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Nov 25 1953
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Art Director & Studio News / November 1953
HAROLD MARCHANT is a versatile artist who
draws in color,
black and white and line. He excels in
scratchboard rendering
of both figures and mechanical subjects.
Advertising Art 136 E. 57th St.
New York 22, N. Y. Plaza 3-6880
Sales Representatives
Roy Deming Nino Giarratano John Hickler Edward Moclair Jack Randall Richard Schwarz
Thomas Whitmore
The Technigraphic Company 2016 Walnut St. Philadelphia 3, Pa.
LOcust 4-4870
Fred Kopp Advertising Art Studio 301 So. Harvard Blvd.
Los Angeles, Calif.
DUnkirk 9-3118
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-_ > oer car & ce Beets oe Oe 6
OFFICIAL PUBLICATION OF NATIONAL SOCIETY OF ART DIRECTORS
Wallace W. Elton, New York, President. Arthur Lougee, Detroit, Vice President. William Miller, Chicago, Vice President. Cecil Baumgarten, New York, Secretary-Treasurer.
NSAD Headquarters: 115 East 40th Street, New York 16, N. Y.
VOLUME V, NUMBER 8
IT MAY NOT BE THE HARD SELL AFTER ALL DON BARRON
Two or three years ago, whenever art professionals discussed their probable hard sell efforts in the buyer’s market to come, few ever imagined one format which seemingly is setting the pace for late 1953.
The immediate origin is in the successful editorial treatment developed by Hewitt, Ogilvy, Benson & Mather for a group of advertisers particularly interested in the upper income leve's such as Hathaway shirts, Viyella fabrics and England’s Travel Association. The elements are easily recognizable: An outside bleed, color photograph; remarkable unadvertising-appearance of the subject photographed; the relatively small amount of informative copy slanted away from impossible claims; the editorial type caption set as small as 18 pt.; and the text set double column in a traditional text type face such as Caledonia or Garamond.
The aim was obvious—to get a magazine’s proven readership and acceptance for a very clever substitution of editorial mate- rial. Their technique revitalized an interest in editorial type ads. From this has come many variations, but few as historically interesting as an all-type advertisement which appeared this Spring for Procter & Gamble. Soap firms are not noted for setting the pace. Nor are they noted for understating their claims. But here was an insertion which said little more than that P & G after many years in business, was pretty good at making soaps and detergents. The typography was, if anything, crude, and the absence of a housewife grinning from ear to ear over her white, white, white stuff was a shock in itself.
Since then the typography has been cieaned up a bit and art added here and there.
Intentional or not, these elements—typography, little or no art, and short informative copy marked a highly original varia- tion by HOBM for the broadcast of all mass markets, soap. The techniques must be effective because most Fall issues carry a sizeable proportion of insertions which, although based on the editorial style, go far beyond the original pattern. Chrysler, having already gone its own independent postwar way, now comes up with an intricate format which neither looks like an ad nor an editorial feature. Just as P & G omitted the grinning housewife, Chrysler shows the back end of a car so small it can hardly be identified. And most of the copy is devoted to Cali- fornia mountain roads.
Old Overholt has a double spread, the left page being a true editorial type ad, B&W, about one of its earliest sheet posters. The right hand page, full color, carries the sales message. Rinso’s “How to...” series is almost straight editorial, both in appearance and content. Cannon is running a very busy pix and caption double spread, the kind ord narily used for the
(Continued on page 103)
Art Director & Studio News / November 1953
CONTENTS
THIS MONTH November, 1953 The Quinsy Report 16 Dear Bill: 22 Chicago’; Show 44 Case History, Magazine Redesign 58 Decca Record Albums 60 Chicago’s Studios 63 Trends in Greeting Cards 64 Chicago’s Poster Shows 66 Display. Design & Production 68 TV Animation 70 Upcoming Photographer 72 Preduction News 73 Pocket Book Art 80
EVERY MONTH
Tax Talk Business Briefs Letters
AD&S News Trade Talk Bookshelf Classified
Ready Reference
Publisher, Donald Barron Editor, Edward Gottschall Designer, Ken Saco Advt. Manager, L. H. Bremer Ass't Editor, Dorothy Chapple
Associate Editors
Robert B. Connolly, Minneapolis Harry Steinfield, Montreal
Harald Torgesen, Atlanta DeWitt Battams, Baltimore Thomas Baker, Boston James Patterson, Nashville Dan Smith, Chicago Wm. R. Morrison, New York Richard F. Koppe, Cincinnati W. Frederic Clark, Philadelphia Parker J. Heck, Cleveland Fayette Harned, Rochester Robert Roadstrum, Detroit Tom Yamada, San Francisco Thor Hauge, Los Angeles Hal Peterson, Seattle
Eric Aldwinckle, Toronto
Art Director & Studio News, published monthly by Art Director & Studio News, 43 E, 49 St., New York 17, N. Y. Piaza 9- b Subscription price $2.00 per year; $3.50 for two years. $2.25 a year for Canada and other countries. Back issues 30c per copy. Publisher assumes no responsibility for manuscripts or artwork submitted. Copyright 1953. Entered as second-class matter at the post office at New York, N. Y.
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tax talk
Q.
Q.
Art Director & Studio News
MAXWELZi LIVSHIN, C. P. A.
@. Is there a limit to the amount of
rent that an owner of leased art studio premises can charge his own company ?
Sometimes the Tax Court places a limit. In a recent case, a large monthly rental was paid by an art studio corporation to its president (who was the lessor, as well as owner of 90% of the corporation’s capital stock). The Tax Court held that the payment was excessive and not deductible in the amount the rental exceeded the terms of the original lease prior to the purchase of the premises by the president.
Where an artist’s studio is sold, and soon thereafter repurchased, is there a profit?
In a recent case, the Tax Court ruled that, even though the price paid for a one-half interest in an agency was identical to the price at which it was sold, the sale and repurchase involved different things since the assets and the clientele had changed in the meantime.
Does the transfer of an illustrator’s exclusive contract result in a sale?
No. In a recent decision, the Court ruled that the transfer of this type of contract by an agent to an agency did not result in a sale and ordered that one-half of the received by the agent and paid to the agency, pursuant to the trans- fer agreement, be reported as ordi- nary income rather than long term capital gain.
commissions
Are bank records open to a Revenue Agent for a “fishing expedition” ?
Bank not available to a Revenue Agent for tax exploration purposes. How- ever, where there is a_ likelihood that the bank’s records may have a bearing on the tax liability of the taxpayer, the examination of this information may be allowed,
records and statements are
November 1953
Mr. Popodopoulis was amazed...
and DUN & BRADSTREET was pleasantly surprised to say the least when they won the “best of indus- try award” of the Direct Mail Adver-
tising Association with this campaign.
Boyan & Weatherly studio hadn’t ex- pected it either — we just worked with
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do on every job.
Want to find out what a fresh approach can do for you? It’s easy as picking up the phone — JU-6-1870
Contact: George Lynch * Kenneth Powers © Gloria Orsenigo Joseph Boyan * Goodhue Weatherly © Helen Hubel For lilustration— BOYAN A WEATHERLY, Inc. 15 West 46th St., New York 36, N. Y. @ Telephone: JU-6-1870-1874
it’s all covered in this great book — your most useful ‘idea file” of the year.
32ndANNUAL
ADVERTISING AND EDITORIAL ART of the Art Directors Club of New York
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Year after year, the Bible of art directors and designers The one permanent record of outstanding achievement
Order from your bookseller or art dealer or direct from
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VISUAL ARTS BOOKS
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business briefs
1953’s hottest art market is Detroit. While all ad art markets have plussed billings over 1952, the motor city has outpaced the field. In great part the increases have emerged from the larger ad budg- ets due to the stronger competition for car sales. There is much encourage- ment for all art professionals should this pattern develop for other products in or entering a buyer’s market.
Diversified advertisers have also been a boon to Detroit. One major studio, for ex- ample, exists independently on car art, a feat wholly impossible just a few years ago.
The local market has begun to make progress in satisfying the demand for illustrative art. However, the demand for layouts still seems to be greater than the supply. Detroit photography is advancing more slowly than any other section of the field.
In New York and Chicago September started off slowly. After the 15th activity picked up and by early October was strong.
Advertising emphasis is shifting to soft goods. The switch will become increasingly noticeable in the months and year ahead. Although manufacturers of home appliances will try harder than ever to sell, the average consumer is pretty well stocked up with hard goods that he has been buying furiously the past few years. Soft goods manufac- turers reason this is their chance to get more of the consumer dollar and are expected to intensify their adver- tising and sales efforts accordingly.
Buying power, not production capacity, is now the keynote to long term economic sta- bility Government economists agree with Lasser that buying power exists, point out that making more of it actual rather than potential can help ward off the much talked of recession. if industry and business buy this think- ing, the long term outlook for adver- using and ad art is good.
Countering any possible downward trend are four favorable factors, cited by Swift & Co. economists, Henry Arthur: big birth rate and record youth generation; continued huge demands for invest- ment; government fiscal policy encour- aging purchasing power; and competi- tion for markets.
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Art Director & Studio News
/ November 1953
Still Life. . . Food Photography ~
TONI
12 East 42nd Street,
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To really button that creative art job down
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letters
Why worry about technique imitations — it’s ideas that count!
Regarding the Dale Nichols article in the August issue of Art Director & Studio News:
Let’s face it! Commercial Art is dedicated to “change,” monetary, es- thetic and historical. Those of us who make a living in this field, be he illus- trator, Art Director, or layout man, would do well to learn that if we con- tinue to produce work that is no better tomorrow than it is today we are doomed to a short commercial life. Tie very nature of the field demands new slants and styles. That, in my opinion, is the basic cause of plagiarism. Be- cause of the never ending pace, we have to cast about among publications for ideas. We just can’t seem to keep an Art Gallery in our clip file. When we are inspired by published works, we are apt to look no deeper into the art- ist’s meaning than the superficial style. If we ape this style we are only imtta- tors. Thought is the basis of originality coupled with much smudging and dood- ling, not style alone, Any artist, of whom it can be said, “he has a popu- lar style,” should be aware that this fact is apt to breed competition.
Fortunately, or unfortunately, de- pending on which side of the cash register you are standing, its omy the ‘comers’ and third rate hacks who imitate to the brush stroke, their id-ls. They do not “catch on” until they bring that elusive part of their personality to their work that makes each artist have a style. One should have a healthy fear of them and accept the challenge their imitation offers. No mere imitator can compete with original thinking. No art- ist, especially a popular one, can hope to constantly paint Vermont, or pretty girls, or ‘tear jerkers,’ to the exclusion of every other subject without running the risk of being copied. When style and subject matter go hand-in-hand it is a simple matter to imitate.
Style and technique seem to be ‘the big thing’ today in all branches of art schooling. The same can be said for most art books that give instructions from the type of breadboard to buy to how to hold a pallette. The untried artist can find, only through his own experience, that to ‘be himself’ is the shortest road to success. Also, it seems that a part of today’s thinking is based on imitation, for if Joe Blow can make a success doing it that way, then any-
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Art Director & Studio News November 1953
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one who does it like Joe Blow is a cinch for success.
The highly specialized (so-called) studio and agency setups only add fuel to the fire by attempting to satisfy a client of questionable taste, when they condone imitation. The reasons for this may be many but two glaring ones are lack of funds to pay the original artist and the simple fact that he is too busy with previous commitments to accept the job. The dilemma, of course, lies with selling the artist on style alone. Style and ability do not neces- sarily go hand-in-hand. When ability means knowledge of subject matter then this should be the main prerequisite. Commercial Art is no better than the talent that is available to produce it.
Have you ever heard of a fashion designer who complained of imitators? Imitators are his proof of success. With him, each season it’s something new and different, if only slightly so. In like manner it might be said that any artist who hangs his hat on a changeless style should last only one fashionable art season. The style may sell the artist for awhile but it’s al- ways been the idea that sells the art. May it always be so!
Earl Barnett, AD, Associated Dis- play Service, Chicago.
If something new has been added
If “Something New Has Been Added” then I’m all for “plagarism.” After all it’s no easy thing to achieve the merit of the master. How many Norman Rockwells, Hemingways, Debussys are there? And don’t think for one minute that their art was created through pure inspiration. If you copy verbatim, you are stealing. When you make the least alteration you are either adding your genius to a creation in order that we may have one more artist to appre- ciate, or you are destroying, quickly, the essence of excellence. In the stiff competition of any artistic endeavor you will soon fall behind.
And here a good deal is left up to the wise art director or buyer who should look only for top notch art’sts. If budget hampered he should look for the newcomer who has taken a pre- concieved art pattern and added some- thing new to it, thereby creating with help, what might never be attained otherwise.
Jean Moore, Art Representative, The Illustrators’ Group, N. Y.
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Art Director & Studio News / November 1953
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Art Director & Studio News / November 1953
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the quinsy report
Editor’s Notes: Marge Fletcher, Ac- count Executive of Bielefeld Studios, Chicago, was assigned the role of In- quiring Reporter to probe the opinions, business techniques and ideas of women art directors. Hours of painstaking questioning and analysis of answers developed the following report. The questioning also developed inflamma- tion of the Fletcher throat and gave this enlightening article its name. “Get- ting a woman to talk is not as easy as cartoonists would have us believe,” said Marge in a hoarse whisper. “When they learned they were talking for publica- tion, some women clammed up, others had plenty to say if it were printed anonymously; still others stated their views in a forthright manner and let the quips fall where they may. Out of respect for those who seek anonymity it was decided to handle the matter after the Dr. Kinsey fashion and an- nounce results only in percentages. Ac- cordingly, none of the answers can be pinned on any particular women, but anyone questioning the accuracy of the Quinsy Report is privileged (and I use the word advisedly) to question the fol- lowing in person (a few of the fore- most art directos questioned:”’)
Doris Gregg, AD, Waldie & Briggs, 221 N. La Salle Street, Chicago.
Barbara Holmes, Consulting AD, Hins- dale, Illinois.
Patricia Jackson, AD, J. R. Pershall Company, 105 W. Adams _ Street, Chicago.
Susan Karstrom, (Vice-president, and Chairman of Annual Exhibit of Society of Typographic Arts), AD, Science Re- search Associates, 57 W. Grand Ave., Chicago.
Marcia Morris, AD, Coventry, Miller & Olzack, Inc. 212 E. Ontario Street, Chicago.
Frances Owen, (1952’s Outstanding Advertising Woman of the Year), AD, Marshall Field & Company, Chicago.
How much does “feminine intuition” (which men can’t possibly possess, be- cause they’re men) influence your work? Do you play hunches?
85% acknowledge influence of “femi- nine intuition”.
“Tt not only influences my work, but my entire life”
“Tt’s the biggest influence in my work. With women doing most of the buying today (even in such things as paint, buying, they even do 65% of the buy- ing of beer) more and more advertis- ing should be based on woman’s in- stinctive knowledge of what appeals to buyers.”
“I use feminine intuition in trying to sense what exactly each person is striving for and playing up that angle whether it is prestige, money, etc., which results in better cooperation all around.”
15% don’t depend on intuition.
“T don’t think I have any.”
“Something must have been left out of my make-up; I’ve never found any substitute for cool logic based on known facts.”
Medical authorities agree women, sel- dom develop ulcers; yet male art direc- tors insist theirs is a 5-ulcer profession. From the standpoint of improving the health of the profession, shouldn’t there be many more women art directors? Almost one hundred per cent of the women questioned subscribed with en- thusiasm to (a) the medical authori- ties’ viewpoint, (b) the male art direc- tors’ estimate of their profession and (c) to the pious and purely unselfish program, above suggested, for the gen- eral health of the profession. But a harried 5 per cent wondered if they themselves were not on the verge of discrediting such medical opinion. One answer took an unexpected tack: “The reason there aren’t more women art directors is this: most women don’t want to make the necessary sacrifices of time, energy and social life. Most girls consider a theater — or dancing- date much more important than a dead- line.” (It would be interesting to ask male members of the Art Directors Club of Chicago if they can think of anything in life more important than a deadline).
