Studios, designer Seymour Chwast/ James MacMullan, illustrators Horn-Griner, photographers Henderson & Roll, Inc., agency Union Camp Corporation, client 2

Hal Josephs, art director Bill Henderson, copywriter Pushpin Studios, designer Seymour Chwast/ James MacMullan, illustrators Horn-Griner, photographers Henderson & Roll, Inc., agency Union Camp Papers, client

..

DARI NG DIVE !

This Wednesday, July 15 --I~ :30

P.

M .

8HARP-_

BATTERY, NEAR THE AQUARIUM

...... HARRy ......

HOUDINI Securely banC!cuffed and lei ironed will be placed In a beavy packlnl c .... whlcb will be nailed and roped. then encircled by ateel biOnd., firmly nailed.

Twn bundred palmd. of Iron welgbte ..1ll tben be lubell to Ibl. box cootainlng HOUDINI. The boll will tben be THROWN INTO TIlE RIVER. Houdini will undertake to releue b.lmaeUwbllat auhmertJed

under water.

The Most Marvelous Fut Ever AttenIpted in This or Any Other Aie.

Wednesday, Rain or Shine

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PRODUCT /SERVICE BROCHURE

William J. Lloyd, art director/designer Elbert Buden, photographer N. W Ayer & Sons, agency Container Corporation of America, client

CATALOG 2 Larry Klein, art director/designer Morton Shapiro, writer Larry Klein & Associates, agency IBID, Inc., client

117

1

· .118

CATALOG

2

1 George Lois, art director/ designer Carl Fischer, photographer Papert, Koenig, Lois, Inc., agency Zographs, client 2 George Rappaport, art director George Rappaport/ Lee Trice, copywriters Cal Bernstein, photographer George Rappaport Adv. Inc., agency Elisabeth Stewart Swimwear, client

t_¥I'.. ~

.

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119

THE NA'l'IONAL PROFESSIONAL FOOrBALL LEADUE

A new league alignment consisting ot tour separate dirt. 10M ulll:1er two cooterence., a.td II. brand-new team - - the New Orleans Saint. -- will brina: atirriJ::la change and specl&l. excitement to THE NATIONAL PROFBSSIONAL P'()(]mALL LEAGUE'S

1967-68 schedule .

Qoce again, the CBS Television Network will offer @%cluaive /

.

coverage of the NFL schedule, featurins the greatest teams and pl~r8,fn prof'e .. lonal tootball -- all the way trom. pre-Beason game. to poat-season tootbal.l classics.

The network will wo carry exclu8ively the Ne.t1onll. Football League-

American Football League World Ch8Jllplot'JBhlp "Super Bowl" on January 14 .

With the addition of the Sainte, the NFL'B 16th team, the league has been realigned into tour divislons, the Capitol am. Century Divisiona 1n the Eaatern

Conference am the Coutu and Central Divi8ions 1n the Western Conference .

The mellbera are:

Capitol Dividon -- Dall.as, New Orleans, PbUaddphia and Wubington Century Division -- Cleveland, New York, Pittsburgh and St. Louie " Coastal. Division -- Atlanta, Baltimore, Loa Angeles am. San P'ra.nciBco Central. Division -- Cb1caso, Detroit, Green Bay anI Kinnesota.

•

120

2

SALES PRESENTATION KIT

Mort Rubenstein/David November, art directors Paul Hanson, designer CBS Television Network, client 2

Max Rembold / Tom Kamifuji , art directors Nort O'Mera, copywriter Tom Kamifuji, designer Tony Naganuma, illustrator M. Halberstadt, photographer J. Walter Thompson Co., agency Kraft, client

,.,

Friendly, courteous sales personnel

I=--~I

." I 78' I ." I

MANUFACTURER PERFORMANCE RATING

, o

,•

Progressiveness

Coupons ~~~.nce

751

I

720

e42

MANUFACTURER PERFORMANCE RATING

I 703

,=~.nc;.

85.1

1

874

I

82 _3

I

121

1

A gala salute

to the sidewalks of New York

HIONOIlAkYCHAlftIIlAI't

MAYOR JOHN V. LINDSAY

"Color Them Green" I"ItI()()U(:m) liT

PRODUCnON SUP'&RVlM)ft

.otN1 C DaIQN

BOB S HANKS

JACK SUMROY

TOM TRIMBLE

NEW YORK CITY DEPARTMENT OF SANITATION BAND JOHN CELEBRE. OOHDUCTOO ARMED SER~OWR GUARD NEW YORK CITY FIRE DEPARTMENT

a><:><A, . . . . .

MRS. ANNA ROSENBERG HOFFMAN MRS. ALBERT D. LASKER THOMAS P. F. HOVI NG JOHN S. PALMER SPECIAL THANKS FROM "CO LOR THEM GREEN" COMMITTEE TO : HON THONAIII, P HOYlNO HOH HOWARDR.L&ARV

HON ROBItltTO I..O'W'ERY HOff WIu.JAM C WATT18QIN HON XlIIIItPHF NRIOONI Nl8IIHVBJU.YJIIIOIB£IIl11I

HONUYMOU1tSIllCOaL

HONORABLE JOHN S. PALMER CONM.t8IJIOIofU. tlCl'AJtTMJtMT 01 PUaLIC 1I:VDrn

MA YOR'S HONOR ROLL ACrOR"Sf;qUrTT

1llA8TU 00 CUI.&WONntI

MERYGRIFFIN

ALBIUff . ,.ARYlA8K&RFOUNtM'tlIC)tt

~ " 'l'MKM:UV OR!mN 'MOW

GILBERT PRICE STILLER" MEARA CABCALWWAY

NCW YORK axmJRI'! BUSt"

CIOUJotCIL

WltCPRODUCnONS.INC. YOUTH CUIW INC .• D I VUUOH

FALL FASHION SHOW FROM NEW YORK THE FASHION CITY

KITTl E CAMPBELL, COMM CNT""" ALLEN" ROSS I FWRENCE HENDERSON

MRS. ANNA ROSENBERG HOFFMAN ADORJI!M AND HONORcrTATIOHI

HONORABLE THOMAS P. F. HOVING KILLER JOE PIRO AND HIS DANCE GROUP

JI'IItOCRAMI.W-8IGH

PA PERT, KOENIG, LCIIS . INC. Pl..OMALo.ooR

"A1VARY . ~

CHRJBTATOS I; KOSTER TH E FLORENTINE CRAFTSMAN

The sidewalks of New York. Color them green.

2

Architects are becoming increasingly involved with the rrovement, shaping and characteristics of earth.

Marginal lands are coming into use. Earth masses are being reshaped to accomodate building designs.

There is growing attention to underground construction.

All of these increase the professionals' need to know about earth. And that's why it IS the theme topic of the April issue of Progressive Architecture.

Four theme issues will be published in the next twelve rronths (see below). The April "Earth" issue is the first of these.

We know architects can't afford to miss reading it Neither can ~ afford to miss advertising in it.

Theme Issues.

1 7 Starch ISSUes. April, 1967 Earth.

January.

May, 1967 Houses and HouSing.

Apnl.

Octcber, 1967 Building Products.

July.

January, 1968 Design Awards.

Octcber.

3

122

Earth.

4

FOLDERS AND ANNOUNCEMENTS

Joseph Schindelman, art director/ designer/ illustrator Papert, Koenig, Lois, Inc., agency Salute to the Seasons Fund, client 2

Al Beckerman, art director/ designer Bob Colwell, copywriter Ries Cappiello Colwell, Inc., agency Progressive Architecture Magazine, client

••

..

•• .Rota

••

Yap . .

Palau

5

Majuro· Ponape

3 Richard N ava, art director/designer Bob Malmud, copywriter Delehanty, Kurnit & Geller, agency Talon, Inc., client

4 Bob Dion, art director Mike Jolivette, copywriter Nicolas Sidjakov, designer/illustrator Needham, Harper & Steers/West, agency Continental Airlines, client

1 inch equals 100 miles

5 Alfred W Zerries, art director/ designer Robert Rones, copywriter Gary Winogrand, photographer Doyle Dane Bernbach, agency Mobil Oil Corporation, client

Could be some of tl1of;e cu>lomefs """"" ~y. a.beoomeoitnemar lust ng 'hrouglt Bulk<> man) them are dmppooo otf 10"" hes. On !Ileroad, wants

keep)<)Or CtJStctners caning

back And were <bOO.1 b)' '''''''00 th"m how to,tayal ...

W.th each ot OV' ads, we're ItlII no e<85m 11<>0 readers 01 L Ie, Li,XJkand The SaIJrdal E""" ng E'Qst 10 fll(e tile cOld i !,of!:ffta cted.thonthPmaCJ Nr!r.eachofoufOO lIte'relel'ulQ

SO'" ~ "eNSOaOe< , _ arovnd f C(lvl1J:ryho .... tna ..?dMd'ng,'p.na .... ~COJ1lV'l UI"'.oEW'obl·'.;y~

A'ldwher1pi?C 'par CClf')rCof'nedaooot rc;.,'Jf'" fe~(r!"1f:road.wecan "saf w·.. ·, r\iIlfh.:.'f' l>ng:.1\t, a .+~ I -Aed:~ t the ( ..... ,,'(to 'Y' m '«'-a • ~ b-.tl'\'tQfC dJO ;Jt'E..,£),.ff': '..n '''sarp ",ng

This is the reason why over 50,000 customers don't come back every year.

We at Mobil want to help keep them alive today so they can come back for gas and oil tomorrow.

123

FrldaY, January13

Saturday. January 14

Sunda y. January15

Tradm'la.rk symbolK7 of the: tnvntigating activities of tbe 1l7-year-old dnmive agency. This matk is credued with beln, tbe original5OUrce of the phn.se "private eye."

