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Introducing Charles Kadin
I was first attracted to aircraft at the a seven. We lived very close to wha Little Norway. The war was on an busy time for family and friends, som had sons in the RCAF. To a youngst very exciting. I took a commercial art course at Central Technical School. It was here that I first saw the war art of my instructors Peter Haworth and per haps more pointedly the onsite drawings created by Charles Gold hammer who was an official RCAF artist. He showed me his sketches of wounded aircrew being removed from aircraft. There were also draw ings of the reconstructive facial sur gery that was being explored at the time. These drawings are now in the collection of the Canada War Muse um. They had a profound effect on me.. Early on I discovered Art Directors were not well versed in the art and mechanics of typography, print technology, budgets and schedules. I gravitated to typography, the archi tecture of the word. I made a point
of learning colour separation, photo engraving and printing processes. By the age of 28 I was able to take my typographic knowledge to Ea ton s Catalogue. For the next twelve years I grew at this venerable Com pany and became catalogue Crea tive Director. A beautiful product with a terminal illness. Taking every thing I knew, I went to Harlequin Books who hired me as their Art Director. Having worked for many years with photographers, I now found myself working with illustra tors. As Harlequin developed, the need for commissioning top drawer illustrators became imperative. This brought me in contact with the best of the best. Normally I would meet the artist at the Society of Illustrators in New York. On one occasion I went to the studio of Richard Ko