When is the proper time to turn “d’s- tinctly feminine”, perhaps shed a vag- rant tear; when is a pout effective; when should a girl resort to the line:
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REGISTRATION for WINTER SESSION of the EVENING ART SCHOOL at PRATT INSTITUTE
Applicants for the various courses should present samples of original work at the following evening interviews: Advertising Design, Nov. 30; Industrial Design, Architectural Drawing and Building Construction, Dec. 1; Illustration, Dec. 2; Interior Design, Dec. 3. Applicants for all other classes may be inter- viewed on any of these evenings. The Winter session begins Dec. 7. To receive an illustrated catalog, or for other information, write to the Secretary, Evening Art School, Pratt Institute, 215 Ryerson Street, Brooklyn 5; or phone MA 2-2200.
UITION
T CLASS INSTRUCTOR EVE TIME per TERM
INTRODUCTORY CLASSES
Introduction to Design & Illustration
Krevitsky TuTh 7-10 $45.00 Introduction to Architectural Drawing.. Unger MTu 7-10
$45.00
GENERAL CLASSES
History of Design McNeil Ww 9-10 $ 7.50 History of Architecture ; Ehrlich Ww 7-9:30 $18.75 FOUNDATION CLASSES Design & Color Fundamentals | (Sec A) Lewicki M 7-10 $22.50 Design & Color Fundamentals | (Sec B) Richenburg W 7-10 $22.50 Design & Color Fundamentals || (sec A) : Richenburg Tu 7-10 $22.50 D & Color Fundamentals Il (Sec B) Taylor Th 7-10 $22.50 Perspective (Sec A) Billings M 7-10 $22.50 Perspective (Sec B) Lawson WwW 7-10 $22.50 Perspective (Sec C) Lawson Tu 7-10 $22.50 Media & Technique Control Cline Tu 7-10 $22.50 Object Drawing (Sec A) Sinagra Tu 7-10 $22.50 Object Drawing (Sec B) Murch Th 7-10 $22.50 Object Drawing (Sec C) Sinagra Tu 7-10 $22 50 Object Drawing (Sec D) Casey M 7-10 $22.50 Drafting Fundamentals | LoBarre Th 7-10 $22.50 Dratting Fundamentals I! LoBarre Ww 7-10 $22.50 ADVERTISING DESIGN Layout Applications Lustig Th 7-10 $22.50 Rendering I! (Sec A) Pucci Ww 7-9 $15.00 Rendering II (Sec B) David Ww 7-9 $15.00 Advertising Typography Saelens Th 7-10 $22.50 Advertising Design Review Kennedy M 7-10 $22.50 Advanced Advertising Design Levit M 7-10 $22.50 Typographic Design Secrest Th 7-10 $22.50 ILLUSTRATION Figure Sketching Tu 7 10 $22.50 Figure Modeling M 7-10 $27.50 Figure Structure MTh 7-10 $22.50 Space Composition Ww 7-10 $15.00 am TO 6m
Figure Illustration WwW 7.9 0 oshion Sketchin MTh_ 7-10 $45.00 en's Weal MTuTh 7-10 $50.00
Figure & Portrait Paintirig ARCHITECTURAL DRAWING and BUILDING CONSTRUCTION
Basic Mathematics & Slide Rule Edwardsen Ww 7 9:30 $18.75 Architectural Drawing (Sec A) Sherman MTu 7-10 $45.00 Architectural Drawing (Sec B) Miller MTu 7-10 $45.00 Light Frame Construction & Materials. Zeitlin Th 7-9:30 $18.75 Advanced Architectural Drawing Beisheim WTh 7-9:30 $37.50 Elements of Structures Edwardsen Tu 7-9:30 $18 75 Mechanical & Electrical Equipment Dooley M 7-9:30 $18.75
u nt Reading & Elementar . Estimat hn — si : Alper TuTh 7-10 $45.00 Building Design Kirchman WTh 7-10 $45.00 INTERIOR DESIGN Interior Design Elements (Sec A) Billings Ww 7-10 $22.50 Interior Design Elements (Sec B Billings Tu 7 10 $22 30 Design Procedures & Rendering Smith Th 7-10 $22.50 Interior Architectural Drawing Gooid Tu 7-19 4 Interior Design of Architectural Units Smith M 7-10 $22.50
ontemporary Architecture ‘ ce interior Design Pile 7-10 $22.50 INDUSTRIAL DESIGN Design Techniques Burke M 7-10 $22.50 Technical Dr ng & Introduction ; 4
to Manufacturing Methods & Materials Renwick 7-10 $22.50 Production Methods & Materials Moxwe Th 7-10 $22.50 Product Design asey Tu 7-10 $22.50 TECHNICAL WORKSHOPS - Text ign Probert MW 7-10 $45 0 seaun Uaeinens Herman TuTh 7-10 $45 00 Pastel & Airbrush Rendering . Ebstein Ww 7 10 $22 50 Technical Illustration LoBorre M 7 10 $22 50 Woodworking & Modelmaking Cavalion M 7-10 $27.50
17
1934 PLYMOUTH
art designed
for television
h.c. sanford associates
34 east 39th st.,n. y. murray hill 6-2068
“You're a big strong man, and I’m only a woman.”
50% responded with a_ scornful “Never,” but several added a qualifying phrase “in business.”
“That seems to be the chief criticism of women in executive positions and the sooner women stop resorting to feminine wiles the sooner they will be accepted on equal footing with men. As a matter of fact, men in creative fields are just as temperamental as women and can exhibit more tempera- ment than a woman if she is to avoid being accused of acting “female.”
“I try to avoid using feminine wiles to achieve an end — however, most men expect it.”
“The only time to pull that ‘big strong man routine’ is when there’s a window to be opened or when a file drawer sticks — never when there’s a question of working overtime after a gruelling day, or going home from the office alone late at night.”
40% admitted resorting to feminine
tricks on occasion, but never employing
anything as obvious as a tear or a
pout.
“It can be done without the men realiz- ing it,” said several.
“Who doesn’t throw a tantrum when she (or he) has to meet an unfair deadline?”
6% refused to answer and took refuge
under the Fifth Amendment.
4% were non-commital but challenged
by the question, for example:
“I’m beginning to think I’d better, in order to overcome inherent masculine advantages.”
To reach your present station in the art world what was the toughest lesson you had to learn?
“That a woman must have much more tact in dealing with her business as- sociates than a man. While a man can issue an order as a matter of course, a woman has to make it sound like a request and one that sounds like some- thing the requestee wanted to do any- way.”
“A man can criticise another man’s work and it’s all in the day’s routine, but a woman has to be so diplomatic that the man leaves the interview thinking the criticism was in his own mind all the time.”
“Not to try to compete w:th men on their own ground but to stick to the things that men feel are inherently feminine domains. Not to try to
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Art Director & Studio News / November 1953 9
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‘think like a man’, but to realize that men want and recognize the value of feminine thinking in certain fields. The feminine mind is different from the masculine. A woman can make this a valuable asset and she is foolish to lose this advantage by refusing to acknowledge that there is a differ- ence”.
“The most difficult art problem from the creative point of view of a creative art director seems to be one of con-
stantly improving one’s style — con- sistently trying to outperform one’s self — a constant challenge.”
‘That men don’t like to take orders from women, and we therefore must use diplomacy.”
“My toughest lesson was how to get along with all kinds of people—even when I don’t agree with their think- ing.”
“Not to lose my temper when I can’t put my ideas over.”
As a woman art director what was your most difficult problem? (a) Struggle for equality with men; (b) Getting your compensation up to male standards (c) Master-minding of your work by incompetents?
95% skirted over (a) and pounced on (b) saying “and how” to (c) 5% ad-
mitted failure of acceptance and recog-
nition of ability in comparison with men.
65% considered matter of compensa-
tion of utmost importance, but felt that it is gradually working out satisfac- torily, particularly in the magazine and fashion fields.
30% were sure the issue would always
be with us — that there is no solution
as long as industry knows that women will always have to take time off to have families.
Comment in regard to (a)
“The war did a great deal to put women on an equal footing with men in the business world. Of necessity they had to be given an opportunity to do a man’s job and proved that they could handle it with equal facil- ity. The kids getting out of school and into our business now don’t have anywhere near the handicaps that we had in overcoming prejudices against women executives.”
“Since an understanding of the remi- nine mind is so essential a part of ad- vertising and advertising art, the struggle for feminine recognition is much less a factor in our field than in many others.”
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Art Director & Studio News November 1953
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Dear Bill...
Chicago ad art folk write Bill Sproat on everything from how to get a start in the field to free-lancing, trends in photography and TV, and printing as a hobby
It sure looks different from herel
Now that I look back on 20 years plus in the agency end of the business, I think it all began some years ago dur- ing my first term as Secretary of the Art Director’s Club of Chicago. At that time, the Secretary’s major responsi- bility was for the membership. As a result, he seemed to have more direct contact with the individual members than any other club officials. They just seemed to turn to him for almost any- thing .. . some were matters of a pretty confidential nature, too.
As a result, I found myself involved in questions of working arrangements, definition of function, working condi- tions, going rates of pay, relative cost of art work, actual disputes on various subjects as well as matters of employ- ment ... all seemed to need answers and the club seemed the logical place to which to turn for help. It seemed logical to me too, so I used to take it on.
Later on while serving as President of the Club, I became more convinced than ever that a permanent answer to this combination of needs would go a long way toward satisfying that much discussed question “‘What do I get out of the Club?” Many of our subsequent activities ... our “Information Please”, our Speaking Course and the resulting Speaker’s Bureau, our many joint clini- cal sessions on the cost of art and similar shop-talk type of subjects were evidence of a groping in the right direction. But it never materialized. Maybe it never will.
Maybe now with the founding of this new Personnel Consulting service of mine it won’t be necessary. Many of those ideas, some of them even ideals, with which I flirted back when I was Secretary, are now reality. With only a bare ten months of operation, it is now apparent that such a central clear- ing house of data, information and personnel can be operated on an effec- tive and practical basis. While it’s a little early to tell yet, there’s every evidence that this must grow not only
to regional but to national proportions eventually.
There’s still a long way to go, but it’s obvious we’re on the right track. We're now meeting the need for this highly confidential and personal serv- ice here in the Chicago area. It has met with widespread acceptance and enthusiasm, but this is no part time job . .. it’s no job for an outsider either . . . you have to know the pro- fession and the people in it. That’s why I've taken it on... that’s why I’ve picked it to do for the next fifteen years.
Sounds kind of idealistic, doesn’t it? Actually, it is... in fact sometimes I think it’s a shame it has to be done for money.
Doug Smith, Doug Smith, Inc.
Eenie meenie minie mo
“To the fledgling Art Director, as to a young man in any field, there comes a time when he must choose a definite objective for himself. He must make a basic decision. . . . “Shall I stake my future in the highly competitive, highly specialized large agency field ... or shall I cast my lot with a smaller or- ganization on the way up, where my scope of activity is broader, relation- ships with both agency principals and clients are more intimate, and earning potentials (under profit sharing) can be just as promising’’?
I chose the latter course, and as a result I have been able in a relatively short time to obtain a far better under- standing of practical agency working procedures, a_ versatility which en- hances both the quality and the quan- tity of my work as an art director. In addition, there is a strong sense of satisfaction and achievement in parti- cipating more broadly in the agency’s work and progress.
I feel strongly that the young man, to find himself, and have the best chance to really get his tocth into the game, will choose as I have.”
John Forbes, M. L. Samson Co.
November 24 to Nov. 16th
=. O
You are cordially invited to an Exhibition of 20 years work by the famous British design partnership
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November 1953
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LETTERING
Cl 6-4467
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47 West 44th Street, N. Y. 36, N.Y
It’s a great life
“How about this, at last a fellow gets a chance to tell the world all about why, how, and what he wants to ac- complish in this great profession known as the al-nighty glorified “AD” —
To start well where did it all start? I think we all ask ourselves that question. In my case I feel that luck, friends, criticism, overtime and a little sore-legging have helped pave the way to the much sought after “AD”.
The young Art Director of our time has more of a future than ever before, as Art today is becoming more un- derstandable to the average American Consumer. We’re almost un-limited with the machines we have at our fingertips — T.V. trade papers — direct mail — package design — ete.
- not to mention national advertising.
Working in different agencies I have become aware of the great importance of team work, ideas, experience, knowl- edge of Art Director, Copy Writers, Production Manager, Artist even the client should have a thorough working knowledge of what is being donc. All will blend to attain a crisp, appealing, saleable ad.
I feel my future can not be but an exciting one and plan to make it so by learning and trying different ways and means to produce the makings of an inspired and progressive feeling in my work. This is accomplished by keeping up with what is going on and at all times be ready to encourage a good thing aloud.
Whether we realize it or not—we're all part of a wonderful professicn— packed full of vitality—challenge—en- deavor. The reward is priceless as man, brush and brain blend to create adveor- tisements that millions can see, read, and understand. Yes, the future for a young Art Director is boundless. I’m glad I’m part of it.”
Ed Wentz, J. R. Pershall Co.
A glance at free lance
“Want to know what it’s like to free lance?
Just picture yourself in your ram- bling modern house, clear north light sparkling over smart contemporary furniture through the big studio win- dow that overlooks a quiet wooded dell far from the teeming city. Or, perhaps, high above the crawling taxicabs in your penthouse studio.
You work, when the mood moves you, on a few carefully selected assign-
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in the four-figure billing
ments, all bracket.
When the crass, commercial world begins to press too close, you simply leave the studio for a few weeks, or months, on a leisurely trip to Mexico, Italy, or wherever your soul seeks in- spiration. You might even take along one or two of the more interesting things to do in your spare moments.
Ah, freedom! Even the words “free lance” suggest adventure, glamor, free- dom. They come, you know, from the gallant iron-clad “free lance” who gal- loped about in search of adventure when knighthood was in flower.
You are a free soul—you owe alle- giance to no master—you lend your tal- ent only to those you deem worthy, and who pay you well for it.
This is the romantic life of a free lance! If you think so, you’d better stop smoking that stuff and go back to tobacco.
It’s really like this
A free lance artist (or designer, or art director) is really the proprietor of a small one-man business. He’s his own boss, yes, but he’s also his own hired help—and he could never work for a tougher employer.
He is usually his own secretary, pro- duction manager, salesman, researcher. messenger-boy, bookkeeper, telephone answerer, package wrapper, and a flock of other things. Unless he enjoys doing all these things (which I do not), he should have a representative (which I have) to take over many of these de- tails along with that most important job—selling.
When you free lance your time is, to a certain extent, your own. If you want to play golf, see a show or just take a long lunch, you can do it with a clear conscience—provided it doesn’t interfere with delivery dates, of course. Actually, free lancing is a most pleas- ant and satisfying way to live and work, but you do have to be geared to it. You can be a playboy, but there’s nobody to blame but you when the groceries run low. The glamor touch is strictly from Hollywood.
Free lancing, among other things, gives you much more of an opportunity to do the particular kind of work that interests you—and to stay clear of the kind that does not. When you're on your own, you’re subject to a minimum amount of interference. The pet no- tions, irrelevant suggestions and ex- traneous ideas of the brass, near-brass,
another talented addition to our versatile staff :
Versatile Ed Paulsen, has been for years, the dependable choice of many of the nation’s leading art directors. If you’re not already acquainted with Ed’s work, we'll be happy to show you more...
headquarters for automotive art for 25 years
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Art Director & Studio News / November 1953
PHOTOGRAPHIC
Mm
More than twenty years ago in Chicago, Valentino Sarra opened his studio to make the best in photographic illustrations.
More than twenty years later — and without interruption — Sarra and his organization are still making them... making brilliant photographs of unvarying excellence
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And ... you may be sure that when Sarra, or one of his advertising specialists, focuses on your advertising problem, he Shoots to Sell.
SARA
SPECIALISTS IN VISUAL SELLING Chicago: 16 East Ontario Street New York: 200 East 56th Street
ILLUSTRATION ¢ TV COMMERCIALS « MOTION PICTURES
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and would-be brass have usually been incorporated, or discarded, by the time you get the job.