This fanmy of the human eye was one of the earliest paintinSS of the Belgian surrealist Rc-n~ Magritte. Emitled """The False Mirror," it is in the coUccrion of 1he MUJeUm of Modern An_

A 16th Century Frmch enpvina of a Cyclops, • mythical n.ce of ()Q,e-cred ,imts who a ptl1ftd and ImptisoMd Ulyues dunng his journey. as reportrd in Homer's 0cfysIey

Witb a paintrd eye embedded in rransparent pluc:ic. this fisherman's lure is UKd to catch the: larger types of tIOUt and salmon. Whm drawn throup tbe .... ter the kathen Itni&htetl OUt and mtsa, crntin, an illusion of a .... immins minnow,

The decoration on the tOWetof theTemple of Bodnath in Nepal represents tbeeyesof the: Buddha._

Like various religious 8rouPS throughout histOlJ, the Amcnan Shaken in the: early 19th Century incorporated the AII-S«in, Eye in many of d\C1f Inspir.tionaJ drawings. This cu.mplc shows the eye as a symbol of divine watchfulness, flanked by spinNAI son& birds.

The: "divine and maSk- eye surmountin8 a 13-Jtep pyramid appeus oa the: obvene of the Great Seal of the United States, adopted in 1782. The pyramid rq»aaus the: thineeo ori8inal cdonia. hismostcommon.lYKmoarbebad:oflbeOO«fo1b.rbilt

The Eye of Horus, an £gypcian deity (c. :woo Be) who 10M his sight and later regaiMd it, is one oItheeaJ'liestmediaJ.ymbols_ lts-R"wpega~rlseco the:modc:rn """ I)'mbol fcwdruS pteJCtiptions. ~.tands for the Latin word which means "rake:' 1'he detail shown is from a paineina OIl a wooden mummy cue in the EsJ"ptian Museum in Cairo.

Ih.is is (he CBS Tt-ieYision NttWork."

124

,.ci,.,

2

BOOKS

Mort Rubenstein / David November, art directors/ designers Robert Strunsky, copywriter CBS Television Network, client

ROCHE

'PRJl\lER

2 Carmyn Farese, art director/ designer Larry Schaffel , copywriter Ramon Ameijide, illustrator Marsteller, Inc., agency Hoffman-La Roche Inc., client

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DECEMBER 1966 M T W T F Lister'; Con,b, Strombus li...teri T. Gray, from 'the Indian Ocetm.

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Buccina In 1681 Buonnan; referred to any large nUITinemaii as a Buccina, a term first 1Med by Arinotle [384-322 B.C.1. The Ro'!1l41lS used tbis word for "mmzpet", probably buause the Jarge rbells were med as horm by Ibe Ancients. Linnae:us, tbe Swedisb naturalist:, illlroduced tbe scientific generic Mme Buccinum ill 17S8.

Figure '93 from BIlOllllwi is tbe Mediterranean Frog Shell, R.nell. olearium LinnaetlS, which also occurs ill llonbwest Eftrope, South Africa, Australia <& New Zealand. FOT years this shell was mown as Apollon gigaoceo Lamarck.

Figure 194 depicts tbe Sacred Chlmk of India, Xancus lor TurbinellaJ pyrum Linnacw.

Note that tbe sbe/ls in tbese woodcuts ate "backwards". If 'Jou bold tbe -page to a 11Iirror, you will see bO'W tbe onginalilrawing appe:red before it was rendered in wood for priming.

126

2

BOOKS

F. H. Roberts, art director/ designer Dr. Tucker Abbott/C. E. Parker, copywriters Academy Natural Sciences, illustrations Shell Oil Company, client 2 Mort Rubenstein / David November, art directors/ designers Ronald Ribman, copywriter Bob Willoughby, photographer CBS Television Network, client

T he Cdm~1I mo"es upu:ard ahot'e Oily Iin/iit he tiJ!w con/ains Ihe dellring d.nJ. OU, in sh, muM/, su ,.,ound~d byth, de"". Oily stands with his am» oll//rom his side; his firms iet'~ lind f1imlessly mot.', lIS i/lrying 10 pllih the sc:en' 4WII,. All the words he cannat seem to find lie in Ihe IPllllic movemenJs 0/ his bod,.

Fllllhbad 10 II IChool playgrOlmJ. OIly, a small boy, u s"rrOllnded by 0/ ,ollng hOYJ. Some o/ th,m pllsh him from Ihe bac/e which· ever U,!lIY he Ilirns. Olhers throw pebbl'I lind puc:ts 0/ Itic/t at him.

0,,6 o/,h~ boys gO~I into the unler o/the clrel, nul begiN pllshmg all, in Ihe chesl. He pllshes and push,s, but Olly won', fighl. Th, boy rellirns 10 the edgt! o/Ihe circle, bId Ihe resl u'On'l lei him retllrn. The, insisl h, fighl u'llh Oily. They begin 10 c:hllnl: II group

Oily is a mama's boy.

OIly is afraid to fight.

They ,hzmtlhlS over lind oter. A boy hils OLly In the /llce. OIlY/lll1s 10 Ihe ground. He lies Ihere a mo",en'. The chantwg SlOpS. They are

u'lliltng 10 see whal Oily does. Oily reaches 0111 and grllbs II Slone. He Iu'mgI Ihe Slone u,tldly Imd hIlS tu'o or 'hreeo/the boys. The reSI run.

Jungleclellrilfg. Thecamerll J iewusIJII/rofltllbot'e. The view mor;es in riOI' on OlLy's /tlte. As he begwf 10 U 'ilt~ tJully,he seene lades 011.1.

CHIEF ELDER: She has suffered much misfortuIlC'. It is a bad thin8 to have

no parencs and no husband.

Olly/ooks '1l1izziClllly 11/ him. Toe Elders sla"IO lelll t.

Wcwill sec what the soldlO' wishes to ~donc.

The Eldns he"" IQWII1'J Ihe u,'lIIer/tllI. Oily wlllches 4.J lhe, Itt/it. 10 the V,tleo"g soldier. The soldier cO,l/i"".s 10 111 Ilk. (I Buddha JliI,mg JlrlUghlllheaJ. Oily 111",1 10 look ~ the girl who JlllnJs II/ew /etllrom him, bn e}eJ fixed lipan the Jlir/tlce o/tlu waler. She hltJ some jIowNI i,. M Iu"•. 011,'1 IHNI, heltltlnl/y III {wll, ,eitchts 0111 slowly 10 IOllch thejlowers.

OLLY: This is. bell of a bathtub ...

She does nol mule Ilmi the Jlml, gOtl from hiJ Ittce. H. IONCh.1 flown.

,b.

1bercare no Rowers like this in America .

Oily CliPS her /iI(I In hiJ Jum4s lind IIIIS her heAd. TO Bowers like this. Oh lady. If t~re wc~ JUSt a (iule world for you

and me, I would plane Rowcrs all over my yard, keep the 5un in my hou~allday.

The,ir/ /ou'ers here,cs. The se",e /lIIieJ ONI. 01l,"n4 Ih~ Chief uler II hut ""d con/rontlh, Vlef(ong prisoner.

OllY: TotheChi~/ Ask him what hisd«:istoo is.

CHIEF ELDER: I" VIt/'lItm~st! You have hc3rd (he choices gIVco to you by (~ A~rican. What IS it you wish me co tell him?

VIETCONG SOLDIER: In VJ~t"lImes, I am a prisoner of war.

CHIEP ELDER; To Oily He says that

mas. pnsonero( war.

SOLDIER: In Vte/ftam~s, Why docs he give me choices? Why docs he not

shoot me IS the Americans shoal other prisoners of war?

CHIEF ELD[R: He asks why you have made him choices. Why you do not

shoot him as Americans shoot: Other pnsoners of war.

OLL v: Amc(tcaos do not shoot prisone:rs of war.

127

The Wnt,npouSit W~* Prov,ne. Dfl*t_1 is'ntNbu"AHloIde¥elop.... des'I'\I"C.ptO(IUe' .... ...cI....nth.. tQU'''"''nl.ehenltc:.lproduets, IYSI-.MdWV>e"wt"e"lIIn,l~ty.II.I ....

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128

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BOOKS

2

Tony Smith. a rt director A shby Sta rr, copywriter Va nce Jonson , designer Nicol as Sidjakov, illustrator Va nce Jonson / Jack Allen , photographers Ketchum , McCloud & Grove, agency W estin g house. client

Revised & Expanded

.the .

2

A-mer1':'can I.

Harris Lewine, a rt director Al a n Peckolick , des igner Herb Luba lin Inc. , a gency Holt Rineh a rt Winston , client

Po-Iit'i-cal Dic'tion-a-IY

3 H a rris Lewine, a rt director Vincent Ceci , designer Holt Rineh a rt a nd Winston , Inc ., client

4 Harris Lewine, art director Herb Lubalin / Fran Elfenbein , designers Fran Elfenbein , lettering Herb Lubalin Inc ., agency Macmill a n , client

Jack C.Plano

Mi~lton Greenberg

4

3

Management and Machiavelli

era t e ~

and erate. ment Ur dent hl.vt

later

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Edward Wakin and Father Joseph F. Scheuer

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An Inquiry Into the Politics of Corporate Life

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THE DE·ROMANIZATION OFTHE AMERICAN CATHOLIC CHURCH

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A SIGNET CLASSIC

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SEX:

Sally Cunneen

130

5

BOOKS 1

Jim Sayler, art director Seymour Chwast, designer/illustrator Push Pin Studios, studio Funk & Wagnalls Publishers, client 2 Bill Gregory, art director Milton Glaser, designer/illustrator Push Pin Studios, studio New American Library Publishers, client

3 Harris Lewine, art director Herb Lubalin/ Alan Peckolick, designers Bonder & Carnase, lettering Herb Lubalin Inc" agency Holt Rinehart Winston, client

EDITORIAL

4 Dugald Stermer, art director/designer Stephen Osborne, illustrator Ramparts Magazine, client

5

f? III' K-us I'"" 'IteM. ., tbt tIInr

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at.

aft

.n acitmg new cookbooIt-Wior,. MNis WaY Me.1s (Thoowo y- CowdJ Compmy, ~_9» _ Moudo ();dUn. 101\ the author, hu coIkaed in thiJ mWl book aU the memo",, ' and fl..von of her chadbood on • K.NM fum .•. ra:ipa £or the IUD\pc:uCIW bur aimpk fare cooked

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wgetabLe diIha from the chapter tided "Soup. Salads ond V'll""bI.o." wNch Wo indud<o ouch Io,,&-r _ nears u "Cum,. Milk. Tout," danddion wine and .... afm eta. Scatttmi among the recipes an: mchantins mninl.ancn of the author'. childhood in Kansu-JO

tee Cram Suppcn," "Pcddkn and SilYCl' SpooN." A <OOI<book fo< nayon< who =~bm, '" ....bon • no«aIgicyamingfor, thewuundfngrancesof.belowd mother'. or ~. kitchen back in the days when meals 'W1t' mWs. Se\ectlcd recipn begin on page 88.

