Personal card of Don Nichols, Associate Professor of Graphic Design, University of Buffalo. The qualifications on his design were a limitation of two press runs , one.side, printable on a multi·lith. 12 x 91.4, accordian·folded to 4 x 91.4 .
happiest holiday greetings ... peace and friendship throughout the new year /
Creative people are just as inclined to show pictures of their children in their cards, but they are also compelled to devise imaginative means to do this. Jack Herrick of Hal Lawrence and Associates, Palo Alto, conceived this approach. The inside spread copy is shown at right.
rUckwith REd wheeLs ~ d a boat and two g solDier& - •• anD a Lt AND bat.':'*452' a Lttle SISter too.,. 1d A TRactor and tw........- LTH a gunand a gun ' ~menT MixEr and a s \ r with ped qls and 1d t W2 hOlsters and Kt zx Bl g ceMent MI ~d W agon like Alex
aND mosT oF aLL
A meRRy chRiSTmas to EVErybodyl&l# and THanK yoU SanTA Claus. sTe v eN
and Jack Herrick too l
Irving Miller, New York, translated the family into hand puppets. Accordian -folded to a 3Y2 " square, an "identification" family photo appeared on the back.
ChR1stmas IS a time ~OR the ch1lbRen • • • CA, September '61
"Quartette," a lino print by the late John Averill. Though widely known and respected for his commercial art, it is even more for his prints and 'â€˘Seed Corn, '' productions of his of his Molehill Press, that J A will be long and fondly remembered. The story of "Seed Corn" begins on page 48. CA, September '61
These ads may have very little in common in their physical appearance or in the points they are inteded to get across ... but they struck us as having a great deal in common in other ways. Each is presented with the ingenuity and appeal to be noticed, but none of them had to become an involved production or have the design get in the way of the message to accomplish it.
Ad for WBT Radio, Charlotte, by Sudler & Hennessey, Inc. Bernie Zlotnick, art director and designer. U.S. Steel ad by BBDO, Pittsburg. Arnold Varga, art director and designer. Ad for Hal Stebbins Incorporated. Lou Frimkess of Advertising Designers, art director; Joe Wes ton, designer. CA, September '61
one board is worth a thousand wires
The indunrial world was
buzzing in the early 1900's by a
remark.able new plastic. The long cha in phcnol·formaldehydc polymer (which could be dissolved or melted) had been properly combined with the magic of heat and a1.alyst to fonn a phenolic
resin that has become one 0£ the most useful plastics in the world.
on the business of soliciting business:
But we doubt that anyone dreamed that this plastic would be
To survive and thrive, an advertising agency must have billing. To refresh and regenerate itself, it must add new billing to old billing. How it goes about getting this new billing is an important index to its basic philosophy. Let w see how this yardstick applies to this agency. We are not ambulance.chasers. We do not dash madly after every account, large or small, heralded in the trade press-or in the rumor factory-as "open" t0 agency solicitation. And with good reason: No agency can hope to be all things to all advertisers. To be worth ics sales-salt, an agency must be versatile and adaptable; must be familiar with business on many francs. It must al.so have courage. For, within the framework of a given industry, it is conceivable there wilt be one company that will be in greater rapport than the others - that will mesh more quickly and sympa· thecically with the creative and marketing_ phi losophy of that agency. The problem is to single out that one. This is why we do not believe in hit-or-miss speculative presentations. You have to know before you go. You have to rejecc before you select. Besides, in our copy-book, the clients we have come first. They are entitled to the full time of our top talent. Moreover, we do not believe in the questionnaire method of screening agencies. A client-agency relationship is, in a very real sense, a marriage. And who would pick a wife on the basis of cold, colorless statistics on a sheet of paper? Call it banal and bromidic if you like. but the fact remains : The best way to "solicit" new bwiness is to attract advertisers to you because of the outstanding job you are doing for other advertisers. And when we say "outstanding" we don' t mean "oddball:' It is easy to be eccentric. It is difficult to be distinguished. Today with so much clamor for the public eye and eat - SO much competition for the same segment of the same dollar-advertising that is not oucstanding doesn't stand a chance. So when you choose an advertising agency-count heads, not desks. What is important is the fur n iture "upstairs"-not the furniture "downstairs:• You can't measure an agency by the simple slide-rule of mathematics. The number of peopJe on its staff is no real key to ics capability-or its suitability. Bigness is not necessarily goodness. What counts in the finals is the skill and seasoning of the men assigned to your account; their character and calibre; their creative spark and sales-sense. In short: What you want -and should get-is an ad-mixture of star dust and pay dirt. If you are int e r ested in that sort of adve r tising agency, we are i n te rested in you.
an electrical highway for television scu. Phenolic laminated paper is far and away the most widely used baM for printed circuit boards because it 's so low in cost, so readily available, such a good
clea.rical insulator, and such an easy material to punch and shear -even when cold .