Any Agency Art Director who has had to sit on the sidelines and watch a fine, simple layout, or a good pic- torial idea “experted” to extinction will agree, I am sure, that this is where the eggs are laid. The job that results from such an egg-laying session is one that the free lance can be “too busy” to accept if he so chooses. Volumes could be written on this subject, but the “ex- perts” wouldn’t bother to read them, anyway.
Free-lance check-list At this point I would like to offer a
little aptitude test that’s guaranteed to be completely unscientific, and is recommended by no panel of experts that I know of. However, if you happen to be tinkering with the idea of mak- ing the jump from the steady lettuce to free lancing, try answering these questions “yes” or “no”.
1. Have I developed a definite product or service to offer to buyers of art work?
2. Am I reasonably sure that there is a market for this product or service?
3. Am /] prepared to face the famine along with the feast to find out?
4. Am I able to finance myself for six months, or a year if necessary?
5. Have I had sufficient professional experience in an agency, studio or art department to know my way around in art circles?
6. Have I complete confidence in my
ability to live happily without
bonuses, trust funds, group insur- ance, retirement pensions and paid vacations?
Am I sure I’ll be the toughest boss
I ever worked for?
~I]
If you answered an honest “yes” to all these questions it doesn’t neces- sarily mean that you’re a cinch to suc- ceed as a free lance, but it does indicate pretty clearly that you’ve already made up your mind to be one.
Welcome! and good luck to you!
Luther Johnson, Verne Smith & Associates
Printing for a hobby
“Judging by the ones I know, artists are probably the greatest hobbyists in the world. They travel, take photo-
graphs, make things with power tools, operate miniature railroads, race sport- raise live stock and do All
sail, things.
ing cars,
many other these hobbies
November 1953
Art Director & Studio News /
ROY GERMANOTTIA INC.
we do all the usual stuff,
but we try to do it
better'n anybody else and that’s what lots of clients say we do. No salesmen, only experienced
art director principals who know what you want.
al, PHONE: ELDORADO 5-71 7 “7° -7155-6
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“Like the Texan always willing to say a kind word for Texas I am always eager to say a kind word for my own
hobby, printing with a small hand press. “This is not an expensive hobby
unless you make it so. I spent thous- ands of dollars on photographic equip- ment and never made a single decent picture. I have only spent a few hun- dreds on printing equipment and while my printing is probably no better than my photography it has brought me more creative pleasure.
“Every artist has ideas he would like to try, things he would like to do his own way regardless of what the client wants. A small hand press and a hand- ful or so of type offers this oppor- tunity. If he is rich he can have his drawings photo-engraved but if he wants to try making his own plates there is plenty of inexpensive linoleum and wood. There are other experimental things to try.
“The beautiful part of this printing hobby is that it has no limitations. You alone set the pace. With limited money you can work small with a mini- mum of equipment. On the other hand if you are one of those who gets his greatest pleasure from buying equip- ment, the supply is endless. There are thousands of type series, all kinds of presses. There are ancient presses to restore and many old type faces to be found in old out of the way print shops.
“What you do with a private press is your own decision. You can print the poems written by a rich aunt and maybe win an inheritance, you can print little cards that you hand out surreptitiously to friends. You can dig up interesting items of intellectual in- terest and make a contribution to the world. Or if you are commercial minded like me you can print mailing cards and booklets -soliciting business.
“There is a tremendous amount of fun and unlimited possibilities in a small private press. If you are inter- ested take a tip from the little ow! and look in the classified directory under printer’s supplies and get in on the fun.”
John Averill
Wake up, Art Director . . Chicago is TV-town
“If your memory goes back to Chicago’s great fair, ‘A Century of Progress,’ you may remember the exhibit which featured a wonderful new invention
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called television. This exhibit of a crude gadget marked the beginning of a new kind of entertainment which was to become known as ‘Chicago-style’ television in almost every home in the nation. We can be justly proud of the part Chicago played in pioneering this most powerful form of entertainment.
Television developed slowly and quietly until the close of World War II when Chicago announced the opening of four commercial television broadcast- ing stations. It was the opening of these stations which started every ad- vertising agency in town buzzing with excitement over the possibilities of a new form of advertising. We were on our way. In a few short years, and not without growing pains, television mush- roomed into one of advertising’s most potent sales forces.
“With the advent of this new medi- um, the Art Directors Club of Chicago was quick to recognize the importance of the vision in television. It was ob- vious from the start that the art direc- tor, with his experience in the graphic communication of advertising ideas, could contribute as much to the better- ment of TV as he had to the betterment of all other forms of visual advertising.
“Today, however, it is also obvious that any progressive, ad-minded art director who hopes to contribute artis- tic thought and guidance to TV, must educate himself in the technical side of television production. To be of any real value, he needs all the qualifica- tions of a publication art director plus showmanship, and an understanding of stage, motion picture and television production techniques. Without this it is impossible for him to contribute con- structively to the improvement of the industry . . . he can only criticize it.
“At any A.D.C.C. luncheon you will hear remarks like these: ‘Television’s for the birds.’ ‘How come they use so much lousy typography?’ ‘Wouldn’t you think they’de get some one in there who knows something about composition to plan those camera shots?’ ‘TV... I want no part of it.’
“How negative can you get! What have these cynics been watching?
“Wake up, Art Director .. . tele- vision is serious business ... the most challenging facet of the advertising business we’ve seen in a long, long time. The air is loaded with stimulating, well produced TV programs. If you will open your eyes, you will find that the success (yes success) of these programs and their commercials is due
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in large to close cooperation between writing, production and art direction.
“We will not deny that there is ample room for betterment in the con- ception and execution of some TV. However, the fact that this is so indi cates that there is also ample oppor- tunity for the art director who is sincere in his desire to contribute to this betterment.
“Wake up, Art Director ... TV is opportunity. If you wish to improve art direction in any medium, success is im- possible without creative talent, busi- ness ability and a thorough technical knowledge of that medium. To improve art direction in television you must devote as much time to the study of the functions of the television and motion picture cameras as you now devote to the study of engraving and printing processes.
“Where better can you learn the TV industry than here in Chicago where it was pioneered? Get acquainted with the people at our television sta- tions. They want to improve the indus- try perhaps even more than you do. Chicago is loaded with fine motion picture and animation studios. They are waiting for you to help them make this the center of the industry.
“Television broadcaster . . . motion picture producer .. . client. They’re all here in Chicago.
“Wake up, Art Director .. is TV-town.”
Scott Park, Television Art Director
. Chicago
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“Just a little over three years ago, when the Artists Guild opened their new headquarters, I was given the key to the Artists Guild cffice and told by Taylor Poore, then Executive Chair- man of the Club Rooms, that he thought an employment bureau within the guild would be of great service to the art- ists, especially to the apprentice. Little did we dream of the great need of this service, not only to the apprentice, but to the Artist of many years’ experi- ence, who was either out of work or looking for a new job to better him- self.
“There was also the urgent need of studios and agencies for regular and
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asking for a paste up—keyline man, (Continued on page 82)
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Three magazines bow
Industrial Design, published by Charles E. Whitney, Whitney Publications Inc., New York, bowed last month. Its pur- pose is to serve creative product de- signers.
Art director Alvin Lustig told AD&SN that he is doing most of the art work for the magazine. He will use photographs and illustrative diagrams, and is working out a special style for Industrial Design.
Expecting, a new maternity maga- zine due this month, will be distributed through doctors’ offices. Issued quar- terly by Barchester Publications, Inc., New York, Expecting will present ma- ternity fashions, baby care, infant clothes and beauty guides.
Art Director Larry Gaynor, Duermos Advertising agency, will do the illus- trations (two-color and b & w). The November four-color cover was done by John Duffy.
Tape and Film Recording is a bi- monthly magazine devoted to all aspects of magnetic recording. Publishers are Mooney-Rowan, Severna Park, Md. Magazine will feature how-to-do-it articles and information on new equip- ment for recording. First issue is the November-December.
Reilly lectures at League
Frank Reilly, artist, teacher, lecturer and writer, is giving the following series of lectures at the Art Students League: Nov. 11, Anatomy; Nov. 17, Perspective; Nov. 24, Drapery; Dec. 1, Abstractions; Dec. 9, Color Abstrac- tions; Dec. 16, Composition.
Series, which began Oct. 7, for both League students and non-students. Fec per session is $1.00.
Art Director & Studio News / November 1953
ART DIRECTOR & STUDIO
Emerson appoints Perton AD. Irwin
Perton has recently been named Art Director of Emerson Radio and Phonograph Corporation.
Mr. Perton has been Art Director of Fuller, Smith and Ross; Hillman Publications; and Jaeger Studios. A graduate of the School of Industrial Arts, he also studied art and design at Cocper Union. His oil paintings have frequently been on exhibition at muse- ums throughout the country and he has received many awards for design.
ATA names officers
At the annual convention of the Ad- vertising Typographers Association of America, Inc., the following officers were elected: Carl H. Ford, J. W. Ford Co., Cincinnati, president; Walter T. Armstrong, W. T. Armstrong Co., Philadelhpia, is vice-president; Mrs. E. W. Shaefer, Tri-Arts Press, Inc., New York, treasurer.
news
NOVEMBER, 1953
Market change boosts design market
Thomas G. Nevell, Chairman of the research committee of the Society of Industrial Designers, predicts that more than $2.5 billion in consumer and industrial products designed by the members of the Society will be sold in the next year.
Mr. Nevell based his predictions on a survey of members and two major shifts in the economy picture: the switch from a sellers’ to a_ buyers’ market, and the cessation of Korean fighting.
Magazine war grows
The women’s magazine battle has got- ten into high gear. To combat store- books (such as Better Living, Family Circle, Everywoman’s, etc.), Ladies Home Journal has begun taking “jun- ior” ad pages. Other similar magazines have followed suit.
| AD&SN publishes largest issue; Sproat is Chicago editor
William E. Sproat, AD at J. R. Pershall Co., Chicago, worked with the AD&SN staff to produce this 112-page issue, the largest in the history of the publication. Previous record issues were May 1953, 100 pages; September, 96 pages; Febru- ary, 92 pages. Last November, also a Chicago issue, was 88-pages, a record at the time. Chicago Business Manager for this current issue was | Seymour Levine, Foote, Cone &
| Belding AD. |
37
Package design said to build sales
“A company’s long range package de- sign ...can mark the difference... between profit and loss,” declared Jim Nash, industrial designer, in an ad- dress before the National Flexible Packaging Association, Hershey, Penna.
Mr. Nash stated that the manufac- turer’s brand name or trademark is the most important building element on any package. He advocates the follow- ing elements in package design: a dominating brand identification; a bold product name or attention getting illus- tration; an orderly arrangement so that design directs reading order; good utilization of space on sides and back of package.
TV causing package redesign
In Tide’s survey of production prob- lems in color TV, the following facts are cited:
Some of the production problems have been solved with paler flesh col- ors, slower camera action, brighter lights, compatible background color, painted miniature sets and costumed dress rehearsals in front of actual sets. A major precaution is avoidance of clashing color.
Networks are offering advertisers’ color clinics to see how their TV com- mercials will look in color.
With complete product identification now achieved, the package has become the salesman. In some quarters this is causing radical revisions in package design and color.
New camera 2% x 2'4 geared
to action photography
Kodak Chevron Camera is designed for the advanced photographic worker. It makes 2%” square negatives and pro- vides 12 exposures on each roll of 620 film. Chevron lens are Ektar 78mm f/3.5; shutter is Synchro-Rapid 800, of the gear-train retard, pre-setting type with continuous-action blades. It offers a choice of 10 shutter speeds from 1 second to 1/800 second, plus “B” for long exposures.
Focusing and viewing system, with a split-field type rangefinder. Permits accurate focusing from 3% feet to in- finity. Viewfinder is enclosed, optical, eye-level with automatic parallax cor- rection over the focusing range.
With an adapter the camera can be used for 828 b & w or color films.
38
Holtz goes to Europe. F. Richard Holtz, a member cf
the Rochester Art Directors Club, has been given a special assignment in in- ternational advertising by the Eastman Kodak Company.
His new appointment will take him to Europe for three months, as a step in coordination of Kodak’s advertising activities abroad.
Mr. Holtz has been with Kodak since 1936, and has headed the Package De- sign Division since 1942. He is a mem- ber of the Packaging Institute, and the Packaging Advisory Council of the American Management Association.
Newspaper changes type
World Telegram & Sun has changed its type face from Ionic, 74 pt. on 8% pt. base, to Intertype Regal No. 2, 8 on 9.
;
Louisville Art Center
Art Center Association School, Louis- ville, gives courses in painting, draw- ing, sculpture, design, commercial art, lettering and layout, graphic art, etc., both day and evening. Spring semester begins February 8. For further infor- mation write the School Secretary, 2111 South First Street, Louisville 8, Ken- tucky.
Museum to show art films
Museum of Modern Art will show sev- eral art films on November 23-29 at 3:00 and 5:30 P.M. Films are Motion Painting No. 1, Boundary Lines, Loops, Pen Point Percussion, and John Gil- pin’s Ride.
AAAA fights objectionable ads
To encourage agency people to report examples of objectionable advertising, the American Association of Advertis- ing Agencies is releasing a series of posters for its participating agencies.
Complaints are forwarded by A.A.A.A. without identification or en- dorsement to agencies placing the ad- vertising concerned, for whatever action the agencies wish to take.
Participation is “open to all agencies interested in voluntary self-improve- ment, as opposed to censorship and regulation.”
SAAD sponsors kids show
Eighty-six paintings by children of SAAD members composed the First Annual Kids Show sponsored by the San Francisco Society of Artists and Art Directors. Paintings were judged by a distinguished group and special awards were given in three age cate- gories. Awards consisted of a citation with a red ribbon attached to a big round gold-wrapped chocolate. Brass rail bar served heaps of lemonade.
HHceW TEP WASTE SWE ATE ts
=F a
=e
Fashion appeal Large photograph of
children in sweaters in outdoor setting, shot by Richard Avedon, dominates this Rinso ad. How- to-do-it photos demonstrate specific use of product. This is part of a series on this theme, featuring the product use rather than the product itself. AD is Rollin C. Smith of Hewlitt, Ogilvy, Benson & Mather.
> 2 teed tele Gnd
— anf eos One
Photo-Lettering adds alphabets
Ed Rondthaler has been abroad secur- ing European alphabets for Photo- Lettering Inc. and one-man calligraphic and lettering shows for the Alphabet Gallery.
Toni Bonagura and Frank Bartuska have transferred their entire “Custom Lettering” line of nearly 100 photo- graphic alphabets to the Company’s library. This line includes many ver- sions of both contemporary and classic designs. A brochure displaying these designs is available from Photo-Letter- ing, Inc., 216 East 45th Street, New York City.
awe oe ef LL
Bradley designs ornaments. Dean of
American typographers, Will H. Bradley, has de- signed Bradley Combination Ornaments for American Type Founders. Each piece is 24 pt. by 24 pt. and the pieces may be arranged to form varied com- binations.
Mr. Bradley hasn’t been at ATF for 50 years. Recently the company had him back for a visit. He looked over ornamental pages from ATF archives, designed by him long ago. His Ameri- can Chap Book series has become a collector’s item.
The eighty-five-year-old designer’s work has strongly influenced the trends in design. He reestablished the popu- larity of Caslon and contributed several new type faces of his own design.
Swiss type booklet
K. Heitz Import Company offers a book- let showing their line of types imported from Switzerland. These types and Swiss color printing plates may be obtained from the Company at 150 W. 54th Street, New York 19.
Art Director & Studio News / November 1953
32nd AD ANNUAL
The 32nd consecutive ANNUAL OF AD- VERTISING AND EDITORIAL ART of the New York Art Directors Club will be published about the middle of November by Visual Arts Books (Farrar, Straus & Young, Inc.—New York).
This new edition presents 368 out- standing examples of distinguished— and successful—art and layouts in 16 broad categories. These award winners and selections were chosen from nearly 10,000 entries by committees represent- ing the membership of the Art Direc- tors Club of New York and included in the Club’s Annual Exhibition held last May at the Grand Central Gal- leries.
The 400 8 x 11% inches pages of the 32nd ANNUAL make this book some 60 pages larger than ever before. It in- cludes twice as many full color plates as in any previous ANNUAL. There is a striking 4-color jacket and, as usual, the book is handsomely printed and bound.