Herb Blieweiss, art director Neil Costa, designer Dick Richards, photographer Ladies Home Journal, client

6 Alvin Grossman, art director Cal Bernstein, photographer Venture Magazine, client

6 Two _"kend de.t.nalton. '" "", I••tM : from Tok,o_Japan " .obcfnfandS. . .t •• (Ihowft Mr.).nd ftom LondO/\, Ca.tte Combe In Engl.nd'.h.. lorlc.WMUt"t.'COftt).

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EDITORIAL

AlIen Hurlburt, art director Willi am Hopkins, designer Paul Fusco, photographer Cowles Communications, Inc ., publisher Look Magazine, client 2 William Cadge, art director Len Fury, designer Phil Marco, photographer Redbook Magazine, client

---_ ---_._-,._---._-.-L. ---.....

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tell 'em, Hubert~' "I have known

for 16 years his courage,

his wisdom, his tact, his persuasion, his judgment, and his leadership!'

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134

3

EDITORIAL

1 George Lois, art director / copywriter/ designer Carl Fischer, photographer Papert, Koenig, Lois, Inc., agency Esquire Magazine, client 2 Herb Bleiweiss,lBruce Danbrot, art directors Bruce Danbrot, designer Elbert Budin, photographer Ladies Home Journal, client 3 Allen F. Hurlburt, art director/designer Irving Penn, photographer Cowles Communications, Inc., publisher Look Magazine, client

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136

EDITORIAL

·__···,,--AM9PVl K®

Herb Bleiweiss, art director Neil Costa, designer Ben Somoroff, photographer Ladies Home Journal , client 2 Dick Coyne, art director/ designer Peter James Samerjan, photographer CA Magazine, client

3 Raymond A. Schulze, art director/ designer Richard Noble, photographer Beauty Fashion Magazine, client

-

4 Herb Lubalin, art director/ designer John Jacobs, writer Jay Maisel / Ernst Haas / Art Kane / Carl Fischer/ Steve Schapiro / John Vachon / James P. Blair/ Julian Wasser/ Bruce Davidson / Archie Lieberman/ Marvin Newman / National Aeronautics and Space Adm. , photographers Herb Lubalin Inc., agency America Illustrated, client

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1

2 Af toda y's lumpik espeeds, your lire depends on yo ur eyesighl. Can you p ...ss .. few simple tests for yo ur own s.dety1 Good eyesight has illways beton ne<:es$.lrY for the safeoperalion o(an aulomob.le, but with the t'ligh speeds of loday's drlvmg and the continu ing growlh of superhighways it has be<ome even more important to be sure of your vision. Can you ,cally see well enough to drive safely Of ilre you one of the m<llnydrivers whose VI SIon is below normall In thisarliclc area'ew tests lnat you un give yourself to gel an answer 10 this important question Although they can give you an indicatIon of trouble you

YOUR D'[~ AND YOUR 4lJTO

138

may nOI be aware of, they are, of course, nOllhe Silme as having your eyes examined by an oculist. Some eye di(ficultiesare h.ud to discover and lhere is no 5ubslrlule fora professional examination.

The most obvious need fOr driving is 10 have normal dislance vision. A. simple test for this IS to pUI this page 20 feet away from you and see if you can dearly set! the headline of this article. Firsttryil wllh e ach eye separately, before you try it with both eyes together Don't close one eye in this lest, because that tends 10 make the other eye squint a lillie which is nol iii normal, relaxedcondllion. leavebolh eyes open and covereac" one in lurn with your hand . If you have normal, or 20120 vision, the headline should be clear with elthereye ilOd certainly with both.

The lerm 20/20 merely means Ihat you can see al 20 feet what you should see at thai distance Uyouneed to get closer to Ihe letters than 20 feel,Ai" order 10 see them clearly, then your disl",nce Vision is nol norm",[ If you Cliln only see the leiters cle",rly when they are 10 feet away,lhenyou have the equivalent of 20/ 40 vision which means th at you see at 20 feet what you should see al 40, or in other words, you have to be twice as dose than if yOUf vision were normal. Similarly 20/s0, 20170, 20/100, etc. mean lhal what can normally be seen OIl 50, 70 or 100 feet, can only be seen cleady at 20 feet lei's look at what this does fOr driving when the driver has, say, 20/70 vision . He will have to walt until he is 20leet away from an obJecl to see It dearly, when normal eyeSight ~ould sec it at 70 feet . Obviously, thlscan makea vital difference and a person wilh below normal vision should cellainly drive more slowly However, 20/40 vision is not considered 10 be really bad You can get a driver's license in most stales

~~t~s!'~n~i~:~~ue::;a;fg:~:~,I~~ ~~r::~n~:nVi~!n~~~ again and see whelher your glasses correcl yoL.l 1020/20. lflheydon 'l, it Indlcales Ihalyou probablyoeeclstronger ones. About a third of the siaies will give licenses wllh only 20/70 vision, which can be dangerous fOr such a driver at high speeds.

What makes the problem of poor vision in drivers more serious is that more Ihan a quarter of all drivers gal their licenses before an official lest was required. And most states do not call for an examination when licenses are renewed, except in some cases when the driver is over 65 years old. This is usuallYiJfler Ihere hils becn an accident. So wilh the milH005 of cars thatareon the road today there are probably hundreds of Ihousands of drivers who really do not see adequately, At the same tim.. they are being encouraged, if not forced by minimL.lm-speed highways, todrivefasterandfaster.

Even theoffidal eye examination for a license does nOI HO filt enough. II doei 1101 , for ekample, test for depth perception or Ihe ability 10 judge dimnces. This can be alillostaslml>ortaniindrivingassee/ngclearlylnihefirst place. To judge dislances properly, both eyes§hould not only work, but work together as a team. If one eye is stronger than the other, lhe teamwork suffers To test this, foilee a light surface antt hold your index fingers aboul a fool in fronl of your eyes. Hold your fingers sidewilYi so that theypolOl ill each other. VVhileyou focus your eyes on the background as if you were looking at something atadistance, bringyourfingerstogelherL.lnUllhctipsare a half inch apart. Do not look al your fingers, but keep your eyes focused at the background. What you should see isa sma It oval shape, where Ihe lWO fingertips seem to overlap, with a space al each end. If Ihis shape is blurred or does not appear at all, Ihen your eyes are not working togelher A defect in this teamwork is usually the result of one weaker eye. This can often be corrected with glasses or exercise. II Isimportal1l to correct ii, because of eye-

strain to the stronger eye. Also, there is a strain on the weaker eye in trying to make it wo rk, which can cause the brain to If''> ' that eye by shulWi8 off j~ viSion enlirely When this happens, you are nllt aware of it, but most of your ability to Judge distilnce is gone. To some e'xlent, if thiS happens (airlyoften, the stronger eye can compensate ilndhoilvesomedeplh percept ion, but it is stili hmited.

If you wanllO check this ability of one eye to judge distances, you can close one eye and with the other see if you can louch a small spot thai is about an arm's length away With the lip of your finger. If you miss Ihe spot more times Ihan you score a bull's-eye, your abililY to compensdte for depth with one eye is not good.

Besides thisdistoilncevlslon, iI is important 10haYe good close Vision. Usually people know if their close vision is bad because they nave d iffieulty readlO& espeCially fme prinl . No rmal visIon means that yoo can read this page clearly at a normal ,e",ding d,stance of between 12 10 15 [,lches. If you can do this with no 51roilining or squinting then you probably can see the'tlashboard of your arwith no trouble.

An eye trouble that occurs as we get older, usuillly 45 years or more, isa certain loss of elasticity of the lens.

The result of thiS is thai It becomes more and more difficult 10 mift focus back and forth from near to distant ob,e<:ts. IndrivlOg, the eye Is constantly shlfling from the road 10 thedashboard;lOd back agilin. For example, you may be ablc to see a sign clearly at '" hundred y,uds, but then fmd the dashboard is blurred when you mat your eyes 10 it In reading you tftayalso find that you are holdIOgan~spapernearerorfarlherawayth.anyouusedto.

A. cOl'nlnon complaint of middle age is that one's arms are 100 short 10 hold the paper at reading distance. The answer to this complamt is an eye examinaiion. Glasses can usuallycorrecllhls Hyou already wear gl",sses, then the answer can be bifocal or even trifocal glOlSses. The change 10 bifocal glasses coiln reqUire a week or two to gel used to Ihem, but it is ~orth IL It is easy 10 tesl for 11'1 15_ Just hold this page about a foot and a h",lf away and see whether you can read it when you shift your eyes rapidly back and forth from the page to a distant object, iii you would In your car from the road 10 Ihe Instrument panel.

Side vision is anolher faclor in safe eyesight for dnvlng thoill is not included In an official test. A good percenlage of sideswipe accidents have been traced to poor side VIsion. To tesl yourself in this, hold a small piece of paper to each hand. Then hold your ",rms at shoulder height , slralghl out, but as far back as you ca.n get them Now as you are looking siraight aheoild, bring your arms slowly forward..tOtil you can distinguish both pieces of paper out of the corner of your eyes. With normal side vision you should be able to see the papers when your arms are Just about straight out to eoilch side This means a lotill field of VIsion of nearly 160 degrees.

If you have to bring your arms much further forwud, then your side viSjon Is nOI good. In fact, if you have to bnnSlhe pieces of paper more than one foot forward from the 160 degree positIon, your limited side vision i~ an aClual driving haz'lId This condition cannot be corrected wllh glasses, so Ihe best you Coiln do is to know about it Then when you drive, you an make", habit of glancing from sIde 10 side and be aware of any possible dangers from Ihese directions.