Taylor Fibre C.Ompany, Norrinown, Pa. , is one of the leading suppliers of paper base phenolic laminates for electronic applications. And a subsidiary of Taylor Fibre, Dytronics Incorporated , uses the laminates to produce die uamped circuits. The die stamping process-using a metal cuuing die innead or the older etching method- has been another step forward in printed circuitry's replacement or hand wiring. The cost has gone down and the quality has gone up in thousands or electronic components-and the results have nmgcd everywhere from better TV pictures to more dependable rockets. Because dependability is the keyword from start to finish of primed circuitry, Taylor Fibre uses laminating resin made from 1he highest possible quality tar acids, from United States Steel. Chemical Sales Offices in : Pimburgh, New York, Chicago, Salt
Lake City, and Fairfield, Alabama.
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H al Stebbins Incorporated: advertising 7:14 West Olympic Boulevard, Los Angeles 15 1 California.A fully staffed, nationally accredited organization with a 35-year background in advenising and marketing. Mnnhr: Amfflc11nA.11pd.liono/ AJJ1n'li1ing Ag~1S&ie1: A.JJ1n'lising A11oeit11ion o/ lh• Witsl.
CA, September '61
The problems of graphics for architectural presentations and sales literature have a long history of ill-planned, obvious and/ or expensive solutions. In many cases, no satisfactory solution was ever arrived at, just an economic compromise that more often than not defied function. The problems to be solved were challenging ones-short runs, desire for color, impact and quality clashing head-on with the lethargy and buget limitations that often accompany the "unfortunately necessary" but not measurably productive expenditures. No good solution could be forthcoming until the right combination of knowledge in function, architectural design, graphic design and graphic production could be put together. It has. CA visits an outstanding example-producing some impressive work-the studio of
6-color silk-screen reproduction on 20 x 26 Strathmore Rhododendron Cover for Cabot, Cabot & Forbes, Inc . Ladd & Kelsey, AIA.
"I feel that we obtain a better architectural feeling in the illustration by applying selected colors which are more intense than they would be in actuality." This statement by Carlos Diniz is a key to the evolvement of his success in the preparation of architectural presentations and brochures. It opened an avenue of departure from the traditional color renderings that had usually consisted of a loose, dramatic sky, tighter but stylized trees and a very tight rendering of the building or house. Severely limiting the artist in any attempt to project a feeling, the forced perspective, strong color and stylized backgrounds frequently created a sensation of artificiality and exaggeration. CA, September '61
In a general way, every type face can be allocated to one of the following classifications: Roman, Antique, Heavy Display, Text, Sans Serif, Italic and Script.
ROMAN Roman faces can be divided into two major divisions, Old Style and Modern. A sub group of the first is often classified as Traditional.
Old Style Roman Nicolas Jenson cut the first known of the Old Style Roman designs in the 1400's shortly after the invention of printing in the Western World. All of the roman faces that followed were patterned after or influenced by Jenson's design. Characteristics: the serifs are inclined and bracketed-the swells are drawn on an angle; not too great a difference between the thick and thin lines; a great deal of freedom in the design. Typical examples: Bembo, Caslon, Cloister, Goudy Old Style, Poliphilus.
Transitional faces differ from the typical Old Style in two ways-the serifs, though still bracketed, have slighter fillet curves; a more pronounced difference exists between thick and thin lines. Some of the earlier transitional designs were cut in the 1700's by Grandjean, Fournier and Baskerville. Typical examples: Baskerville, Bulmer, Fournier.
Modern Roman The development of the Modern Roman (a design classification, not to be related to types of recent vintage) is credited to Giambattista Badoni. Copying Fournier's transitional style in his earlier years, he later carried the modern to its logical conclusion. Characteristics: unbracketed or slightly bracketed serifs, decided contrast between thick and thin lines and a sharp, mechanical look. Typical examples: Badoni, Century, Regal, Times Roman.
ANTIQUE Letters of the Antique variety, also called Egyptian, could be included under the broad classification of Roman. Much bolder than the early Romans, they were first cut in Scotland in the early 1800's. Characteristics: mechanical, monotone weight, slab serifs. Typical examples: Beton, Clarendon, Egyptian, Karnak, Stymie, Tower. CA, September '61