As a special feature the new AN- NUAL includes 16 pungent and spec- ially written commentaries by the fol- lowing top management people in ad- vertising, marketing, and publishing:
James C. Boudreau, dean, Pratt In- stitute, on the educator’s views of the art director’s qualifications and train- ing.
Austin Briggs, noted illustrator, on the illustrator and the art director
Bennett Cerf, president, Random House, Inc., on the art director in book publishing
Gardner Cowles, editor, Look Maga- zine, on the magazine art director
J. H. S. Ellis, president, Kudner Agency, Inc., on the art director as a salesman
Francis W. Goessling, art director, Abbott Laboratories, on the art direc- tor’s role in house organs
Albert Hailparn, president, Einson- Freeman Co., Inc., on selling ideas in posters and point-of-sale display
F. Raymond Johnson, executive vice president, Saks Fifth Avenue, on the art director in a department store
J. Louis Landenberger, president, Ketterlinus Lithograph Co., on the art director’s influence on poster and point- of-sale advertising
Herbert R. Mayes, editor, Good Housekeeping, on how the art director influences the editorial field
Barrie C. McDowell, Director’s Art, on the representative’s relationship to art director and artist
Georg Olden, director of graphic arts, C.B.S. Network, on the work of the art director in the television field
Allyn Shilling, director of advertis- ing, National Distillers Products Corp., on the art director’s influence on trade periodical advertising
Frank Stanton, president, C.B.S. Net- work, on the role of the art director in broadcasting
Ivan Veit, promotion director, N. Y. Times, on the newspaper art director.
Walter Weir, vice president, Dona- hue & Coe, on the copywriter and the art director
The 32nd ANNUAL is designed by Martin Stevens (AD of Ellington & Co.) and edited by George Failes (AD of the Kudner Agency, Inc.), under the committee chairmanship of Robert Mc- Callum (McCallum Studios). Other committee members include: Mahlon A. Cline, business manager; Ralph Seber- hagen, publicity; James Buckham; Heyworth Campbell; Arthur Hawkins, Jr.
Minneapolis starts with exhibit The AD Club opened the season with an exhibit of layouts and finished art for True Magazine. Al Allard, AD of True furnished the art work shown. Besides plans for future meetings, a committee was formed to entertain and paint murals in children’s hospitals.
Joint Ethics Committee New officers
and members of JEC of New York are: Albert Dorne, Society of Illustrators; Charles Frei- muth, Artists Guild; Lionel Gilbert, So- ciety of Illustrators; Roswell Keller, Society of Illustrators, treasurer; Adolph Treidler, Artists Guild, vice- chairman; Jack Jamison, Art Directors Club, retiring chairman; Walter Nield (AD, Young & Rubicam), Art Directors Club; Cecil Baumgarten (AD, Green- Brodie), Art Directors Club, chairman; Henry Mitchell Havemeyer (AD, Haz- ard Advertising), Art Directors Club, secretary; Vera Richstone, executive secretary; Ed Ashe, Artists Guild (not shown).
39
Logo speaks for itself in Kellogg ad which was ADed by Andy Armstrong, Leo Burnett Co., Chicago. In a world of many brands this brilliant red logo with its simple editorial material gives strong identification.
DMAA elects
Lawrence C. Chait, director of list re- search at Time, Inc. has been elected president of the Direct Mail Advertis- ing Association.
Other officers are: vice-president, Charles S. Downs, Abbott Laboratories, North Chicago; Canadian vice-presi- dent, Howard S. Mark, Robert Simpson & Co., Ltd., Toronto; secretary, Arthur W. Theiss, Minnesota Mutual Life In- surance Co., Inc.; treasurer, Herbert Buhrow, McGraw Hill Company.
New Jersey group exhibits fine art
A group of eleven New Jersey art directors, designers and commercial illustrators are holding their first fine art painting exhibition. The two week exhibit opens November 15 at the Silo in Morris Plains, New Jersey.
Exhibitors are: Frank Childers, Lou Hanke, Merrill Harvey, Homer Hill, Jo Kotula, Joseph Low, Howard Mur- phy, Kenneth Olsen, Everett Sahrbeck, Stanley Sherwin, Edward Turano.
This unorganized group meets month- ly for criticism of fine art paintings which are brought each time by mem- bers.
40
Museum to sell Christmas cards by modern artists
Christmas cards by such world-famous artists as Picasso, Matisse, Rouault, Ben Shahn, and Saul Steinberg are on sale at the Museum of Modern Art, 11 West 53 Street, New York. This year cards may be ordered imprinted with individual names.
At prices ranging from 5 to 25 cents, cards may be had at the main lobby or by mail order. Samples are available on request.
Art Students League scholarships awarded
Eighteen students have been awarded merit scholarships totaling $4,000. Winners from New York are: Seva Alvanos, Roger Barnes, Carroll Cart- wright, Tamara Gray, Cynthia Hilsen- rath, Alexander Martin, Martin Pojan, Gordon R. Press, Lillian Rochlin, Bar- bara Silbert, Walter S. White, Dolores Wisinski and Frank Yee.
Five other scholarships go to George T. Mukai, Spring Valley, Calif.; J. Bardin, Elloree, S. C.; Esther Cohcn, Boston, Mass.; Nik Puspurica, Dallas, Texas; Bernice Hoffman, St. John, N. B., Canada.
Creative Plus moves to Fredman-Chaite
Creative Plus Forums, formerly spon- sored by Hampton Studios, is now under the sponsorship of Fredman- Chaite Studios, Inc.
November 18 meeting will be on De- sign and Sales with Will Burtin and Dr. Robert Leslie as speakers. Carl Weiss moderates. Meetings are held as usual at Willkie Memorial Building, 20 W. 40th Street, New York, at 7:30 P.M.
Fredman-Chaite also announces a new monthly house organ.
AIGA appoints Morrow
Joyce Morrow has become executive ad- ministrator of the American Institute of Graphic Arts. She will also direct the newly formed public relations program.
Mrs. Morrow’s former New York affiliations include association with Columbia University Press, assistant manufacturing director of H. Wolff Book Mfg. Co., and copy chief of Life Magazine. Most recently she has been associated with Lewis & Gilman, Inc., Philadelphia advertising and merchan- dising agency.
if your're still looking for
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A PRIMADORA Is Pu
Design with product In the new
trend of cigar advertising Oscar Krauss, Monroe Greenthal Company AD, gives La- Primadora extra impact. Functional use of product in design with cigars is similar to Empire pencil ad in October AD&SN.
maith pn ae roeoelUrelUrl UF
Heres a for instance
Bisquick 2 No Ow —
Departs from “pretty color’ A D
Bill Schneider’s idea was to focus attention on product without run-of-the-mill lus- cious-color appeal. Sweep device of 12 uses is flexible and series uses various ones as feature. Photography was done by Horace Hime, Ray Shaffer Studios. Schneider is with Knox Reeves in Minneapolis.
School of Design gives airbrush instruction
Classes in airbrush techniques and air- brush applied to advertising art and textile design are being offered by the New York-Phoenix School of De- sign, 160 Lexington Avenue, New York City. Classes will meet once weekly for ten sessions. S. Ralph Maurello, author of “Commercial Art Techniques” and “The Airbrush Manual”, is instructor.
New film gives greater contrast
Supreme Type 2, similar to Ansco Supreme Film in speed and most other characteristics, offers a normal grada- tion appreciably steeper to yield more brilliant negatives.
Regular Supreme with normal devel- opment makes negatives with a gamma range of .65 to .75. Supreme Type 2 with equal development yields negatives with a gamma range of .75 to .85.
Ansco Supreme Type 2 is available in the following sizes and lengths: 35mm x 100’, unperforated DRL; 35mm x 200’, unperforated DRL; 70mm x 100’, unperforated DRL on #473 Core; 70mm x 100’, unperforated DRL on #472 Core; 1.81” x 200’, single per- foration DRL.
Art Director & Studio News / November 1953
Phenolic slides responsible for yellow plague
Yellow cast on Ektachrome, daylight and Ektacolor Type B, has been traced by Eastman Kodak researchers to phe- nolic slides in film holders.
Exposure to daylight or repeated strobe flashes “activizes” the outside surface of the slide. In use the slide is normally reversed which brings acti- vated side close to the film. This ex- poses onto the film the plus-yellow characteristic which plagued photog- raphers and processors.
To avoid this reaction, it is recom- mended that slides not be reversed when using color film. Also slides may be treated in 20% sodium bisulphite to reduce the susceptibility to activation. Clean slides thoroughly and soak in the solution for 8-24 hours.
PSA and RIT offer scholarships Photographic Society of America has set up a Scholarship Plan in conjunc- tion with Rochester Institute of Tech- nology. National in scope, the plan provides several $400 scholarships (the full annual tuition) for 1953-1954 school years.
Further information may be obtaincd from PSA Headquarters, 2005 Walnut St., Philadelphia 3, Pa.
NORTHWEST 8 «e AIRLINES ~_ oe weil mite, \ a
Client decided to bleed Northwest
Airlines ad because of his enthusiasm about the art work. Painting was done by Ned Seidler. Chartes Coltrera, Cunningham & Walsh, was art director.
Period design at Williamsburg
“What’s American About American Antiques?” and 18th century antiques will be the major questions discussed at the 1954 Williamsburg Antiques Forum.
Two five-day sessions begin Jan. 25 and Feb. 1.
In media and as p.o.p. Riding Hood Red ad was most powerful promotion in
the history of Max Factor: sold more lipsticks of this one color than all other colors combined, according to AD Bob Gage, Doyle-Dane- Bernbach, New York. Photographer was Milt Green.
4
Prudential can guarante
monev to compfete vour child's educat
Strikes a practical note Handwriting
is that of a child (incidentally, AD Bill Bowman tells us that he’s had several phone calls from children named “John M.” who claim to have written the ad—and wanted to collect!). Becker-Horowitz was photographer. 4-color ad ran in Sunday supplements and B & W in Sunday papers. Mr. Bowman is with Calkins & Holden, Carlock, McClinton & Smith, New York.
=»? | Pe ee (the tee ‘he ee 8 ee hate
Recognition attained Bob Gage, AD
at Doyle-Dane- Bernbach, originated the red “A” which gives immediate identification to Acri- lan. This is one of a series, all photo- graphed by Studio Associates, New York, which established the new name in synthetics overnight.
422
35mm film sparks Mercury campaign
The story of how 35mm film has been used successfully in an extensive na- tional advertising campaign is told in the current issue of Leica Photography magazine.
Entitled “A Case History of a Suc- cessful Advertising Campaign Done in 35mm Photography,” the article tells the how and why of the current pic- ture-caption Mercury automobile cam- paign. In addition to emphasizing the versatility and economy of 35mm pho- tography, the article points out that no problems were encountered in reproduc- tion and engraving.
AD’s for Kenyon & Eckhardt were William Reinicke in New York and Bill Johnson in Detroit. Johnson, who wrote the story, states that he expects to continue using the Leica and other 35mm equipment as a saver of both time and money for the duration of the picture campaign.
Doctor tells PSA about stereoscope vision
Photographic Society of America (New York Technical Division) featured at its October meeting a talk on “Stereo- scopic Vision and Depth Perception”.
Speaker, Dr. Arthur Linksz, stated, “If one looks . . . with one eye only, one does not see (things) flat. Basic cues of depth and distance are offered by ... the single eye and... . distribu- tion of detail, according to laws of geometric perspective ... Vision with both eyes adds the quality of steropsis (which) is significant at close range only ... 3-D movie technique will add to impressiveness of the inti- mate; it will be wasted on the monu- mental.”
Dr. Linksz, Assistant Clinical Profes- sor, NYU Postgraduate School of Medi- cine, went on to say, “. .. the enlarged screen with its greater reliance on peripheral vision probably offers great- er possibilities.”
Rochester Conference explores photo developments
National Press Photographers Associa- tion and George Eastman House spon- sored the first nation-wide meeting of newspaper and magazine executives aimed at exploring ways and means of making better use of photography. Robert Dumke of the Milwaukee Journal described what his newspaper
is doing with the three-color printing process which eliminates the need for an engraving that prints with black ink, thus saving one-third the time.
Two new films, designed for press photographers, were discussed. One, developed by duPont, will reduce the need for retouching and result in better transmission and reproduction of the images. It is said to have a long tonal scale and a higher red sensitivity than former products.
The other film, Eastman Kodak’s, is the result of a “revolution in emulsion making” which permits the manufac- ture of film with greater speed without increase in graininess.
v- 7
Arthur Munn, well known art director
of New York and Phila- delphia, died at his summer home in Sep- tember. Born in Scranton, he came to Philadelphia where he first worked as a retoucher’s assistant. He did free lance work with N. W. Ayer and even- tually became manager of the art de- partment there. Later he formed Young & Rubicam in New York with some of the Ayer people.
Mr. Munn resigned from Y & R to form his own agency. During this period he became associated with the Phileo account, for which he is most noted. He helped form the New York Art Directors Club and later, when back in Philadelphia, he helped organ- ize the Philadelphia Club.
Show marks premium gain
New York Premium Show speakers em- phasized the bigger role that premiums are playing in advertising and selling. Their use is the highest in the past twenty years and substantial gains are expected this year.
=" fo. © 2 wf © = SS
O PROVE
‘Sanforlan woouens won't suet
fo oad te
See for yourself Sanforlan won’t
shrink, so the cam- paign demonstrates. AD Denny Cava- naugh of Y & R, New York, had Her- bert Matter shoot a batch of pictures of fully clothed models submerged in a tank of water. Series showed several variations on this idea, showing fully clothed girl taking a shower; two chil- dren, dressed of course, playing in a bathtub, etc.
N S
Baltimore Club sponsors lectures at Maryland Institute
Art Directors Club is sponsoring a series of monthly lectures, visitations and symposiums at the Maryland In- stitute of Art during 1953-54. Program is for advertising design, general de- sign, fine arts illustration and fashion illustration students.
Seattle exhibits children’s art, discuss photoengraving
Seattle’s Art Directors Club sponsored first annual children’s art show was the feature of the Club’s first fall meet- ing. Fathers of the winning children were Robert Matthiesen and Armistead Coleman.
After the show, the meeting became an open forum on _ photo-engraving techniques.
Art Director & Studio News / November 1953
ADC-NYU introduces art direction course
Art Directors Club of New York, in cooperation with the Division of Gen- eral Education of New York Univer- sity, is sponsoring a series of discus- sions on Art and Design for Manage- ment. The emphasis is on the art di- rector’s role in business. Goal of the Club is to have art direction recog- nized as a specialized profession.
Series, already begun, meets each Thursday evening. Discussions which have already occurred are: Art and Design for Management, Wallace W. Elton; Advertising Agency Art Direc- tion, Lester Rondell; Even Big Business Needs an Art Director, Roy W. Tillot- son; Publication Art Director and his Work, Suren Ermoyan; Retail Art Director: Sales and Merchandising Ap- peal, Juke Goodman.
The next five sessions beginning Nov. 12, are as follows: The Television Art Director, Georg Olden; The Free-Lance Art Director, Lester Beall; Let’s Not Kid Ourselves—Art is a Business, Al- bert Dorne; Reader Research—Step- ping Stone or Stumbling Block, Mitch Havemeyer; Art Direction is Indispen- sable to Management, Arthur Hawkins, Jr.
L.A. Club begins year
First meeting of the Los Angeles Art Directors Club featured cartoonist Vir- gil Partch in a “chalk talk’. Saul Bass, with the assistance of color slides, gave a comprehensive report on the Aspen, International Design Conference.
Chicago opens season
Initial meeting for 1953-54 of the Art Directors Club of Chicago was a lunch- eon with Charles W. Harper speaking on “Does Good Design Sell in the Mass Market?”
Awards Dinner for the 21st Annual Exhibition will be November 11 in the Red Lacquer Room of the Palmer House. Jack Tinker, McCann-Erickson, will speak on “New Horizons in Ad- vertising”’.
Phila. exhibits in December
Art Directors Club 19th Annual Exhi- bition of Advertising and Editorial Art will be shown December 5 through Jan- uary 3. at the Pennsylvania Academy of the Fine Arts, Broad and Cherry Streets.