Some people suffer from astigmatism whIch comes

~~~~1:;1~8/;~ ~:;~~I:~~YS:»II~:v~O;~t~:::t~~; ~elt ~~

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;::;:; e~e in correcting for it, and after a long day's drive ",I high speed the eye strain can slow down your reactions.

If you gel headaches or your eyes feel especially tired after a long drive, it wou~d be wise 10 have your eyes checked Fortunately, aSllgmatism is correctable with glasses.

The only other major factor in eyesight for safe dfivlOg is night vision. The eye has two types of vision elements, rods and cones. One is primarily for daylight vision and also gives us Ihe abi lity to see colors; the other is for distinguishing lightness and darkness and is what we mainly rely on for mghl vision. So il is perfectly pos-

•

EDITORIAL

Samuel N. Antupit, art director Herb Lubalin, designer Rick Schreiter, illustrator Herb Lubalin Inc., agency Esquire, client

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140

PAINTINGS AND CONST~UCTIONS BY PAUl DAVIS

3

ILLUSTRATION '1 Quarterback ed the Lions' : A Gutty Fan's Story

Robert L. Steinle , a rt director / copywriter Detlef H all e rb ach , copywriter/ des igner Adverti sing Des igne rs, Inc., age ncy Seaboard Fin a nce Company , client

25 Million

2 All en F. Hurlburt , a rt director/ designer Pa ul Davis, illustrator Cowl es Communications, Inc. , publi sher Look Magazine, client

3 Bill Baker, a rt director Ronald R ae, des igner/ illustra tor Detroit M agazine , cli ent 4 Peter Mock , a rt director Mari-Jo Neol a, copywriter Tom Kamifuji , designer Tony Naga num a, illustra tor Mari a n McBride , production ma nager Hoefer Dieterich & Brown , Inc., agency Philco-Ford , client

4 I pHILCO.

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IChip ~nll. 8.K: I, typicIlty I05OC/ W. 2. PET TO-S', Imblent power dltsipllion It Iypk:.Uy gr"'", tNn 4SO mW. 6.H: I, ryp6cally 100000/ W. 3. PET package. h..... r.liablhty lactor, equilio or Ixc. .chng thl' 01 metal can • . 4. PET', Ire Immedlltety 1.... 111bIti in If,~ YOIume production qUlnllttet. 5. PET'. h..... II .peela' dHp-wln Inllr1oc:k con'lNC:lion thet In,ure, herfMtc:ity end .w68bIlIty, 8, PET

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141

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The 10th Annual Exhibition of Southwestern Advertising Art. sPOnsored by the Dallas-Fort Worth Art Directors Club is In full swing. The deadline for entries is March 10th. The showdown (some call it judgmg) -- will take place the 16th. J7th, and 18th of March. Our hanging judges are, NEIL BOYLE - lliustrator - McCalls.

Ladies Home Journal, Argosy. Etc; KEN PARKHURST - Corporate Design

Consultant -" General Molors. Hughes Aircraft, Hunt Foods. £Ic; ART PAUL Art Director Playboy Magazine, In the progressive spirit of our club, this years awartls presentations is wild. wooly. and full of surprises. Businessmen of acclaim. on May 5th. will select the industrialists award at pre-show festivities, On thiS night we invite all out of town guests to attend a reception in their honor at the Inn of Six Flags. 7,30 P.M. The Inn of the Six Flags will have accomodations waiting for your convenience. Sat. May 6th IS the big day, so plan lobe atal! thegathenngs.

It starts With your entry Send them to Paul Finley, 2420 Butler St..

Dallas, Texas

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142

ILLUSTRATION

Allen F. Hurlburt, art director/ designer Paul Davis, illustrator Cowles Communications, Inc., publisher Look Magazine, client 2 Rob Lawton, art director/ copywriter/ designer Jack N. Unruh, illustrator Dallas-Ft. Worth Art Directors Club, client

3 Herb Lubalin, art director/ designer James Grashow, illustrator Herb Lubalin Inc., agency Fact, client

143

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144

4

ILLUSTRATION

Gary Andrews, art director Frank Haller, copywriter Jim Diegan / Gabe Difiore, designers/ illustrators Batten, Barton, Durstine & Osborn, Inc., agency Koppers Company, Inc. , client 2 Mike Eakin , art director/ designer Robert Faulkner, copywriter Bill Vuksanovich, illustrator Robert Vogele, Inc., agency The Ansul Company, client

3 Herb Bleiweiss, art director Bruce Danbrot, designer Andrew Wyeth, illtusrator Ladies Home Journal, client 4 Dorothy Melze, art director Kathleen Bonifield , copywriter Patricia Crone, designer Tony Eubanks, illustrator Neiman-Marcus, client

PHOTOGRAPHY 5 Donald Egensteiner, art director/ designer Frank Campion, copywriter Elbert Budin, photographer Young & Rubicam, Inc., agency Union Carbide, client

5

145

146

PHOTOGRAPHY

3

Allen F. Hurlburt, art director Verne Noll , designer Ernst Haas, photographer Cowles Communications, Inc., publisher Look Magazine, client 2 Donald Egensteiner, art director/ designer Frank Campion / Peter Griffith / Charles Blood / John Lentz, copywriters Art Beck / Art Kane / Elbert Budin, photographers Young & Rubicam , Inc. , agency Union Carbide, client

3 Bob Seidemann, art director/ designer/ photoghrapher Berkeley Bonaparte, client

4 Onofrio Paccione, art director/ designer / photographer Judy Blunenth al, writer Leber Katz Paccione, agency A. Stein & Compa ny, client

4

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147

1

The Watts Towers are a mooument ODe IDIIII bulll for olbers.

It took 33 yean aDd hardly ..,.1 a dime.

Sausalito is a town thai has houseboats and houses on stills on steep hills overlooking shops like an antique shop that sells nautical antiques and a leather shop that sells everything in leather and a boutique shop that sells not hing that 's nol way-out and a shop that used to bean old freight station and another that used to bean old ferryboat and a book shop that sells coffee and a resUiurant that has turtle races and balloon-blowing contests that's next door to a handcraft shop that sells buttons and braids that 's on the same strcct asa ba r that doesn 't have a name and an English p:..:~ ~pccia lizing in fish ali.h:..'iips that 's across the street from where the amateur sailors berth their sailboats in one of the five yacht harbors tha t's between a river boat that 's a discotheque and a French restaurant on the bay where they play Brazilian gui._~;,;;;;;j"'.""

while across lhe bay in Sa...... IO. people ealin 011 their bou.eboets aod look al resta....... ts.

2

148

3

PHOTOGRAPHY Victor Zurbel , art director/ designer Lou Linder/ Henry Miller, copywriters Robert Monroe, photographer Doyle Dane Bernbach, agency American Airlines, client 2 Allen F. Hurlburt, art director William Hopkins, designer Paul Fusco, photographer Cowles Communications, Inc., publisher Look Magazine, client

3 Sam Antupit, art director Richard Joseph, copywriter Pete Turner, photographer Esquire Magazine, client 4

4 Salvatore Lodico, art director/designer Richard Olmsted, copywriter George Elliot, photographer Young & Rubicam , Inc., agency Johnson and Johnson, client

5 Allen F . Hurlburt, art director/designer Paul Fusco, photographer Cowles Communications, Inc., publisher Look Magazine, client

5

149

~II

2

150

FILM TITLES 1 Lou Dorfsman / Herb Lubalin , art directors Herb Lubalin , designer/ director Neil Tardio, producer Sel Animation , prod. company Lou Marcus , animator Herb Lubalin Inc.! Young & Rubicam , agency Columbia Broadcasting System / Union Carbide, client 2 Jim Miho, art director Richard Sullivan, writer Morton Goldsholl, designer/ producer/ director Goldsholl & Associates, prod . company Tom Freese/ Morton Goldsholl ~ photographers Bill Langdon / Larry J aniak, animators Lee Marsh , executive producer Needham , Harper & Steers, Inc. , Chicago, agency Champion Papers, Inc. , client

MISCELLANEOUS 3 Onofrio Paccione, art director / designer/ photographer Sam Dana, writer Leber Katz Paccione, agency / client

151

1

2

152

MISCELLANEOUS

George Lois, art director/ designer Pat Daniels, copywriter Harold Krieger, photographer Henrietta Schilit, editor Papert, Koenig, Lois, Inc., agency Little Red School House, client 2

Bob Dion, art director Keith Bright/Norm Gollin, designers Charles Bucks/ Michael Jolivette, copywriters Charles E. White III, illustrator Needham, Harper & Steers, Inc., agency Continental Airlines, client 3 Leonard Blasko, art director/designer Robert L. Coburn, copywriter Malmquist & Wood, photographer Pitt Studios, studio Griswold-Eshleman Co., agency The Harshaw Chemical Co., client 4 Gips & Danne, art director Martin Donald, designer Walter Daran, photographer Time, Inc., client

4

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lll.-Sct-.1....... ur.o- ,.. .... ,_a..._~800r.c.o-

153

MISCELLANEOUS 2

Jerry Braude, art director/ copywriter / designer / ill ustrato Jerry Braude, client 2

Carl Seltzer, art director/ designer Carl Seltzer, client 3 Roy Schlemme, art director / copywriter / designer Milford Small , photographer Roy Schlemme, client

GOOD LUCK IN THE COMING YEAR!

154

ROY SCHLEMME

The

contemporary colors of new Strathmore Text.

White

Mist

Sauterne

The word from Strathmore is color. Rich, delicious color. Strathmore says it in brand-new Strathmore Text. Ten new colors and white, with an authentic felt surface and a subtle deckle edge.

Strathmore Text makes Strathmore's collection of paper colors, already the largest by far, even larger.

Now we offer 129 colors plus 16 whites. As well as the widest choice of the wildest textures.

Like all our papers, new Strathmore Text is made

with plenty of old-fashioned attention to detail and all the contemporary papermaking techniques. The way Strathmore's been doing for 75 years. And like all our papers, Strathmore Text works beautifully with a variety of printing methods.

It's our way of helping you keep pace with the colorful world of today.

IW IStrathmore Paper Company West Springfield, Massachusetts 01089.

New Strathmore Text is available in 80 lb. text and cover weights: the text in 23x35 and 25x38, the cover in 23x35 and 26x40. In addition, White and Mist come in 23x29 and 35x45, text weight, and 35x46, cover weight. Samples may be obtained from your Strathmore fine paper merchant.

Index to art directors and designers

A Albrecht, Don 59 Allison:JamesC. 91 Ammirati, Ralph 29,31,83,47, 52,56 Andrews, Gary 145 Antupit, Samuel N. 139, 149 Arnesen , Ri<;hard 87 Auditore, Sal 48, 60

Boston, Archie 95,99 Boston, Bradford 95,99 Brandwein, Bob 73 Braude, Jerry 154 Bri ght, Keith 69, 71, 109, 153 Bua, Chuck 27 Burns, Aaron 83,97 Byck, Lewis 69

B

c

Backer, Bill 79 Baker, Bill 141 Barkoff, Ira 41,75

Cadge, William 133 Cato, Robert 89,91 Ceci, Vincent 105, 129

Danne, Richard 103 Danza,Jo hn 23,31,51,62 Despard, Gene 109 Deutsch, Dave 23,29,35 Diegan, Jim 145 Difiore, Gabe 145 Di Iorio, Julio 27,8 1 Dione, Bob 91,109, 123,1 53 Dippel, George 43 Dispe nza, Emil 75 Donald, Martin 153 Dorfsman, Lou 57, 151 Dragoti , Stan 54, 55 Duskin, Ken 53, 57

E EDITOR'S NOTE: Every effort has been made to insure that credits accurately comply with the information supplied to us. We sincerely regret that inadvertently some names may have been misspelled or omitted. It is not practical for us to publish errata notes in a future issue. However, if we are notified of an error within thirty days, we will be able to issue corrected award certificates.

Baxter, Rick 77 Beaver, Allan 77 ,67 Becker, Ron 47 Beckerman, AI 75, 123 Bellamy, Gordon 49 Ben usa n, AI 43 Berg, John 81,89,91 Berman, Jerry 95 Bi a nchi , Ed 25, 35 Bl asko, Leonard 153 Bleiweiss, Herb 131 , 135, 137, 145 Blume, Howard 89 Bonder, Ronne 81

Chwast, Seymour 131 Cittato, Giulio 113 Collamer, Jerry 61 Costa, Neil 131, 137 Courtos, Tom 101 Covington, Hil 61 Coyne, Dick 137 Crone, Patricia 41, 145

D D'Amato, George 46 Danbrot, Bruce 135, 145

Eakin , Mike 145 genstei ner, Donald 31,55,64, 145, 147 Eisner, Murray 85, 111 Ifenbei n, Fran 129 Esch & Baker 91,95

F Farese, CarOlyn 125 Finegold , Rupert 91 Fisher, Jon 69, 75 Flint, Roger 68 Frank, Alan 4J Freeman, Robert 43 Fristachi, Frank 43,71, 77, 79 Fury, Len 133

G Gabor, Harvey 23, 29, 35 Gage, Bob 33 , 39, 67 Galterio, Silvio 25 Gargano, Amil 43 Gips & Danne 103 , 153 G isonde, Nick 77 (continued)

157

INDEX TO ART DIRECTORS AND DESIGNERS

Glaser, Milton 81,105,131 Goddard, Dennis 93 Goldsholl, Morton 57 ,1 50 Gollin, Norm 69,71,109,153 Gomes, George 29,65,66 Gorham, John 95 Grace, Roy 25,27 Gray, Barbara 95 Gregory, Bill 131 Grossman, Alvin 131

H Hallerbach, Detlef 105, 141 Hallowell, Wayne E. 91 Hanson, Paul 121 Harris, Bill 61 Harsh, Fred 91 Hinrichs, Kit 97 Hirsch, Peter 37,63 Hopkins, William 133,149 Horn / Griner 99 Hurlburt, Allen F. 133, 135, 141, 143, 147, 149

Lim, Ben 95 Lloyd,WilliamJ. 117 Lodico, Salvatore 25,41,46, 149 Lois, George 63, 73, 101, 119, 135, 153 Lubalin, Herb 41,45,57, 83, 91, 93,95,97, 131, 137, 139, 143, 151

M Maloney, Pat 49 Mariucci, Jack 71 Markle, Jim 77 McCaffery, William A. 25, 81 McKee, Jack 95 McQuien, Ron 91 McQuiston, Don 91,93 Melgar, Fabian 89 Melze, Dorothy 41, 145 Miho, James 57, 113, 151 Mock, Peter 141 Montgomery, Bruce 81 Moore, Mary 75 Muckenhirn, Felix 87, 89

I Izen, Al

29, 48

J James, Linda 85 Jones, David 79 J ones, Stan 57, 62 Jonson, Vance 129 Josephs, Hal 115

K Kambanis, Steve 50 Kamifuji, Tom 93,97, 121, 141 Keig, Susan 139 Kirk, Frank 65 Klein, Larry 113, 117 Kline, Dick 111 Kohn, Norman 111 Krohn, Peter M. 93

L Lam, Si 83 Langer, Andy 71 Larsen, Marget 43 Lawton, Rob 143 Lebowitz, Mo 99 Lenz, Bob 27 Lewine, Harris 129, 131

158

N N ava, Richard 107, 123 Noll, Verne 147 November, D avid 121, 125, 127

p Paccione, Onofrio 29, 37, 147, 151 Parisi, Tony 59 Pea~on,John 103 Peckolick, Alan 91,95, 129, 131 Portuesi, Louis 109 Printup, Harold Jr. 93 Pushpin Studios 115 Purdy, Frazier 39

S Saks, Arnold 101 Sayler, Jim 131 Schindelman, Joseph 123 Schlemme, Roy 99 , 154 Schulze, Raymond A. 137 Scully, Al 79, 85 Seltzer, Carl 154 Severson, Gerry 58 Sidjakov, Nicolas 91,97, 123 Siedemann, Bob 147 Simanis, Vito 87 Singer, Steve 77, 79 Sirowitz, Len 23, 29, 39,11-3, 45,49,50,54,68 Smith, Thomas B. 97 Smith, Tony 129 Spiegel, Ben 51 Steinle, Robert L. 105, 141 Stermer, Dugald 131 Stone, William 139

T Tanen, Norman 64 Tardio, Neil 55 Taubin, Bill 31,~52 Tesch, Mike 25, 107 Tranchina, Joe 33 Troller, Fred 87 Tsao, Alex 45 Tscherny, George 113

v Vanderveen, David P.

79

w . Webb, Wayne 93 Weih~, Kurt 89 Wilvers, Bob 53 Wolf, Jay 77

R

y

Rae, Ronald 141 Rappaport, George 119 Reitzfeld , Bob 56,58,60 Rembold, Max 121 Rieben, John R. 107 Rieger, Howard 23 Roberts, F. H. 127 Rubenstein, Mort 121, 125, 127 Russell, Tony 97 Russo, Howard 66

Yamashita, Mas 83 Yasumura, Mutsuo 85

Z Zerries, Alfred W 123 Zlotnick, Bernie 43, 73, 139 Zurbel, Victor 149

Beckett 1848 Traditional (The quiet paper)

For fi ne pri nti ng, Beckett 1848 Traditional is the natural choice There's a natural warmth to Beckett 1848 Traditional, "the quiet paper."

Its mellow tone provides a muted background for tasteful printing. It adds richness to illustrations without overpowering them. Because it does not tire the eyes as many brighter papers do, it is often chosen for annual reports, brochures and other pUblications containing large amounts of text. 0 Made to exacting standards, Beckett 1848 Traditional is uniform from run to run. It has a smooth, even surface which holds the finest detail in line and halftone reproductions. Printers across the country have found that it performs unusually well on the press-in the tradition of all fine Beckett papers . 0 For your next important job, choose "the quiet paper," Beckett 1848 Traditional. It comes in matching Cover, too.

The BECKETT Paper Company HAMILTON, OHIO

•

This is BECKEn 1848 TRADITIONAL, Smooth Vellum finish, 80 lb.

Printed in U.S.A. Color illustrafion courtesy of Stride Rite Shoes for Children

Index to writers

A

F

Abbott, Dr. Tucker 127 Altier, Ray 87 Altschiller, Dave 29,31,83 Anda f Ann 43, 71, 77, 79 Anderson, Alex 59 Andreas, Ralph 113 Annarino, John 71,62

Faulkner, Robert 145 Femina, Jerry Della 63

Kollewe, Chuck 31 Koreto, Paul 75 Kroll, Alex 35

G

L

B Backer, Bill 79, 85 Barnhart, Raymond 139 Barton, Bruce 23, 29,35 Bayley, Joan 89 Bendetson, Stanley 25, 35 Bielski, Robin 71 Bigelow, Ed 83 Blood, Charles 64, 147 Blunenthal, Judy 147 Boatman, Bob 91 . Boden, Janet 79 Bonifield, Kathleen 41, 145 Boston, Archie 95,99 Boston, Bradford 95, 99 Bucks, Charles 153 Buttke, Liz 64