For information on entries contact the AD Club at 212 S. 15th Street.
San Francisco exhibits
Sixth Annual Exhibition of Advertis- ing Art, sponsored by the Society of Artists and Art Directors of San Fran- cisco, was held through November 6. Of 1000 entries 266 were chosen for the show. Selected entries covered con- sumer and trade publications, national and regional newspapers, local and re- tail newspapers, small space advertis- ing, 24-sheet posters, painted bulletins, car cards, displays, annual reports, books, booklets, and house magazines. In addition there were classifications for lettering, design, editorial art and advertising photography.
Winners had not been announced at the time of this writing.
Washington ADs meet
First meeting .of the newly formed Washington Art Directors Club was held in September. Kenneth Stuart, Art Editor of The Saturday Evening Post, was the featured speaker.
Atlanta Club plans group insurance
Art Directors Club of Atlanta has a tentative plan for group insurance for its members. For further information regarding details, contact Owen Bugg, 610 Walton Bldg., Atlanta, Ga.
chapter clips
Atlanta: Charles A. Noel, Tucker Wayne & Co., has become a new member.
Boston: Phil Coyle of Baker Studios won the Photo-Engravers and AD Club award for the best cover for the Nov- ember issue of Photo-Engravers Bul- letin.
Chicago: Additions to the Art Directors Club of Chicago are as follows: Gordon D. Fisher, the Brady Company; Pa- tricia M. Jackson, J. R. Pershal] Co.; Melvin T. Miller, Proebstring, Taylor, Inc.; Marcia Morris, Coventry Miller
& Olzak Ine.; Richard Schmickrath, The Brady Co.; John Yan Auken, The Brady Co.; Edwin R. Wentz, J. R. Pershall Co.
Philadelphia: October meeting spes\ers were Wallace Elton, Cecil Baumgarten, and Don Barron (AD&SN publisher).
San Francisco: SAAD is beginning a pub- lic speaking course for members.
21ST ANNUAL EXHIBIT THE ART DIRECTORS CLUB OF CHICAGO
As you review the exhibit in this year’s Art Directors’ Show, you will
be reminded again of the important role the Art Director plays in capturing the attention of an over-exposed public. You will see here, too —in the cleaner, more graphic images —the unmistakable influences of TV competition.
Specifically, we are most impressed with the large number of deftly handled
Trade entries. In this category, the light touch .. . the cartoon...
the uninhibited brush would seem to have achieved a freedom and an expression which is all too seldom seen in consumer art. Perhaps another year will bring more frequent application of this same sort of happy ingenuity to the field of consumer advertising.
It is evident from all exhibits that the graphic arts industry, as a whole, is arriving at a sharper,
truer interpretation of its own visual medium.
Edttora Note: My Grandfather Sproat was the editor of a string of Michigan newspapers he and his brothers owned, and if my experience of being the edilor of this issue of ART DIRECTOR & STUDIO NEWS is any indication of what he went through every day, then
I’m glad that I’m an Art Director
EDITOR ADCC issue of AD & SN
% —Stors denote medal award winners
| )—Numbers in circles denote merit award winners
1 —Numbers denote other exhibits
C
A-] *®
(~
Art
~
Designer-A.D.: Andy Armstrong
Producer: Leo Burnett Company
Advertiser: Kellogg's
Artist: Andy Armstrong
Designer-A.D.: Hal Smiley
Producer: J. Walter Thompson Company
Advertiser: Parker Pen Co.
Artist: Phoebe Moore
) Designer-A.D.: Walter Reinsel and
Neil Fujita Producer: N. W. Ayer & Son Advertiser: Container Corp. of America Artist: Arthur Williams Designer-A.D.: Ernest C. Allen Producer: Needham, Louis & Brorby, Inc. Advertiser: Morton Salt Co. Artist: Bernard Pertchik
Director & Studio News / November 1953
PONTREDTE
COER: CHRISTMAS enue
- hihdl 4 Vhs d all “tel we}
(5) Designer-A.D.: Mack Ray
Producer: Leo Burnett Company Advertiser: Chas. Pfizer Company Artist: Van Baerle
A-2 #&@®) Designer-A.D.: S. Neil Fujita
Producer: N. W. Ayer & Son Advertiser: Felt & Tarrant Artist: Arthur Williams
: ) Designer-A.D.: John Averill
Producer and Advertiser: Collins, Miller & Hutchings Artist: John Averill
(8) Designer-A.D.: Chuck Hayden
Producer: N. W. Ayer & Son
Advertiser: Container Corp. of America
Art: Barney Line and S. Neil Fujita
(=
Designer-A.D.: Herman |. Shore Producer: Kuttner & Kuttner Advertiser: Plastics Engineering Co. Artist: Franklin McMahon
Designer-A.D.: John W. Amon
Producer: Needham, Louis & Brorby, Inc.
Advertiser: Cummins Engine Co., Inc.
Art: Norman Rich Studios
A-3 11) Designer-A.D.: Lee King
Producer: Weiss & Geller Advertiser: H. W. Gossard Co. Artist: Bassett
12) Designer-A.D.: Frances Owen
Producer and Advertiser: Marshall Field & Company Artist: Betty Barclay
4&5
Oe AT BOM
ee,
SOLO om OO
13) Designer-A.D.: Robert A. Patterson Producer: McCann-Erickson, Inc. Advertiser: Brunswick-Balke-
Collender Co. Art: Leo Randell and Galvin G. Van Lonkhuyzen
14) Designer-A.D.: Clark Maddock Producer: McCann-Erickson, Inc. Standard Oil Co. of Ohio
Art: Lou Federman & Associates
Advertiser
A.4
5) Designer-A.D and Producer: Don Walkoe Advertiser: Geeting & Fromm
Don Walkoe
Artist
16) Designer-A.D.: Lee King Producer: Weiss & Geller Advertiser: Luxite Lingerie Artist: Herbert Matter
THE MOGMEST TEST Gago. we
Madd itcbpy
w
A-5 NO AWARDS IN THIS CLASS
A-6 NO AWARDS IN THIS CLASS B-1 ¥& 47) Artist: Hans Erni Art Director: Paul Smith Producer and Advertiser: Rand McNally & Co.— Edwin Snyder Artist: LeRoi Nieman Art Director: Frances Owen Producer and Advertiser: Marshall Field & Company
x)
Artist: Henry Wenclawski
Art Director: Hal Paus
Producer: Henry Wenclawski
Advertiser: Advertising Division, U.S. Savings and Loan League
B-2 ¥%& 20) Artist: Fred Conway
wt nw
Art Director: Walter Reinsel
Producer: N. W. Ayer & Son
Advertiser: Container Corp. of America
B.
Artist: Jean Varda Art Directors: Walter Reinsel and S. Neil Fujita Producer: N. W. Ayer & Son B. Advertiser: Container Corp. of America Artist: Lily Harmon ¢ Art Director: R. Blayne McCurry Producer and Advertiser: Abbott Laboratories
23) Artist: William Gropper
Art Director: R. Blayne McCurry Producer and
Advertiser: Abbott Laboratories Artist: H. Charles McBarron Producer: Stevens-Gross Studio Advertiser: Esquire Magazine
B-
B-
B- Ke (20
z
\ Bi Chew] r le
Ml
2 NO MEDAL AWARDS NO MERIT AWARDS 4 Artist: Bernie Pertchik Art Director: Bernard Anastasia Producer: Campbell-Mithun, Chicago Advertiser: American Dairy Assn. 5 Artist: Dale Maxey Art Director: Frank Follmer Producer and Advertiser: The Rotarian Magazine
7) Artist: Adolf Dehn
Art Director: F. W. Goessling Producer and
Advertiser: Abbott Laboratories Artist: Franz Altschuler
Art Director: Marilynn Knudson Producer: Franz Altschuler Advertiser: Scott, Foresman & Co.
Art Director & Studio News /
November 1953
C-]
NO MEDAL AWARD
29) Photographer: Kenneth Heilbron
3
Art Director: Frances Owen Producer: Kenneth Heilbron Advertiser: Marshall Field & Co.
Photographer: Ben Rose
Art Director: Marvin Potts
Producer: Foote, Cone & Belding
Advertiser: Hiram Walker Inc.
Photographer: William Richards Art Director: Clark Maddock Producer and
Advertiser: McCann-Erickson, Inc.
Photographer: Karl Oeser Art Director: Dick Weiner Producer: Sarra, Inc. Advertiser: The Pullman Co.
& Sons,
C.2 ¥% 33) Photographer: Jim Carl Art Directors: Bob Miller Wood Producer: N. W. Ayer & Son Advertiser: Caterpillar
3
35
-_
oS)
and Bill
Photographer: Jim Carl
Art Directors: Scott Runge and Bill Wood
Producer: N. W. Ayer & Son
Advertiser: Caterpillar
Photographer: Cle Clark
Art Director: Al Scott
Producer: Campbell-Ewald, Detroit
Advertiser: Champion Paper Co.
Photographer: Genevieve Naylor N.Y.
Art Director: Dean Coyle, N.Y.
Producer: D'Arcy Advertising Company
Advertiser: Coca Cola ry)
Jeb + Me we aed Mewes 16 ave raetone
gives greatest valwe today! Me I me
37) Photographer: d'Arazin Edward Spahr
5 ‘ Producer: Ketchum, Macleod &
Art Director
rove, Inc
A or etal R yoy 7 Advertise jones & Laiat r
38) Photographer: Herbert Matter
A
Art Director: Lee King
Producer: Weiss & Gel er
Advertiser Moleporoot Mosiery CoO 9 Photographer: William Richards Art Director Fred H. Stickle Produce or & mith & Ross - Producer: Fuller & Sn . Ross, Inc A an. . 2 \ Advertiser VVestir el use Electric Corr
40 Photography: Bob Elmore and Bill 4 Meyers
Art Director: Frances Owen
er emeny tee
PMewhution with « memnr\
fou “WHE
? | > @ Producer and Producer: Leo Burnett Co. Advertiser: Marshall Field & Co Advertiser: Pillsbury 41) Photographer: William Richards C5 Art Director: Fred H. Stickle — , Lg ¥%& (45) Photographer: Bertrand Miles Producer: Fuller & Smith & Ross, Inc ; , \A/ \ Art Director: Le Roy Winbush Advertiser: Westinghouse Electric pa Producer: Ebony Mogazine Cor gozi Advertiser: Johnson Publishing Co. C-4 3) Photoaran Hal 5 Vesle 42) Photographer: Hal Bacon, Wesley i) Photographer: Wesley Bowman i csicamen Missiles C a -eaieatita Studio Art Director: John Wilber Art Director: W. W. Johnston Producer: Tempo, ine , Producer ouna & hican a y a & Rubicam Advertiser: Armstrong Cork Co. Advertiser: Zenith Radio Corp Colorful livien 43) Photographer: A. George Miller : Art Director: James G. Sherman 47) Photographer: Wesley Bowman Producer: McCann-Erickson, Inc Art Director: Harriet Roseman Advertiser: Swift & Company Beckman 44) Photographer: Van Baerle Producer: Tempo, Inc
Art D rector Byron Drachman
Advertiser: United States Gypsum Co.
= cial al
-
A. Design of Complete Advertisement
A-| 6. Designer-A.D.: Marce Mayhew and
™N
@
Art Director & Studio News /
or Unit in:
1. MAGAZINES
Paul Smith
Producer and Edwin Snyder—Rand
Advertiser: McNally & Co.
. Designer-A.D.; Robert D. Dohn
Producer: Foote, Cone & Belding Advertiser: Beatrice Foods Co. Artist: Mary Blair
Photographer: Charles F. Kuoni Studio
Artist
Designer-A.D.: Harry Lindemann
Producer: Krupnick & Associates Advertiser: Reardon Paint Co.
Designer-A.D.: Paul Darrow
Producer: N. W. Ayer & Son Advertiser: General Mills Artist: Tana Haban
. Designer-A.D.: Clark L. Robinson
Producer: Fuller & Smith & Ross Advertiser: Otto Konigslow Artist: Andrew Lee
. Designer-A.D.: Walter Reinsel
Producer: N. W. Ayer & Son Advertiser: Container Corp. of America
Artist: McNight Kauffer
Artist
Designer-A.D.: Irving Titel
Producer: Irving Titel Advertiser: James B. Beam Distilling Co. Agency: Burton Browne Adver- tising Agency
. Designer-A.D.: Paul Smith Producer and Edwin Snyder—
Advertiser: Rand McNally & Co. Artist: Charles Adorney Agency: Calkins & Holden Car- lock, McClinton & Smith Artist
Designer-A.D.: Walter Reinsel
Praducer: N. W. Ayer & Son Advertiser: Container Corp. of America
. Designer-A.D.: Mack Ray
Producer: Leo Burnett Co. Advertiser: Chas. Pfizer Co. Artist: Van Baerle
. Designer-A.D.: Hal Smiley
Producer: J. Walter Co. Advertiser: Parker Pen Co. Artist: Dale Maxey
Thompson
. Designer-A.D.: John W. Amon
Producer: Needham, Louis & Brorby, Inc. Advertiser: Marathon Corporation
November 1953
20.
2
22.
02s.
24.
26.
27.
28.
29.
Artist:
. Designer-A.D.:
Producer: Advertiser: Photographer:
. Designer-A.D.:
Producer: Advertiser:
Artist: Designer-A.D.: Producer: Advertiser: Agency:
. Designer-A.D.:
Producer: Advertiser: Artist: Designer-A.D.: Producer and Advertiser: Artist: Designer-A.D.: Producer: Advertiser:
Artist:
Designer-A.D.: Producer: Advertiser:
Artist: Photographer:
. Designer-A.D.:
Producer: Advertiser: Artist:
Designer-A.D.: Producer: Advertiser: Artist:
Designer-A.D.: Producer: Advertiser: Artist: Designer-A.D.: Producer:
Advertiser: Artist:
Artist Designer-A.D.: Producer: Advertiser:
John Howard— Sundblom, Johnston & White
Richard E. Owen McCann-Erickson, Inc. Swift & Co.
A. George Miller— Sarra, Inc.
Wilbur Smart
D'Arcy Advertising Company
The Coca Cola Company
John Howard
Louis H. Ingwersen Faithorn Corp.
Kraft Foods Co.
J. Walter Thompson Co.
Chuck Ax
N. W. Ayer & Son United Air Lines
Ray Ballinger
Paul Smith
Edwin Snyder— Rand McNally & Co. Marce Mayhew
Al Palmer
Young & Rubicam, Inc. Elgin National Watch Co.
Archie Freedman,
Paul D'Ome Studio Robert D. Dohn Foote, Cone & Belding Beatrice Foods Company
Mary Blair
Charles F. Kuoni
Andy Armstrong
Leo Burnett Co. Kellogg Co.
Hi Williams & Assoc.
Andy Armstrong
Leo Burnett Company Kellogg Co.
Alice and Martin Provenson
Richard Weiner Young & Rubicam, Inc. The Pullman Co. Whitney Darrow, Jr. Ernest C. Allen Needham, Louis & Brorby, Inc.
Morton Salt Co. Bernard Pertchik
Gordon Fisher
The Brady Company Whiting-Plover Paper Company
30. Designer-A.D.:
Producer: J. Walter ThompsonCo.
Advertiser:
Artist:
a Artist Designer-A.D.: Producer and Advertiser:
32. Designer -A.D.: Producer and Advertiser:
Artist:
Agency:
33. Designer-A.D.: Producer and Advertiser:
Artist:
Agency:
34. Designer-A.D.: Producer: Advertiser:
Artist:
35. Designer-A.D.: Producer:
Advertiser:
Artist:
36. Designer-A.D..: Producer: Advertiser: Photographer:
2. TRADE
A-2 42. Designer-A.D.: Producer: Advertiser: Artist: 43. Designer-A.D.: Producer: Advertiser: Artist: 44. Designer-A.D.: Producer: Advertiser:
Artist:
45. Artist Designer-A.D.: Producer and Advertiser:
46. Designer-A.D and Producer: Advertiser:
Artist:
Agency:
47. Designer-A.D.: Producer: Advertiser:
Artist:
George Allen
Weco Products Co. Morton Berger
Ernest C. Allen Needham, Louis & Brorby, Inc.