C Calet, Neil 37 Campion, Frank 145, 147 Case, Gene 53,56,58,60 Coburn,Bob 77,153 Colwell, Bob 75, 123 Cutler, Larry 47

D Dana, Sam 151 Daniels, Pat 153 Davis, Myrna Mushkin Durfee, Jim 43,47

Galanoy, Terry 57 Giest, Lee 103 Gilbert, C. Larry 97 Gittes, Harry 50 Glass, Alan 43 Gorham, John 95 Grant, Regina 27 Green, Herb 46 Griffin, John 37 Griffith, Peter 55, 147 Guthrie, Sallie 31

H Haller, Frank 145 Hallerbach, Detlef 141 Hampel, Alvin 31 Hanbury, Stephanie 47 Henderson, William R. 115 Herz, Stephen 41, 75 Himelick, Alan 39 Hinrichs, Kit 97 Holland, Ron 73 Honig, Marvin 48, 53, 57 Horn/ Griner 99

J Jacobs, John 137 Johnson, Rupert 59 Jolivette, Mike 91, 109, 123, 153 Joseph, Richard 149

K 105

E Elgort, Bob 54 Ewell, Charles 27,29,65,66

Largi, Camille 51 Larson, Hal 23 Lawton, Bob 143 Lebowitz, Mo 99 Lentz, John 147 Levenson, Bob 39,43,45,49, 50,54,68 Levin, Ron 83 Linder, Lou 149 Lipton, Michael C. 69, 75 Lois, George 135 Lubalin, Herb 45

Kane, Michael 25 Karp, Marshall 77 Katz, Paul 23, 69 Katz, Sam 45 Kaufman, M. 29 Keig, Susan 139 Klane, Bob 47

M Malmud, Bob 123 Manson, Ivan 89 Markle, Jim 77 Meadow, Leon 23, 29 McCabe,Ed 29,31,52,56 Miller, Henry 149 Miller, Peggy 111 Miller, Richard 111 Mogel, Ron 33 Montell, Robert 63 Moseley, Alice 27

N Neola, Mari-Jo 141 Neufeld, Bert 73,61 Newcomet, Walburn 107 Noble, John 25,29 Nolan, Helen 77, 79

o Olmsted, Richard 25,41,46, 61, 149 O'Mera, Nort 121 (continued)

161

INDEX TO WRITERS

p

s

Pan, Jerry 69, 71 Parker, C. E. 127 Parker, Lore 61 Parry, Jim 25 Patla, Don 49 Piano, Tony 75 Plapler, Larry 67, 77

Sargent, Winthrop 103 Schaffel, Larry 125 Schiff, Ronald 109 Schulman, Bob 31,48,60,62 Scully, Al 79 Shapiro, Morton 117 Sharp, Bill 89 Silberman, Eli 79, 85 Siosberg, Mike 58 Smith, Steve 107 Solari, Norman 23,29, 35 Specht, llon 27, 43, 85 Spinner, Larry 68 Staley, Don 97 Stark, Evan 41 Starr, Ashby 129 Stearns, Richard 43 Steinle, Robert L. 105, 141 Strunsky, Robert 125

R Rappaport, George 119 Reider, David 52 Ribman, Ronald 127 Richman, Jim 73 Rindfuss, Bill 55 Robinson, Phyllis 33, 39, 67 Rones, Robert 123 Russell, Tony 97 Ryant, Charles 37

Sullivan, Richard Symon, Jim 81

57, 113, 151

T Tarlow, Richard Trice, Lee 119

65,85

V Vobbagy, Tom

111

W White, William 66 Wyse, Lois 41,45

z Zellner, Dick 139 Ziff, Gil 23,25, 51

Index to TV producers, directors, editors, photographers, animators and production companies A Ammirati, Ralph 47,52 Audio Productions 53, 54, 55 Auditore, Sal 48, 60

B Becker, Harold 50,6 1 Harold Becker Productions 50,61,63 Bond, Peasly 48 Bradbury, Basil 58

C 66 Case, Gene 53 , 56, 58, 60 Casper, Ed 48 Cinemetric 51 Clark, Ken 49 Cotton, Bob 64 Covington, Hil 61 Cuesta, Mike 56 Cunha, Dick 62 C.P.1.

D D'Amato, George

162

46

Danza, John 51,62 Downer, Rick 58 Dragoti, Stan 55 Drury, Drummond 65 Durham, Magi 66 Duskin, Ken 53,57

Goldsmith, Jack 63 Goldwasser, Larry 57 Gordon/ Youngman 64 Gorstein, Morty 46 .

Green, Charles 57 Green, Herb 46 _Groot, Herko 60

E Eaton, Chris 61 Ehrlich, Aaron 49, 50, 54, 68 Elektra Film Productions 67 Elliot Unger Elliot 67

F Fagas, Jimmy 68 Femina, Jerry Della Fraker, Bill 57 Freese, Tom 57

63

G Gittes, Harry 50 Gold, Jerry 48, 53, 65 Goldsholl, Morton 57 Goldsholl & Associates 57

H . Vic Haboush Company 49 Hamburg, Harry 48, 51, 66 H~rtman, Ernie 52 Herman, Frank 52 Hirsch, Peter 6.3 Hirsch, Tibor 51 Hirschensen, Bernie 63 Hollywood Productions 60 Horn/Griner 46,61 Horn, Steve 46, 61

J J aniak, Larry 57 Jenkins, Andy 59 Andy Jenkins Productions

59

Linweave® Creative Papers are an out-of-sight assortment of colors-new hot and cool shades to make all your jobs mind-benders. And Linweave's extra-easy on budgets. Pester your paper supplier or your printing salesman. But be patient. His phone hasn't stopped ringing since the first Tarot Packs were delivered to guys like you.

Pulp, Paper and Board Division, 277 Park Avenue, New York, N. Y. 10017

BROWN COMPANY~

INDEX TO TV DIRECTORS , PRODUCERS , ETC.

Johnsen, Rupert

- p

59

T

Pahle, Ted 47 Parisi, Tony 59 Pelican 46 P. G. L. Production Inc. 63 Chris Petersen Productions 58

K Kalogeratos, Jerry 64 Kambanis, Steve 50 Kates, Jerry 47 Kauffman, Jerry 64 Klein, Jordan 65 K,issane, Ruth 59

Q Quade, Dave 50, 54, 68 Quaid, Dave 55,64

L Langdon, Bill 57 Langenbach, Dick 68 Lawrence, Bert 65 Letelier, Jacques 53,57,65,66 Lichtman, Jim 62 Lubalin, Herb 57

R Rein, Joe 46 Reitzfeld, Bob 56, 58, 60 Risso, Adrian 58 Rodgers, Jerry 57

Tardio, Neil 55,57,64 Televideo 52,53,57,65,66 Tempo 56 Tredanaria, Lee 51, 67 Trevor, Don 66

U Ulick, Michael

54

v V P. I. 48,50, 52, 54, 55, 57,64,65,68 Vasu, Nick 59 Videotape Center 47,58 Viola, Al 63

S

M M.P'O. 49 Maloney, Pat 49 Marcus, Lou 57 Marsh, Lee 57 McCabe, Ed 52, 56 Melendez, Bill 59 Bill Melendez Productions Milford, Robert 57, 62 Miller, Dick 53,55, 68

Schulman, Bob 48, 60, 62 Schwarte, Bob 49 Screen Gems 62 Sel Animation 57 Seletsky, Harold 54 Shore, Jerry 63 Singer, Bob 50 Sirowitz, Len 49, 50, 54, 68 Smith, Frank 59 Stark, Lenny 59

59

W Warnick, Clay 54, 68 Wilvers, Bob 53

z Zieff, Howard Ziff, Gil 51 Zingale, Mike

47, 52, 60, 62 54

,

Index to illustrators and photographers A Academy of National Science Adams, George 99 Aimesbury, Will 75 Allen, Jack 129 Ameijide, Ramon 125 Andrews, William F. 79 A vedon, Richard 27

B Bahrt,Irv 41,45, 83,97 Ballard, James 139 Barnhart, Raymond 139 Bauman, Marty 35 Beck, Art 33, 147 Becker, Harold 25,31,35 Bensusan, Al 43 B~rnstein, Cal 119, 131

164

127

Bettmann Archive, Inc. 97 Blair, James P. 137 Bleckman, Bob 31 Boguslav, Raphael 83, 97 Bonder & Carnase 131 Boyer, Dick 87 Boyer, William 139 Bradford, Ron 89 Buden, Elbert 117 Budin, Elbert 135, 145, 147 Budnik, Dan 73

c Carnase, Tom 27,83,91 CBS Photo Dept. 101 Chwast, Seymour 115, 131 Claxton, Bill 81

Collins, Ted 93 Colwell, Bob 75 Cbndak, Cliff 107 Cuesta, Mike 23,27,29,31, ~3,45,83, 107

D Danza, John 31 Daran, Walter 153 Davidson, Bruce 137 Davis, H. Harold 139 Davis, Paul 107, 141, 143 Davis, Stanley 83,97 Diegan, Jim 145 Diethelm, Walter J. 83,97 Difiore, Gabe 145 ( continued)

Papers for Design DESIGNER SERIES A special series of tracing, layout and visualizing papers ha~e been selected and tested to meet all requirements of the A.D., designer and artist. Every pad serves a special function, each pad complements the next in the series. An art director possessing all 7 pads can handle any type of work he will ever encounter.

art-vel

o. 211 rt Vel/ Versatile layout and visualizing paper.

Excellent for pencil, pastel, felt nib markers, pen or brush and ink. Translucent white, medium weight with a hard smooth finish.

No. 63 ..16 Ermine Whlte/ One of the most versatile and

ermine \Nhite

_., admaster

economical layout sheets. Amazing receptivity to all drawing media. Opal translucent whiteness and compact velvety formation.

No. 406-R Dalton Admaster / The King among layout and visualizing papers. Husky body 100% rag content, brilliant whiteness, crisp metallic snap and "just right" tooth.

Responds to all dry media.

Widely used for rough sketches and preliminary drawings. Clear, transparent tracing paper, light weight, smooth surface and uniform formation.

designer 1 ,

1

-l'lr

Finest quality layout, visualizing and tracing paper, used primarily for finished comps and presentations. A highly transparent white sheet, 100% rag treated vellum with a hard smooth finish - great strength and durability.

No. 307 Ad-Art/ One of America's most widely used layout papers. Excellent for roughs and comps in any dry medium.

Ad-Art has a brilliant whiteness, velvety smooth surface and a high degree of translucency.

NEW MEMBER OF THE DESIGNER SERIES

I

A new addition to the Designer Series. An extra heavy, natural vellum type, layout, visualizing and tracing paper. Finest among all transparent papers for crisp, sharp comps in any medium. Magnificent feel, formation and workability.

Bienfang Paper Co., Inc., Metuchen, N. J. 08840

DESIGNER SERIES TR-A CING. LAYOUT AND VISUALIZING PADS

The Bienfang Paper Company has assembled these pads into a coordinated group of tracing, layout and visualizing papers ... the "Designer Series".