Paul Smith
Edwin Snyder—Rand McNally & Co. Hans Erni Calkins & Holden, Car- lock, McClinton & Smith Paul Smith Edwin Snyder—Rand McNally & Co. Chesley Bonestell Calkins & Holden, Car- lock, McClinton & Smith Harry Lindemann Krupnick & Associates Bank Building & Equip- ment Corp.
Cassel Watkins and Stevens
Ernest C. Allen Needham, Louis & Brorby, Inc. Morton Salt Co. Bernard Pertchik Andy Armstrong Leo Burnett Company Kellogg Co. Charles Kuoni
PERIODICALS
Bob Seitas McCann-Erickson, Inc. Perfection Stove Co. Ted Gorka Bob Seitas McCann-Erickson, Inc. Perfection Stove Co. Ted Gorka
Chuck Hayden
N. W. Ayer & Son Container Corp. of America
Milt Fisher
John Averill Collins, Miller & Hutchings, Inc.
Helmut Boenisch Whiting Corp Henry Ziolkowsk Waldie, Briggs, Inc Robert A. Patteron McCann-Erickson, Inc Bell and Howell Stephen Heiser
49
48. Designer-A.D.: Clark L. Robinson
49.
51.
52.
54.
55.
56.
57.
Producer: Advertiser: Artist:
Designer-A.D.: Producer:
Advertiser: Artist:
. Designer-A.D.:
Producer:
Advertiser: Artist:
Agency: Designer-A.D.:
Producer:
Advertiser: Artist:
Artist Designer-A.D.: Producer and Advertiser:
. Designer-A.D.:
Producer: Advertiser: Artist:
Artist Designer-A.D.: Producer: Advertiser: Agency:
Designer-A.D.: Producer and Advertiser: Artist: Designer-A.D.: Producer:
Advertiser:
Artist:
Artist Designer-A.D.: Producer: Advertiser:
. Designer-A.D.:
Producer: Advertiser:
Artist:
Fuller & Smith & Ross Alcoa
Fortune Illustrators— Federman Studios
John W. Amon Needham, Louis & Brorby, Inc. Cummins Engine Co. Norman Rich Studios
Bob Flatley and Stanley Paul Whitaker-Guernsey Studio Fairbanks-Morse William Silet and Tom Hoyne
The Buchen Company
Dan Smith—Poole Bros., Inc.
Whitaker Guernsey Studio
Abbott Laboratories William Silet and Bob Keys
Bill Fleming Collins, Miller & Hutchings
Dean Straka and Egbert Jacobson
N. W. Ayer & Son Sefton Fibre Can Co. Franklin McMahon
Norman C. Harris Norman C. Harris IDEA, Regency Burton Browne Adv. Agency
F. W. Goessling
Abbott Laboratories Darrill Connelley
George Goldberg Earle Ludgin & Company International Co.
Phoebe Moore
Furniture
Larry Zink Ralph H. Jones Co. Crosley Broadcasting
Co.
Larry Zink and Bob Hayes
Ralph H. Jones Co. Crosley Broadcasting Co.
Larry Zink
59.
60.
6}.
62.
63.
64.
65.
66.
67.
68.
69.
70.
Artist Designer-A.D.: Producer: Advertiser:
Designer-A.D.:
Producer: Advertiser: Artist:
Artist Designer-A.D.: Producer: Advertiser:
Designer-A.D.: Producer: Advertiser: Artist:
Designer-A.D.: Producer: Advertiser: Artist:
Artist Designer-A.D.: Producer: Advertiser:
Designer-A.D.: Producer:
Advertiser: Artist:
Agency:
Designer-A.D.: Producer:
Advertiser: Artist:
Agency:
Designer-A.D.: Producer:
Advertiser:
Artist: Agency: Designer-A.D.: Producer: Advertiser: Artist: Designer-A.D.: Producer:
Advertiser: Artist:
Designer-A.D.: Producer:
Robert T. Hayes
Ralph H. Jones Co. Crosley Broadcasting Co.
Sam Cohen and Lee King
Weiss & Geller
Inland Steel
Bob Keys
Larry Zink
Ralph H. Jones Co. Crosley Broadcasting Co.
S. Paul
Buchen Company Fairbanks-Morse J. Kapes
Lee King
Weiss & Geller Inland Steel Gordon Mellor
R. H. Milburn
C. Franklin Brown
The United Electric Coal Companies
Lee King Whitaker-Guernsey Studio
General American Transportation Co. William Silet and Bruce Beck
Weiss & Geller
Lee King Whitaker-Guernsey Studio General American Transportation Corp. William Silet
and Dale Maxey Weiss & Geller
Lee King
Whitaker Guernsey Studio
General American Transportation Corp. William Silet
Weiss & Geller
F. W. Goessling Bert Ray Studios Abbott Laboratories Carl Regehr
John W. Amon Needham, Louis & Brorby, Inc.
Marathon Corporation Bielefeld Studios
Stanley Paul Buchen Company
Ft
72.
73.
74.
75.
76.
ts
78.
a?
80.
8
—_
82.
A-3
Advertiser: Artist: Designer-A.D.: Producer: Advertiser: Artist: Designer-A.D.: Producer and Advertiser: Artist: Designer-A.D.: Producer: Advertiser: Artist: Designer-A.D.: Producer: Advertiser:
Artist: Designer-A.D.:
Producer:
Advertiser:
Designer-A.D.:
Producer: Advertiser: Artist:
Artist Designer-A.D.: Producer and Advertiser:
Artist
Designer-A.D.: Producer and Advertiser: Artist Designer-A.D.: Producer: Advertiser:
Designer-A.D.: Producer: Advertiser: Artist:
. Designer-A.D.:
Producer: Advertiser: Artist: Designer-A.D.: Producer: Advertiser: Artist:
Fairbanks-Morse Francis Chase
Herman |. Shore Kuttner & Kuttner Royal Metal Mfg. Co. James Teason
F. W. Goessling
Abbott Laboratories Darrill Connelley Clark L. Robinson Fuller & Smith & Ross Alcoa
Federman & Associates
lee King
Weiss & Geller General American Transportation Corp. Bruce Beck
Albert Quinlan and Ken Meng
Gardner Advertising Co.
Monsanto
Chemical Co.
Sam Cohen and Lee King
Weiss & Geller Inland Steel
Dale Maxey
Bruce Beck Collins, Miller & Hutchings
John Averill Collins, Miller & Hutchings, Inc.
Carl Regehr
Bert Ray Studios Runkle, Thompscn, Kovats
Frank Johnson Foote, Cone & Beldii Armour and Compar John Howard Robert A. Patterson McCann-Erickson, In: Bell and Howell Wilfred W. Spears Stanley Paul
Buchen Company Fairbanks-Morse Francis Chase
A3. NEWSPAPER
87. Designer-A.D.: Clark L. Robinson
Producer: Advertiser:
Artist:
Fuller & Smith & Ross Otto Konigslow Mfg. Co.
Andrew Lee
a
88.
89.
90.
9
92.
93.
94,
95.
96.
97.
98.
7?.
Designer-A.D.: Producer:
Advertiser: Photographer:
Designer-A.D.: Producer:
Advertiser: Photographer:
Designer-A.D.: Producer: Advertiser: Artist:
. Designer-A.D.:
Producer:
Advertiser: Artist: Designer-A.D.: Producer and Advertiser: Artist:
Designer-A.D.:
Producer and Advertiser: Artist: Designer-A.D.: Producer:
Advertiser: Artist:
Designer-A.D.: Producer and Advertiser: Artist:
Designer-A.D.: Producer:
Advertiser: Artist:
Designer-A.D.: Producer: Advertiser:
Artist:
Designer-A.D.: Producer: Advertiser: Artist: Agency:
Designer-A.D.: Producer and Advertiser: Artist:
Art Director & Studio News
George L. Farrell— Tempo Studio
Smith, Benson & McClure, Inc. Sterling Brewers, Inc. Sarra, Inc.
E. Willis Jones— George L. Farrell Smith, Benson & McClure, Inc.
Sterling Brewers, Inc. Sarra, Inc.
David Wylie
Young & Rubicam, Inc. The Borden Co.
Dale Maxey
Marilynn Casey Hoskinson-Rohloff & Associates
Carson Pirie Scott & Co. John Morehouse
Frances Owen Frances Owen— Marshall Field & Co. Marcie Miller
Frances Owen— Marshall Field & Co. Frances Owen— Marshall Field & Co. Marcie Miller
Robert Bonk Needham, Louis & Brorby, Inc.
Marathon Corp.Waxtex Dale Maxey—Whita- ker Guernsey Studio
Frances Owen Frances Owen— Marshall Field & Co. Lynne Parke
Marilynn Casey Hoskinson-Rohloff & Associates
Carson Pirie Scott & Co. Lu Peters
Gordon Fisher
The Brady Company Wisconsin Public Serv- ice Corporation Howard Losse
Jack Amon
Henry Wenclawski Marathon Corp. Henry Wenclawski Needham, Louis & Brorby, Inc.
Willa Munzel Lytton's Hoskinson-Rohloff &
Associates
/ November 1953
100. Designer-A.D.: Willa Munzel Producer & Art: Hoskinson-Rohloff & Associates Advertiser: Lytton's 101. Producer & Designer-A.D.: Willa Munzel Advertiser: Lytton’s Artist: Jack Bierman and Kenneth Heilbron
102. Designer-A.D.: Lee Stanley Producer: Leo Burnett Company Advertiser: Procter & Gamble Artist: Ruzzie Green
103. Designer-A.D.: John Laver Producer: Earle Ludgin & Co. Advertiser: Jules Montenier, Inc. Artist: Ratph Cowan—The Cartoonists
104. Designer-A.D.: Clark Maddock Producer: McCann-Erickson, Inc.
Advertiser: Standard Oil Co. of Ohio Artist: Lou Federman & Associates
105. Designe?-A.D.: E. Willis Jones— George L. Farrell Producer: Smith, Benson & McClure, Inc. Advertiser: Sterling Brewers, Inc. Photographer: Sarra, Inc.
106. Designer-A.D.: John Laver Producer: Earle Ludgin & Co. Advertiser: Earle Ludgin & Co. Artist: Ralph Cowan
107. Designer-A.D.: D. Clineff and Flatley Producer and Advertiser: Buchen Company Artist: Promotional Arts Studio
108. Designer-A.D.: Clark Maddock Producer: McCann-Erickson, Inc. Advertiser: The Standard Oil Co. of Ohio Artist: Ted Gorka
109. Designer-A.D.: Clark Maddock Producer: McCann-Erickson, Inc. Advertiser: The Standard Oil Co. of Ohio Artist: Ted Gorka
110. Designer-A.D.: Lee Stanley Producer: Leo Burnett Company Advertiser: Procter & Gamble Artist: Ruzzie Green
111. Designer-A.D.: Dex Briggs Producer: Maxon, Inc. Advertiser: Griesedieck Brewery Co. Artist: Cartoonists, Inc.
112. Designer-A.D.: John Clayton Producer: Young & Rubicam, Inc. Advertiser: The Borden Company
Artist: Jackie Mastri
Western
113. Designer-A.D.: Producer: Advertiser:
Artist:
114. Designer-A.D.: Producer: Advertiser:
Artist:
A4. DIRECT MAIL
A-4 117. Designer-A.D.: Producer and Advertiser: Artist:
118. Designer-A.D. and Producer: Advertiser:
Artist: Photographer:
119. Designer-A.D. and Producer: Advertiser:
Artist:
120. Designer-A.D.: Producer and Advertiser:
Artist:
124. Artist: Designer:
Art Director: Producer:
Advertiser: Agency:
122. Designer-A.D.: Producer: Advertiser:
Artist:
Agency:
123. Designer-A.D.: Producer: Advertiser:
Artist: 124. Designer-A.D.: Producer and
Advertiser: Artist:
125. Designer-A.D.:
Producer and Advertiser: Photographer:
Dave Lind
McCann-Erickson, Inc.
Standard Oil Co. of Ohio
Lou Federman &
Associates
Lee King
Weiss & Geller H. W. Gossard Co. Bassett
Helen Warner Helen Warner— Eli Lilly & Co. Paton Studio
James McCray Paine Lumber Co. Ltd. Dave Foster Gordon Coster and Wesley Bowman
Phoebe Moore Phoebe Moore Phoebe Moore Susan Karstrom Science Research Associates
Ed Carini
Dale Maxey Bill Silet Howard Peck Whitaker-Guernsey Studio
Parker Pen Co. Edwin Shields Hewitt & Associates Paul Sieber Don Walkoe Journal of American Medical Association Don Walkoe Jordan-Sieber Herbert Pinzke Tempo, Inc. United States Brewers Foundation, Inc. James McCray
R. D. Tucker
Abbott Universal Ltd. W. Fleming and Arnold Ryan
Burton Cherry and Dick Koehler
The Cuneo Press Torkel Korling, Richard Avedon and Maynard Parker
126. Designer-A.D.: and Producer: Advertiser: Artist:
127. Designer-A.D. and Producer: Advertiser: Artist: Agency:
128. Designer-A.D. Artist & Producer: Advertiser:
Agency:
. Designer-A.D.: Producer: Advertiser: Artist:
130. Designer-A.D Producer
Advertiser
Artist: Photographer
131. Designer-A.D.: Producer and Advertiser
Artist:
132. Designer-A.D
Producer
Advertiser
Artist
133 Artist- er-A.D
Producer
A r r
r-A.|
1 Producer
tiser
agucer
$2
Everett McNear— Henry D. Hewey Illinois Power Co. Everett McNear and A. G. Westelin
Bob Fryml
A. O. Smith Phoebe Moore Henri-Hurst & McDonald
Paul Sieber
Don Walkoe Journal of the American Medical Association Jordan-Sieber
Paul and Flatley Buchen Company Fairbanks-Morse Francis Chase
Bruce Beck Whitaker-Guernsey Studio
Passavant Hospital Robert Keys Stephen Heiser Walter Howe— Doug lang
R. R. Donnelley & Sons Company
Tempo, Inc
Robert Bruce Crippin Dekovic-Smith Kiwanis International Harry B. Smith
Dean P. Wessel
Ray Shaffer Studio, Inc. Artists Guild of Chicago
Gordon Martin The Type Shop Gordon Martin
r: Morton Goldsholl
Martin-Senour Paints Aorton Goldsholl
Ay
FW Goessling Rert Ray Studios LADO
=e nnelly
A Abt ++
ratories
Darr
Mortor G sldsho! Gothic Press Morton Goldsholl
Harry R Sm aa
Dekov c-Smitt
leritane
139. Designer-A.D.: Hal Smiley
140.
Producer: J. Walter Thompson Co. Advertiser: Art Directors Club of Chicago Artist: Art Director Service
5. DISPLAY PIECES AND MISCELLANEOUS Designer-A.D. and Producer: Advertiser:
Gene Douglas Society of Typographic Arts
Artist:
141. Artist- Designer-A.D.: Producer: Advertiser:
A-6 142. Designer-A.D.: Producer: Advertiser: Artist: Designer-A.D.: Artist and Producer: Advertiser:
143.
144. Designer-A.D.: Producer: Artist:
Artist Designer-A.D.: Producer:
145.
Advertiser:
Gene Douglas
Harry B. Smith Dekovic-Smith Windin’ Ball Recordings
6. EDITORIAL DESIGN
Richard Seeger Promotional Arts, Inc. Pabst Blue Ribbon Norbert Smith Charles Turzak
Arthur Paul
American Medical As- sociation Richard Koehler John Quinn
The Cuneo Press John Quinn
and
Fleming Brown Herbert Baker Adver- tising
Wawak Company, Inc.
Producer and Advertiser: Artist:
152. Designer-A.D. and Producer: Advertiser:
Artist:
153. Designer-Artist:
Art Director: Producer: Artist- Designer-A.D.: Producer:
154.
Advertiser: Designer:
Art Director: Producer and Advertiser: Artist: Designer:
Art Director: Producer and Advertiser: Artist:
157. Designer-A.D : Producer: Advertiser:
155.
156.
Artist:
Abbott Laboratories Segovia
Frank Bercker—
Frank Bercker Studios
Milwaukee Advertising
Club
David S. Broad
John Quinn
Burton Cherry
The Cuneo Press, Inc.
Bruce Beck Whitaker-Guernsey Studio
Print Magazine
M. Martin Johnson F. W. Goessling
Abbott Laboratories Wallace Reiss Morton Goldsholl F. W. Goessling
Abbott Laboratories
Ben Shahn
Robert Bruce Crippen Kiwanis International
Kiwanis International Magazine 7 Howard Mueller
158. Designer-A.D.: A. H. Kiefer
Producer and A. H. Kiefer—Eli Lilly
Advertiser: & Co. Art: Paton Studios B. Art... Advertising and Editorial
1. GENERAL SUBJECT MATTER BLACK AND WHITE
146.
147.
148.
149,
150.
15).
Designer-A.D.: Burton Cherry and Dick Koehler Producer and Dick Koehler—The Advertiser: Cuneo Press, Inc. Artist: Dick Koehler Designer-A.D.: F. W. Goessling and William Fleming Producer and Advertiser: Abbott Laboratories Artist: Walter Stuempfig Designer-A.D.: James McCray Producer: Tempo, Inc. Advertiser: Inland Steel Co. Artist: Franklin McMahon and Tempo Staff Designer-A.D.: Robert Bruce Crippen Producer: Kiwanis International Advertiser: The Kiwanis Magazine Artist: Howard Mueller Designer-A.D.: F. W. Goessling— DeForest Sackett Producer and Advertiser: Abbott Laboratories Designer: Gerald Schueneman Art Director: F. W. Goessling
B-1 162. Artist: Art Director:
Producer: Advertiser: Artist:
Art Director: Producer: Advertiser: Artist:
Art Director: Producer: Advertiser:
163.
164.
Artist:
Art Director: Producer and Advertiser: Agency:
165.
Artist:
Art Director: Producer: Advertiser: Agency:
166.
John Averill
Frank Johnson
Foote, Cone & Belding » Armour & Company Fred Steffen
Robert A. Patterson McCann-Erickson, Inc. Bell and Howell Marshall Goodman Martin M. Krein Foote, Cone & Belding Minneapolis Honeywell Regulator Company Marce Mayhew
Pau! Smith
Edwin Snyder—Rand McNally & Co. Calkins & Holden, Car- lock, McClinton & Smith Franklin McMahon Marvin Potts
Franklin McMahon Hiram Walker
Foote, Cone & Belding
167.
169.
170.
171.
172.
173.
174.
175.
176.
177.
178.
179.
ng 168.
Art Director & Studio News /
Artist: Bob O'Reilly Art Director: R. Bosley Producer: Buchen Company Advertiser: Des Moines Register
Artist: Irving Nurick Art Director: Don L. Ruf Producer: Foote, Cone & Belding Advertiser: International Cellucot- ton Products Company
Artist: Dale Maxey Art Director: Frank Johnson Producer: Foote, Cone & Belding Advertiser: Armour & Company
Artist: Tom Hoyne Art Director: Orville Sheldon Producer: Whitaker Guernsey Studio Advertiser: U. S. Treasury
Artist: Larry Reynolds Art Director: Martin M. Krein Producer: Foote, Cone & Belding Advertiser: Minneapolis Honeywell Regulator Company
Artist: Anthony Saris Art Director: Mickey Strobel Producer: Foote, Cone & Belding Advertiser: Kimberly-Clark Corporation
Artist: Marvine Art Director: Melvin T. Miller Producer: Proebsting, Taylor, Inc. Advertiser: Illinois Power Company
Artist: Luther Johnson Art Director: Seymour Levine Producer: Foote, Cone & Belding Advertiser: The First National Bank of Chicago Artist: Richard Hook Art Director: Martin M. Krein Producer: Foote, Cone & Belding Advertiser: Minneapolis Honeywell Regulator Co.
Artist: Jim Cummins Art Director: Harry Lindemann Producer: Krupnick & Associates Advertiser: Mercantile Trust Co.
Artist: Jean Flowers Art Director: Robert Thurn Producer: Gardner Advertising Company Advertiser: Bemis Bro. Bag Com- pany Artist: Bruce Beck Art Director: Stanley Paul Producer: Buchen Company Advertiser: Chicago Title & Trust Co.
Artist: Le Roi Nieman Art Director: Frances Owen
Producer and
Advertiser: Marshall Field & Co.
November 1953
180.
181.
182.
183.
184.
185.
186.
187.
188.
189.
190.
Artist: Art Directors:
Producer:
Advertiser: Agency: Artist:
Art Director: Producer: Advertiser:
Artist:
Art Director: Producer and Advertiser: Artist:
Art Director: Producer and Advertiser: Artist:
Art Director: Producer: Advertiser:
Artist: Art Director: Producer:
Advertiser: Artist:
Art Director: Producer and Advertiser: Agency:
Artist: Art Director: Producer:
Advertiser: Agency:
Artist:
Art Director: Producer: Advertiser:
Artist: Art Director: Producer:
Advertiser: Agency:
Artist:
Art Director: Producer:
Advertiser:
Dale Maxey
Dex Briggs and Bill Wilson Whitaker-Guernsey Studio
Hotpoint
Maxon, Inc.
Jim Cummins and Staff Harry Lindemann Krupnick & Associates Bank Building & Equip- ment Corp.
Dorothy P. Christy Frances Owen
Frances Owen— Marshall Field & Co.
Kling Studios Clineff and Flatley
Buchen Company
Lucia
Don L. Ruf
Foote, Cone & Belding International Cellucot- ton Products Company
Lucia
Dave Lockwood Stephens, Biondi & De Cicco
Delsey
Chesley Bonesell
Paul Smith
Edwin Snyder—Rand McNally & Co. Calkins & Holden, Car- lock, McClinton & Smith Bob Keys
Wynn Belford Whitaker-Guernsey Studio
Beloit Iron Works Howard H. Monk & Associates
Luther Johnson Seymour Levine Foote, Cone & Belding The First National Bank of Chicago
Bob Keys
Frank Westbrook Whitaker-Guernsey Studio
W. C. Ritchie Co. Fulton, Morrisey Company
Robert Addison— Stevens Gross Studio George Zahour Needham, Louis & Brorby, Inc.
State Farm Insurance
Co.
191.
192.
193.
194.
195.
196.
197.
198.
199.
200.
201.
202.
Artist: Art Director: Producer:
Advertiser:
Art:
Art Director: Producer: Advertiser:
Art:
Art Director: Producer: Advertiser:
Artist:
Art Director: Producer: Advertiser:
Artist:
Art Director: Producer: Advertiser:
Artist:
Art Director: Producer and Advertiser: Agency:
Artist:
Art Director: Producer and Advertiser: Agency:
Artist:
Art Director: Producer: Advertiser: Artist:
Art Director: Producer:
Advertiser: Artist:
Art Director: Producer: Advertiser:
Artist: Art Director:
Producer: Advertiser:
Artist: Art Director: Producer:
Advertiser:
John Averill Frank Johnson Foote, Cone & Belding, Inc.
Armour & Company
Cartoonists, Inc. Stanley Paul Buchen Company Simmons Company
Cartoonists, Inc. Stanley Paul Buchen Company Simmons Company
Luther Johnson Seymour Levine Foote, Cone & Belding The First National Bank of Chicago
Luther Johnson Seymour Levine Foote, Cone & Belding The First National Bank of Chicago
Charles Adorney Paul Smith
Edwin Snyder— Rand McNally & Co. Calkins & Holden, Carlock, McClinton & Smith
Wayne Colvin Paul Smith Edwin Snyder— Rand McNally & Co. Calkins & Holden, Carlock, McClinton & Smith
Andrew Lee
Clark L. Robinson Fuller & Smith & Ross Diamond Alkali
Bob Keys
Frank Johnson Whitaker-Guernsey Studio
Armour & Co.
Joe Pearson
Melvin T. Miller Proebsting, Taylor, Inc. Illinois Power Company
Ralph Ballantine — Kling Studios, Inc. Seymour Levine
Foote, Cone & Belding The First National Bank of Chicago
Bruce Beck
Frank Johnson Foote, Cone & Belding, Inc. Armour and Company
53
Artist:
Art Director: Producer: Advertiser:
203
Artist: Art Director: Producer:
204
Advertiser
Artist
Ari Director
Producer:
Advertiser
Artist Art Director: Producer and
206 Advertiser
7 Artist Art Director:
Producer and Advertiser
a
Luther Johnson Seymour Levine Foote, Cone & Belding The First National Bank of Chicago Tom Hoyne
Orville Sheldon Whitaker-Guernsey Studio
U. S. Treasury Charles Miller— Sundblom, Johnston & White
George Zahour Needham, Louis & Brorby, Inc
State Farm Insurance Company
Winnie Fitch
Frances Owen
Frances Owen— Marshall Field & Co. Dorothy P. Christy Frances Owen Frances Owen— Marshall Field and Company
2. GENERAL SUBJECT MATTER
COLOR
W op
Artist
Le)
Art Director Producer Advertiser
14 Artist
ft) rector
Reva Rice Norman Houk
Leo Burnett Co. Kellogg Co. Albert Pucc
R. Blayne McCurry
Abbott Laboratories
McMahon
—_
)
>eorge Elin and Mary ice McKune
ranklin McMahon Aarshall Field & Co Franklin McMahon Dean Straka McMahon Container Corporation of America
Ayer & Son
Zrr>o
Franklin
A Ay
Dale Maxey loseph Dettling
Whitaker-Guernsey Studic
ratories
219.
220.
221.
223.
225.
226.
227.
228
229.
730
Artist:
Art Director: Producer: Advertiser: Artist:
Art Djrector: Producer:
Advertiser:
Artist: Art Director: Producer:
Advertiser:
Artist:
Art Director: Producer: Advertiser: Artist:
Art Director: Producer:
Advertiser:
Artist: Art Director: Producer:
Advertiser:
Artist: Art Directors:
Producer and Advertiser: Artist:
Art Director: Producer and Advertiser: Artist:
Art Director: Producer: Advertiser:
Artist: Art Directors:
Producer: Advertiser: Agency: Artist:
Art Directors:
Producer: Advertiser
Artist
Art Director: Producer: Advertiser:
Dale Maxey Harry Cordesman Leo Burnett Co. Mars, Inc.
Siegfried Reinhart Robert Thurn
Gardner Advertising Company
Bemis Bro. Bag Com- pany
Theodore Kautzky Henry Maconachy Ketterlinus Litho Mfg. Co.
John Morrell & Co.
Harry Borgman William Connelly Campbell Ewald Co. Burroughs
Dale Maxey
Dave Wylie Whitaker-Guernsey Studio
Borden Co.
Dale Maxey
Tom Gorey Whitaker-Guernsey Studio
Ac'Cent (Infernational Minerals & Chemicals Corp.)
Peter Agnes Lowrie W. W. Meese and
A. H. Kiefer
Eli Lilly & Company
Marce Mayhew
Paul Smith
Edwin Snyder— Rand McNally & Co.
Evaline Ness
Bill Cannell Gibbons-O'Neill, Inc. St. Marys Wool Mfg. Co.
Franklin McMahon
Art Talmadge and Jack Kapes
Franklin McMahon Mercury Records
Jack Kapes&Associates Barbara Schwinn
Lee Stanley and Mack Ray
Leo Burnett Co. The Englander pany
Peter Helck
Al Scott Campbell-Ewald Co. National Steel
Com-
231.
232.
233.
234.
235.
236.
Artist:
Art Director: Producer: Advertiser:
Artist:
Art Director: Producer: Advertiser:
Artist: Art Director: Producer:
Advertiser Agency:
Artist:
Art Director: Producer and Advertiser:
Artist:
Art Director: Producer: Advertiser:
Artist:
Art Director: Producer and Advertiser:
Bemelman's
Harry Cordesman Leo Burnett Company Mars, Inc.
Alice and Martin Provenson
Andy Armstrong Leo Burnett Co. Kellogg Company
Lucia
Stephens-Biondi &
De Cicco Dupont—Orlon Batten, Barton Durstine & Osborn
Richard Lindner R. Blayne McCurry
Abbott Laboratories
Rudy Pott
John B. Breunig Foote, Cone & Belding Armour and Company
Herbert J. Gute Henry Machonachy Ketterlinus Litho Mfg. Co.
3. PRODUCT ILLUSTRATIONS BLACK AND WHITE
B-3
237.
Artist:
Art Director: Producer and Advertiser:
Ethel Frost Frances Owen Marshal Field & Company
4. PRODUCT ILLUSTRATION COLOR
B-4
239.
240.
241.
242.
Artist: Art Director: Producer:
Advertiser:
Artist:
Art Director: Producer: Advertiser:
Artist:
Art Director: Producer: Advertiser: Agency:
Artist:
Art Director: Producer: Advertiser:
Lyman Simpson
Wilbur Smart
D'Arcy Advertising Company
The Coca Cola Com- pany
Maurice Bauman Robert A. Patterson McCann-Erickson, Inc. Bell and Howell
John Howard
Forrest Smith
John Howard Glenmore Distilleries D'Arcy Advertising Co.
John Howard
Frank Cheeseman Ruthrauff & Ryan Brown-Forman Distillers Corp.
5. EDITORIAL ART
BLACK AND WHITE OR COLOR
y B-5 246.
248.
e
249,
Art Director:
Art Director:
Art Director:
Art Director ’ Producer and
Art Director
Artist: Winnie Fitch
Robert Bruce Crippen Kiwanis International The Kiwanis Magazine
Producer: Advertiser:
Artist: Stan Ekman
Art Director: Joseph Lopker
Producer: Stan Ekman Advertiser: American Weekly Artist: Bob Keys Robert Bruce Crippen Producer: Whitaker-Guernsey Studio The Kiwanis Magazine
Harold Walter
Advertiser: Artist:
Art Director: Charles Turzak
Harold Walter Today's Health— American Medical Association
Fred Steffen Bruce Crippen Fred Steffen Kiwanis Magazine
Producer: Advertiser:
Artist
Producer Advertiser: Louise McMahan- Horwitz
Artist and
Lovise McMahan- Horwitz
Paton Studios W. W. Meese
Advertiser Artist
Producer and
254.
256.
257.
258.
Art Director:
260.
Art Director:
Art Director:
Advertiser:
Art Director:
Advertiser:
Advertiser:
Eli Lilly and Co.
Fred Steffen
Robert Bruce Crippen Kiwanis International The.Kiwanis Magazine
Advertiser
Artist
Producer Advertiser:
Artist: Ken Kenniston Robert Bruce Crippen Kiwanis International
The Kiwanis Magazine Wade Ray
Wade Ray
Wade Ray
Wade Ray
Willard Arnold
Frank Follmer Producer: The Rotarian Magazine
Producer:
Artist Producer
Artist Producer:
Artist:
Artist: Producer
Cecile Ryden Johnson Cecile Ryden Johnson Ford Motor Company
Artist: Dale Maxey
Noble Gammell Producer: Whitaker-Guernsey Studio
Better Homes & Gar- dens—Meredith Pub- tishing Company
Artist: Fred Steffen
‘ Art Director: Robert Bruce Crippen
7 Art Director & Studio News
/ November 1953
Producer: Fred Steffen Advertiser: Kiwanis Magazine
Artist and Art Director: Harold Walter Producer: Harold Walter Advertiser: Print Magazine
Artist: Gene Sharp Art Director: Taylor Poore Producer: Tempo, Inc. Advertiser: Capper's Farmer— Capper Publications
262.
Elsa Kula
R. Hunter Middleton Elsa Kula
Print Magazine
263. Artist Art Director: Producer Advertiser Everett McNear Ernest W. Watson Everett McNear American Artist
Artist
Art Director: Producer: Advertiser
264.
265. Artist: Art Director:
Producer
Betty Jones
Robert Bruce Crippen Whitaker-Guernsey Studio
The Kiwanis Magazine Gordon Mellor— Whitaker-Guernsey Studio
Robert Bruce Crippen Kiwanis International The Kiwanis Magazine
Advertiser
Artist
266.