Each pad has a distinctive cover in dark slate gray with a second color aSSOCiating it with the pad. The majority of these papers are available in several weights, plus all popular pad sizes containing'established sheet counts.

tin

sign

* adrnaster *

ermine white

design EXCELLENT

VERY GOOD

parchmen

~

rt-ve

*

adart * SPECIAL CHARACTERISTICS •

EXCELLENT FOR OIAZO

I-~:r-----------I •

VERY GOOD FOR DIAZO

,. GOOD FOR DIAZO

This pictograph points up the findings of each medium on each paper, rating the degree of performance.

bp

Bienfang Paper Co .• Inc .• Metuchen. N. ~. 08840

INDEX TO ILLUSTRATORS AND PHOTOGRAPHERS

Domning, Karl-Heinz 83,97 Deutsch, Barry 83,97

E Edstan 81 Elfenbein, Fran 129 Elfenbein, Paul 79 Elliot, George 25,41, 79, 85, 149 Esch & Baker 91 Eubanks,Tony 41,145

F Feinstein, Barry 105 Fischer, Carl 35, 73, 77, 101, 119, 115, 137, 139 Friz, Ernst 83,97 Fusco, Paul 133, 149

G Galfas, Timothy 25 Gardner, Bernard 83 Giaiotto, Giorgio 83,97 Glaser, Mjlton 81,131 Glaubach, Stan 135 Gorl1'am, John 95 Gottheil, Philip 29,41 Grashow, James 143

H Haas, Ernst 137, 147 Haen, Hans 87 Halberstadt, M. 97, 121 Hallerbach, Detlef 105 Hallowell, Wayne E. 91 Hamburg, Harry 25 Hausman, George 41,69, 75 Hays, Philip 107 Hoffman, Sandy 109 Horn/Griner 43,99, 115 Horn, Steve 29 Hunstein, Don 89 Hyde, Philip 43

J Jonkman, Gerrit 83,97 Jonson, Vance 129

K Kamifuji, Tom 93 Kane, Art 137, 147 Karlin, Nurit 83,97 Keig, Peter 139 Kreiger, Harold 27,81, 153

L Lambert, Saul

107

Langley, Stone 75 Legname, Rudolph 23,29,35 Leslie, Mack 83,97 Lieberman, Archie 137

M MacMullan, James 115 Malmquist & Wood 153 Maisel, Jay 137 Marco, Phil 133 Martin, Jerome 107 McCaffery, William A. 81 McMullan, James 107 McQuien, Ron 91 Merritt, Vernon, III 111 Miho, John 113 Mitchell, Diane 83,97 Monroe, Robert 31,149 Muckenhirn, Felix 89 Muckenhirn, Werner 87 Myers, Lou 45

N Naganuma, Tony 121, 141 Nagy, Zolton 83,97 N ardin, Robert 79 Naso, John 113 National Aeronautics & Space Administration Newman, Marvin 137 Noble, Richard 137 Novarese, Aldo 83,97 Nugent, Jim 77

79,83

S Sacks, Shelly 83, 97 Salden, George 83, 97 Sandbank, Henry 25 Samerjan, Peter 69, 71, 109, 137 Scherman, Roland 91 Schapiro, Steve 137 Schechter, Jay 83,97 Schindelman, Joseph 123 Schnall,Leon 45 Schreiter, Rick 139 Sidjakov, Nicolas 91, 123, 129 Siedemann, Bob 147 Small, Milford 154 Smilo, Standford 71, 77 Smith, Thomas B. 97 Sokolsky, Melvin 71 Somoroff, Ben 137 Squillace, Albert 113 Stern glass, Arno 107 Stettler, Wayne 83, 97 Stock Photo 27 Strong, Ed 91

T 137

o Osborne, Stephen

Rubin, Dan

131

p Paccione, Onofrio 29,37, 147, 151 Papodopolus, Peter 77 Parker, Robert Andrew 107 Pedersen, Kirsten 91,93 Penn, Irving 135 Perron, Robert 113 Peter, Friedrich 83, 97 Petrocelli, Tony 71, 73, 77 Pistilli, John 93 Pownall, Jon 113 Prokop, Robert 107

R Rae, Ronald 141 Reynolds, Joseph 107 Richards, Dick 23,29, 33, 39, 111,131 Ross, Larry 83, 97

Taback, Simms 69 Thomas, Clyde 43 Thompson, Ken 39 Toto 85 Tscherny, George 113 Turner, Peter 37, 149

U Unruh, Jack N.

143

V Vachon, John 137 Vuksanovich, Bill 145

W Wasser, Julian 137 Weihs, Kurt 89 White, Charles, III 109, 153 Willoughby, Bob 127 Wold, Hans-Furgen 83,97 Wohl, Stef Lein 113 Winogrand, Gary 123 Wood, Chuck 23 Woodward, Teresa 107 Wyeth, Andrew 145

z Zaman, Nancy 83,97 Zarember, Sam 113

167

Index to agencies, clients and publications

A Advertising Designers, Inc. 141 Alexander Engraving Company 73 Alka-Seltzer 25 Carl Ally, Inc. 25, 29, 31 , 43 , 47 , 52, 56, 83 , 107 America Illustrated 137 American Airlines 79, 149 American Red Cross 85 American Teletronics Corporation 95 Anaconda Aluminum 77 Ann! Corp. , Watergate Yachting 91 The Ansul Company 145 N. W Ayer & Sons 107, 117

B Bactine Skin Cream 27 John Ball & Associates 93 Batten, Barton, D urstine & Osborn, Inc. 33, 73, 145 Beauty Fashion Magazine 137 Berkeley Bonaparte 147 Jerry Berman & Associates 95 Better Vision Institute 23 , 29 Bloom Advertising 91 Blume-Sharp 89 Boston & Boston Graphic Design 95, 99 Bristol Myers 68 Broadcast Skills Bank 71 Brody Corporation 81 Buick 59 Bulova 31

c CA Magazine 137 Campbell-Ewald 41 , 69, 75 Carling Brewing Company 50 Carnation Company 65 CBS Television Network 121 , 125, 127 Century Cycle Company, Inc . 89 Champion Papers, Inc. 57 , 113 Chapman McQuiston Michetti 91 , 93 Charles of the Ritz 27 Chemway Corporation 67 Chess Record Company 89 Cluett Peabody-Sanforized Div. 73 Coco-Cola 23, 29, 35

168

Columbia Broadcasting System 57, 151 Columbia Records 81 , 89, 91 Container Corporation of America 107, 117 Continental Airlines 91 , 109, 123, 153 Cooper Color Corporation 89 Curtice-Burns , Inc. 91 Curtis Publishing 91

D D allas-Fort Worth Art Directors Club 143 D ancer-Fitzgerald-Sampel, Inc. 49, 59 deGarmo, McCaffery Inc. 25, 81 Delehanty, Kurnit & Geller 37, 43, 63 , 67 , 71,77,79,107,123 Design Organization, Inc. 99 D esigners Three Inc. 93 Detroit Magazine 141 Doyle Dane Bernbach 23, 25, 27, 29, 31,33,. 39, 41 , 43,45, 48, 49, 50, 51 , 52, 53 , 54, 57 , 61 , 62, 64, 65,66,67,68,69,71,79, 83 , 111 , 123,149

E Eagle Spring Water Company 91 Eastern Airlines 39, 54,55 Esch & Baker 95 Esquire Magazine 135, 1}9, 149

F Fact Magazine 143 Family Circle 91 Forbes Magazine 41 , 69, 75 Ford Foundation 95 Freeman & Gossage, Inc. 43 Friends of Governor Rockefeller 81 , 56, 58, 60 Funk & Wagnalls Publishers 131

G Geigy Chemical Corporation 87 , 89 General Dynamics 103 General Wine & Spirits Company 29 Gillette 52 Morton Goldsholl Design Associates 139

ATTENTION ART DIRECTORS SEEKING A LITTLE METHOD IN THE MADNESS OF LAYOUT AND DESIGN

Radiant ® Velva-Glo takes pleasure in announcing a new tool for the trade specially devised and exclusively offered to simplify your job (if possible)

A FLUORESCENT COLOR SYLLABUS one each of 28 point and 50 point. Also a card listing all available technical literature with several order blanks, a Color Identification Chart to help you identify the colors in the Syllabus, plus a Register Card to put you on the list to receive imaginative samples and other materials, and a guide to contents. $15.00 each.*

Where have all the goodies gone?

If you're anything like most of the agency men we know, the advertising piece is still no more than a light in your eye ... when the Great Color Sample Hunt begins ... wastebaskets overturned, cubby-holes rifled, the boss's humidor and the secretary's lunch bag sacked ... Lost, stolen, strayed .. . and not a scrap to work from .. .

To put an end to the hassle ... here is a complete permanent file always at your finger tips. Includes several samples each of the ten colors available in fluorescent coated papers, cardboards and water paints in a handy, indexed box you can keep right on your desk. Ten actual jars of water colors in all offered hues are mounted in pockets on a sturdy easel. Two sizes of premium papers in ten colors are in'c luded: Three sheets each 9Y2" x 12Y2" and two sheets each 12Y2" x 19". Cardboards in every color also are a practical 9Y2" x 12Y2" working size; includes three each of 10 point, two of 15 point,

(Illustration of box and water color easel)

----------------------Mr. James Barry Radiant Color Company 2800 Radiant Ave" Richmond, Calif. 94806 Please send me your new Fluorescent Color Syllab us. _ _ quantity, I enclose $15.00 each. * NAME

TITLE

COMPANY ADDRESS CITY

STATE

ZIP

*$1 5 includes postage for this 9lb. 7 oz. Syllabus.

However, Californians should add 4% sales tax.

1C

INDEX TO AGENCIES AND CLIENTS

take the

CAPROCI

Screen tesl

Goodyear Tire & Rubber Company Gordon/Youngman 81 John Gorham Graphic Design 95 Griswold-Eshleman 77, 153

58

H •

Round Dots

Harsh-Finegold Inc. 91 The Harshaw Chemical Company 153 Henderson & Roll , Inc. 115 Hertz Corporation 25,43, 56, 107 Hoefer Dieterich & Brown Inc. 141 Hoffman-La Roche Inc. 125 Holiday Magazine 73 Holt Rinehart & Winston, Inc. 129, 131 Horn/ Griner 99

§II Square Dots •

Elliptical Dots

t~ Concentric Circles

"- . Straight Lines

:rF Pebble Grain £i: Steel Etch

~ Wavy Lines

•

~ Mezzotints

Master Quality Tints

32 to 300 lines - 8" x 10" to 29" x 39"

OTHER FINE CAPROCK PRODUCtS: CAPROCK RE-SCREENER-ellminates moire when screening black and white, colored halftones, continuous tones containing texti Ie patterns.

B Ie G LENS SHADE Ie FILTER HOLDERSminimize lens flare.

I IBID, Inc. 117 Import Motors Ltd.-VW Dist.

Interstate Bakeries 59 Irish Tourish Board 25

Write for descriptive literature CA.

CAPROCK DEVELOPMENTS, Inc. 10 Pine St., Morristown, N. J. 07960

I

79

J Jamaica Tourist Board 51 Johnson&Johnson 25, 41 , 46,61 , 149

K Tom Kamifuji & Associates 93 , 97 Ketchum, MacLeod & Grove 129 Larry Klein & Associ ates 113 , 117 Koppers Company, Inc. 145 Kraft 121

L LadiesHomeJournal . 131 , 135, 137, 1,45 Leber Katz Paccione 29, 37, 147 , 151 Little Red Schoolhouse 153 Lois, George 73 Look Magazine 133 , 135, 141 , 143 , 149, 147 Herb Lubalin Inc. 57, 83 , 9I , 93 , 95 , 97, 129, 131 , 137,139, 143, . 51 NO SMOOTHER SURFACED HOT PRESSED ILLUSTRATION BOARD AVAILABLE ANYWHERE Especially ideal for pen and ink and watercolor.

Approved for Kromo-Lite, Fluorographic and OropOot processes.

See your local art supply dealer today!

170

M Macmillan 129 Market Research Group 93 Marsteller, Inc. 125 McCann-Erickson Inc. 23 , 27, 29 , 35, 43, 47, 59 , 79, 85 Miles Laboratories 23 , 31 , 46, 48, 51 , 53 , 60, 62, 66 Mobil Oil Corporation 39, 43 , 45 , 49 , 50, 54, 68, 123 Monsanto 64, 71 Montag, Inc. 85

N Nabisco 27, 47 National City Bank 45 Needham H!lrper & Steers 57,91, 109, 113, 123, 151, 153 Neiman-Marcus 41,145 New American Library Publisher 131 New York Racing Association 79,85 Northlick Stolley, Inc. 97

Winsor & Newton's

o

BRILLIANT

Ocean Spray Olin 31

61

WATER COLORS

p Jerry Pam & Associates 69, 71 Papert Koenig & Lois 63,73,89, 101, 119, 123 , 135, 153 Paste-up Services Ltd. 95 Peace Corps 43 Peter) Paul & Mary 105 Philco-Ford 141 Mr. Piano 91, 93 Picker Nuclear 113 Polaroid 33 , 39, 67, 71 Printup, Harold Jr. 93 Progressive Architecture Magazine 75, 123

28 colors (including black, white & grey) ideally suited to the use of the designer and commercial artist. Extreme brilliance and transparency recommend them for the teaching of color harmony in art schools and colleges.

Winsor & Newton Inc. 555 Windsor Drive, Secaucus. N.J. 07094 Canadian Agents: The Hillhes Owens Co., ltd., Montreal Californian Dist.: The Schwabacher·Frey Co., San Francisco. Los Angeles

Q Quinn & Johnson, Inc.

103

R Ramparts Magazine 131 George Rappaport Adv. Inc. 119 Reader's Digest 109 Redbook Magazine 133 Remington 25, 35 Ries Cappiello Colwell, Inc. 75, 123 Roberts / Fenton Adv. Ltd. 95 Russell & Hinrichs Associates 97 Russian Tea Room 43

s Salute to the Seasons Fund 123 Schieffelin & Company 29,31,83 Laura Scudder's 57 Seaboard Finance Company 105, 141 Sears, Roebuck & Company 23 Shell Oil Company 127 Sidjakov, Nicolas 97 Sierra Club 43 Simpson Lee Paper Company 139 (continu ed)

Qui\\ and ru\\ng \,>ens t \\tera\\Y ftoa over the ey-ce\,>tiona\\Y smooth. surfaces on crescent ~ot l\\\lstrat\on -press gs 'No sna Boar ds. . enng _no feath .

S\d\,>\,>lUg· _no h Check t e ourself. res\,>onse Y Write for

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free sa,,·

CRESCENT CARDBbARD COMPANY

1240 N. Homan Ave. Chicago, III. 60651

N

171

INDEX TO AGENCIES AND CLIENTS

we dare YOU to lind another brand of dry transfer lettering that is better and costs less than DEeA-DRY ...

$1

25

Look in the Yellow Pages under Drafting Supplies or Art Supplies for your dealer's name.

$2.25/ two sheets

I

T

SPECIFY

only per sheet r-I

Simon, Douglas A. 27 Smucker's 41 Sony Corporation 23 South Shore National Bank 103 A. Stein & Company 147 Stella Stevens 69, 71 Stevens, Inc. 79 Elisabeth Stewart Swimwear 119

You'll save money by taking us up on our dare to compare! Prove to yourself that DECA-DRY is the lowest priced of all popular brands of dry transfer letter· ing. But some people who don't know keep right on paying more, and for less quality. One way to compare is to try DECA-DRY. It's easy to use . .. all you do is to rub it on with a pencil for quick, reproduction quality lettering. We'll be glad to send you a sample, or, better still, buy a sheet at your dealer today.

People who have bought DECA-DRY have found better quality can cost less.

--------------------,I Send free sample and catalog showing complete OECA·ORY line.

®

I

II A,:~:'~~it~i: ';t.0~:;:.::;.~: : : : .: : :.: : : : : : : :.: : : : : : :~ : ': :: : : : : : : iI 26100 River Road

City .................. ........ State .............. Zip ..............

I Leeds, Mass. 01053 Application .............................................................. .J ~-------------------------

introducing

the soft touch FROM HI-ART

Hi-Art #3 iIIustr has a softer surface feel in spite of its rough (tooth) finish.

You'll like it for au around studio use.

Hi-Art #3 ..• rough 100% rag finish with the .." our dealer for your supply. soft touch

Talon 77, 123 J. Walter Thompson Company 23, 121 Time Inc. 101, 153 Jack Tinker & Partners, Inc. 23,25,27,31,46,48, 50,51,53,56,58, 60,62, 65, 66,81 Transportes Aereos Portugueses 37

u Union Camp Corporation 115, 64 Union Carbide Corporation 55, 145, 147, 151 Uniroyal 41 United Fruit Company 33 University Art Museum 81 U. S. Shoe Corporation 37

V Van Camp Sea Food Company 49 Venture Magazine 131 Village Secretary 91 Visual Graphics Corporation 83,97 Robert Vogele Inc. 93, 145 Volkswagen 25,27,29,48,53,57, 62, 65,66,69, 83, 111

W Westab, Inc. 111 Westinghouse 129 Westinghouse Broadcasting System Weyerhauser Company 87 Wolff, Susan 99 World J oumal Tribune 47, 52 Wyse Advertising 41,45

43 , 63 , 79, 107

M

X Xerox Corporation

NATIONAL CARD, MAT & BOARD CO. Send Free Samples

01 HI-ART NO.3

-1318 W

Carroll Avenue . Chicago . IllinoIs 60624

Send free samples of Hi-Art #3

y Young&Rubicam 25 , 31 , 35, 39, 41 , 43, 46, 54, 55,58, 61 , 64, 68, 73 , 85 , 139,1 45 , 147, 149,1 51

Name

Z

Company Address

City

172

63

State

Zip Code

Zales Corporation Zographos 119

91

The poster-the oldest form of mass media communication known to man-has recently been adopted and up-dated by the new underground (commonly known as the Hippies) to publicize its social events, its philosophy and its culture heroes. These posters are broadside ads which ask the viewer to dance, to drop out, to turn on or just to sit and meditate. They have been sold by the thousands , hung in galleries and collected by museums. Some, with their flashing colors and undulating letters , are powerful pieces of design work; others are notable for the wry humor which they express. Critics have called the westcoast poster revival a renaissance in the graphic arts, though it has also been referred to as an example of what is wrong with American youth. Either way, the fascinating and colorful "psychedelic" posters are making an important contribution to both modern American art and graphic communication.

The Great Poster Trip is a new book published by CA Magazine, which offers an introduction to the artists, the organizations and the philosophy behind these posters. 231 posters are reproduced, 31 in color and many in full page size.

The Great Poster Trip is edited by Cummings G. Walker and designed

by Richard D. Teater. The casebound and jacketed edition sells for $5.95 and the soft cover edition for $3.00.

These Poster Companies . ..

Mouse Studios • Family Dog Productions • Bill Graham Presents • Neon Rose • The Print Mint • The Berkeley Bonaparte • EastTotem-West • Singing Mothers LSD Relief Society Studios • OrbIt Graphics • Musik • Pyxis Studios • Hambly Studios • The Joint Show • American Newsrepeat Co. • The Grateful Dead Fan Club • The Food • These Poster Artists . ..

Wes Wilson • Rick Griffin • Stanley Mouse • Victor Moscoso • Kelly • George Hunter • Mike Wood • Bob Seidemann • Joe McHugh • Robert Schneff • Greg Irons • Bob Fried • Peter Keymack • Jim Blashfield • Joel Beck •

RESERVE YOUR COpy NOW !

Available Jan. 1sf

1.---------------CA MAGAZINE

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I My check is enclosed with this order.

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I California residents add 5% sales tax

In the next issue ...

250 of the finest examples of the communication arts, the selections of the CA-67 jury for the

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