Art Director Producer Advertiser: Howard Mueller Robert Bruce Crippen Kiwanis International The Kiwanis Magazine
Artist: Harold Walter Art Director: Charles Turzak Producer: Harold Walter Advertiser: Today's Health— American Medical Association
267 Artist: Art Director: Producer:
Advertiser
268.
Artist: Gene Sharp Art Director: Taylor Poore Producer: Tempo, Inc. Smart Living—Admiral Corporation
269. Advertiser:
C. Photography... Advertising and Editorial
1. GENERAL SUBJECT MATTER C1 BLACK AND WHITE
274. Photographer: Ralph Cowan Art Director: Howard Andersen Producer: leo Burnett Co. Advertiser: Harris Trust 275. Photographer Art Director: W. W. Olmsted Producer: Olmsted & Foley Advertiser: First National Bank Victor Keppler Fred Stickle Fuller & Smith & Ross
276 Photographer: Art Director: Producer:
Advertiser:
277. Photographer: Art Director: Producer: Advertiser:
278. Photographer: Art Director: Producer: Advertiser:
279. Photographer: Art Director: Producer: Advertiser: Agency:
280. Photographer Art Director
Producer: Advertiser:
281. Photographer:
Art Director: Producer: Advertiser:
282. Photographer: Art Director: Producer: Advertiser:
283. Photographer Art Director
Producer: Advertiser:
Agency
2. GENERAL
COLOR
ae 289. Photographer
Art Directors:
Producer: Advertiser:
290. Photographer: Art Director: Producer:
Advertiser:
3. PRODUCT ILLUSTRATION
BLACK C-3 295. Photographer Art Director Producer Advertiser
Westinghouse Electric Corp.
Jackson Hand Clarence N. Johnson Reincke, Meyer & Finn Golf, Mobile & Ohio
William Richards Clark Maddock McCann-Erickson, Inc. leisey Brewing Co.
Karl Oeser
Lee Stanley Sarra, Inc. Baver & Black Leo Burnett Co.
Ben Rose
Marvin Potts Foote, Cone & Belding Hiram Walker & Sons, Inc.
Harold Bacon, Wesley Bowman Studios, Inc. Robert D. Dohn Foote, Cone & Belding Hiram Walker & Sons, Inc
Stephen Heiser Orville Sheldon Foote, Cone & Belding Minneapolis Honeywell Regulator Co. Karl Oeser Dick Weiner Sarra, Inc. The Pullman Company : Young & Rubicam, Inc.
SUBJECT MATTER
Joffe'—Studio Associ- ates, Inc. David W. lockwood and Don L. Ruf Foote, Cone & Belding International Cellucot- ton Products Company
Studio Associates, Inc. Fred Czufin Gardner Advertising Co.
Johnson, Stephens & Shinkle
AND WHITE
- Kenneth Heilbron : Marilynn Casey
: Kenneth Heilbron : Carson Pirie Scott & Co.
296. Photographer: Art Director:
Producer:
Advertiser:
297. Photographer: Art Director: Producer: Advertiser:
Bacon Tirschel
Ros Foley and Jeanne Brewer Bacon-Tirschel Associates Arkwright Chicago, Inc.
Herbert Matter Lee King
Weiss & Geller Holeproof Hosiery
4. PRODUCT ILLUSTRATION COLOR
C.4 1. Photographer Art Director Producer: Advertiser 302. Photographer: Art Director Producer: Advertiser:
3. Photographer: Art Director: Producer: Advertiser:
304. Photographer Art Director and Producer Advertiser:
Agency
305. Photographer Art D rector Producer Advertiser
306. Photo Art Director
Producer
yrapher
A Aavertiser tograpner
Art Director Producer Advertiser
Dp 305. Photographer
Art Director
aucer Advertiser grapner
Art Director
A. George Miller
G. M. Kowall
A. E. Meyerhoff Co. Brach Candy Co Charles F. Kuoni Studio Frank Johnson
Foote, Cone & Belding Libby, McNeill & Libby Charles F. Kuoni Studio John B. Breunig
Foote, Cone & Belding Armour & Company
Sarra, !nc
Frank Cheeseman
Brown-Forman Distillers
Corp
Ruthrauff & Ryan
Chas. F. Kuoni Studio
John B. Breunig
Foote, Cone & Belding
Armour & Co
Charles F. Kuoni Studio
Robert D. Dohn
Foote, Cone & Belding
Beatrice Foods Co
Pagan
Mack Ray
Leo Rurnett Co
Crane Co Georoae
vweorge Miller
/ Bernard Anastasia
Camopbell-Mithun American Dairy
A
Associatior
Charles Kuon Stud oO Norman Houk
lec R irnett Company Ke Company Steve Deutch
A! Kubach and Charles
Os Rub cam, inc
y Bowmar
Advertiser
312. Photographer Art Director Producer
Advertiser
5. EDITORIA BLACK AND C-5
316. Photographer: Art Director: Producer: Advertiser:
317. Photographer: Art Director: Producer: Advertiser:
318. Photographer: Art Director: Producer: Advertiser:
319. Photographer:
: Durkee Famous Foods
: d'Arazien
: Edward Spahr
: Ketchum, Macleod & Grove Co., Inc.
: Jones & Laughlin
L PHOTOGRAPHY WHITE OR COLOR
Wesley Bowman LeRoy Winbush Ebony Magazine Johnson Publishing Company
Christa
LeRoy Winbush Ebony Magazine Johnson Publishing Co.
Warner Wolff LeRoy Winbush Ebony Magazine Johnson Publishing Co.
A. George Miller
Producer: A. George Miller, Inc. TELEVISION COMMERCIALS AWARD WINNERS
Exhib. No D-1] NO AWARDS D-2 ¥%&320. Producer: Needham, Louis & Brorby, Inc. Advertiser: S. C. Johnson & Son,
Art Director: Artist:
D-3 %& 326
Advertiser:
Art Director: Art:
Producer:
327
Advertiser:
Art Director:
Art:
D-4 NO
D-5 ¥%& 333. Producer Advertiser
Art Director
Art (ye denotes meda D. TELEVISION COMMERCIALS
Producer:
Inc. Jubilee Wax Scott Park Chicago Film Lab., Inc.
Needham, Louis & Brorby, Inc.
The Quaker Oats Co. Ken-L-Ration
Herbert Bull
The Cartoonists Needham, Louis & Brorby, Inc. Household Finance Corp.
Scott Park
Tempo Productions, Inc
AWARDS
: Needham, Louis & Brorby, Inc
: Household Finance Corporation
: Herbert Bull Jim Hicks
| award winner)
322.
323.
324.
325.
328.
329.
330.
33).
332.
1. LIVE COMMERCIALS (16MM _ KINESCOPE) NONE 2. FILM COMMERCIALS (LIVE TECHNIQUE)
Producer: Advertiser: Agency:
Producer: Advertiser: Agency:
Producer: Advertiser:
Agency: Producer: Advertiser: Agency: Producer:
Advertiser:
Art Director: Art:
Sarra, Inc.
Wrisley
Earle Ludgin & Com. pany
Sarra, Inc. Studebaker Corp. Roche, Williams & Cleary
Sarra, Inc. Champagne Velvet Beer
Weiss & Geller, Inc. Sarra, Inc.
Northern Tissue Young & Rubicam, Inc. Needham, Louis & Brorby, Inc.
S. C. Johnson & Son, Inc. Paste Wax
Scott Park
Chicago Film Lab., Inc.
3. FILM COMMERCIALS FULL ANIMATION
Producer: Advertiser: Art Director: Animator:
Producer:
Advertiser:
Art Director: Art:
Producer: Advertiser:
Art Director: Art:
Producer: Advertiser:
Art Director: Art: Producer: Advertiser: Art Director: Art:
Agency:
Young & Rubicam, Inc. American Bakeries Martin Smith
Ross Wetzel—
The Cartoonists Needham, Louis & Brorby, Inc. Household Finance Corp.
Scott Park
Tempo Productions, Inc. Needham, Louis & Brorby, Inc.
The Quaker Oats— Ken-L-Ration
Herbert Bull
Verve Studios and Chicago Film Lab, Inc. Needham, Louis & Brorby, Inc.
S. C. Johnson & Son, Inc. Carplate
Scott Park
Tempo Productions, Inc The Cartoonists Purity Bakeries Martin Smith
Jim Hicks, lwoa Yamanaka and
Ross Wetze!
Young & Rubicam, Inc
LIMITED ACTION COMMERCIALS NONE 5. MISCELLANEOUS
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Australia looks at advertising art
P. G. CLEMENGER
As a result of a recent world tour to study advertising, covering most of the European countries, England and America—an International Exhibition of Advertising was staged in Mel- bourne earlier this year.
This Exhibition featured the very finest samples of advertising and ad- vertising art collected from all over the world. The standard of work pre- sented was very fine and acted as a stimulus to people in Australia.
To organize an exhibition of this kind meant sorting out all the best work that had been collected from all over the world. It meant comparing the best work from all countries, choos- ing only a small selection for inclusion in each section of the Exhibition. Thus, to make a critical analysis of American advertising, we can look at some of the sections of this Exhibition and see how prominently America was featured.
American Ad Art Best
At the start, we would say that for the most part, the best American ad- vertising and art is the best in the world. In the Magazine Advertising Section, American exhibits were out- standing and were well in the majority.
American Fashion advertising reaches such superb heights—in layout, and excellence of photography. Newspaper advertisements in color by Neiman Marcus, an advertisement for Phoenix Nylons, advertisements in the latest Modess series (in the fashion style) are perfect in every respect. In food advertising, there were also some ex- cellent American exhibits—Birds Eye, Swans Down, Hunts Food also com- bined excellence of layout and photog- raphy.
In so many of the European coun- tries, large national advertising cam- paigns in Magazines and Newspapers tend to lose their own national charac- ter. They tend to follow the American style, and so much of the work when it’s done this way looks so very crude.
Art Director & Studio News / November 1953
The Europeans have an _ individual style which is superb, but so often they are made to do things in a way that just does not come naturally to them.
In the poster exhibits, we see the Europeans, and particularly the Swiss, at their best—doing advertising as they know how to do it! We feel that the Swiss Posters are without equal in the world—for their simplicity, humor, bright color and striking display. So many of the American posters, although so expertly printed, have no individual- ity. To look through the book which shows the best American posters of the year, makes ,this point so very clear.
An illustration of a woman holding a baby in her arms will be advertising anything from Car Batteries to Motor Cars. Only few good posters are to be seen in America—such as the small Ohrbachs posters and those for the New York Times.
In newspaper Advertising nothing in the world can equal American de- partment store fashion advertising— Neiman Marcus and Marshall Field for excellence of layout and art, and Gimbels for some superb copywriting. Then again, CBS and NBC hit a wonderful high with their newspaper promotional work. These 2 networks show us so clearly how good design can be used together with good ideas to “sell” radio programmes so much better than the jazzy, jampacked sort of advertising.
Record Albums Cited
Other features of the Exhibition were the Record Album Jackets, most of which were Eric Nitsche Decca de- signs. Long Playing Albums are ap- pearing on the market in Australia now, and these jackets from America made it plain to all how modern design can be used with telling effect. A dis- play of these covers as seen in so many shops in New York along Fifth Ave- nue, Madison Avenue is so very colorful and exciting.
In the booklets and printed litera- ture, a great many of the Exhibits were from America, although this was not true of the travel literature. In this small section, the outstanding ex- hibits came from Switzerland—probably the most travel conscious country in the world.
West Coast Art
There were 5 very fine designs from the West Coast of America, sent to us by Saul Bass, among the letterhead section. Although these were outstand- ing, we do not think this is true of the general run of American Company letterheads. Again, the Swiss designs are of a very high standard.
From these few sections, and the others in this Exhibition—Packaging, Photography, Editorial Art (we had 6 originals from the S. E. Post) Book Jackets — America was undoubtedly leader among all countries. The best American Exhibits were outstanding.
For or part, however, we feel we can learn a lot not only from America but from England and Europe, too. Coun- tries like Switzerland, Italy, Sweden produce some very fine work—little of which is ever seen in Australia.
Although the best American adver- tising is the best in the world, there is so much bad work to be seen in Amer- ica. Of course, this is true of any country. The newspapers are full of “prices-slashed” advertisements, all made to look rougher than any other. We wonder whether it is necessary to havc advertisements that are not pleas- ing to the eye to convey an impression of “hard-sell”. Surely good design of a strong selling copy story would give even better results.
But when it comes to the business of selling goods, which after all adver- tising is designed to do, America can give a lead to the rest of the world. America is a land of competition, that is. why it is a great country today, and advertising and promotion are all geared to this end.
57
Problem: to give SAGA, a magazine with a limited budget, an expensive and distinctive appearance.
Background: For many years a few publishers monopolized the Men's Field with a handful of magazines slanted to appeal to the reading tastes of a predominantly male audience. Then came the boom in men’s books. Hardly a month passed last year and early this year without a new magazine appearing on the newsstands. The market became glutted with more than 27 men’s books, all with sensational titles and vivid illustrations splashed across their covers, promising avid readers sex, adventure, blood and thun- der and host of other vicarious thrill- ing experiences. But as in all booms, the bubble eventually burst. This spring the market became saturated, circulation figures nosedived, As sales fell, many of the books folded, many teetered, and even the more established magazines were considerably shaken. The situation is still not resolved. But a small percentage of the Johnny-come- latelys will survive and challenge the supremacy of the old reliables.
In the future there will probably be at least a half-dozen men’s books on the newsstands that look reasonably alike so that the prospective customer, even the discerning one, will be left with an arbitrary choice. The books that hope to spark their lagging cir- culations and attract new readers will have to revive their format with an eye
for visual appeal.
58
history
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TH SOMERS METINY
In order to break away
Solution: from the stereotyped format that makes it difficult to distinguish one men’s book from another, art director Greg- ory Bruno of SAGA has devised a new
format that exploits design layouts, with a two-fold purpose. Design lay- outs are not only unique and eyecatch- ing and provide a greater change of pace, but they are also economical. This leaves more money to be spent on fewer and better illustrations. Bruno reports the following specific changes in SAGA:
A. Design—The use of line engrav- ings, photographic elements, decorative drawings, art alone or in a combina-
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Art Director & Studio News
/
tion of ways to express an idea sym- bolically. Very few men’s magazines make use of this device.
B. Illustration—The majority of the men’s books use nothing but realistic (photographic) art, page after page, with the result that their formats are monotonous. The new SAGA avoids this pitfall by breaking away from the totally realistic approach by balancing realism with a variety of unconven- tional techniques. Some artists used are John Groth, Bob Shore, Charles Beck, J. Leone, A. Stathis, Brendan Lynch, M. Kunstler, Paul Calle, and Herb Mott.
C. Photography—Capturing greater realism by the photographic approach; using picture stories which convey the drama in situations like a night in police court, steel working, prize- fighters training in a gym, etc.—laid out with a special emphasis on dra- matic use of white space and cropping, and picture patterns and arrangements which achieve’ refreshing’ effects through the counterpoint of large and small photos. SAGA also groups cap- tions, as opposed to the “old catalogue school” which calls for a caption to appear under each picture. Some pho- tographers used are: Jerry €ooke, Ed Feingersh, Ozzie Sweet, Bob Schwal- berg.
D. Type and Photography — Bruno uses Elegance-Didot and Grotesque of various weights for heads, with the emphasis on legibility, avoiding the “Dripping Blood” type of brush letter- ing which is a feeble effort to supple- ment atmosphere in poor illustrations. 8/9 Bodoni is used for captions and Excelsior 8/10 for the body. Both type faces are clean and highly legible. Hand-lettering is done by Ed Benguiat.
E. Covers — Bruno breaks away from the trite man against wolf, man against man and wolf against wolf cover illustrations by introducing ob- jects. which have definite masculine appeal and design possibilities, treat- ing them with vivid, poster-like sim- plicity. Cropping and other imaginative techniques produce eye-catching effects. Recent SAGA covers are good ex- amples. PT boats in formation from a bird’s-eye view, ice boats and racing cars. When it has been possible, white backgrounds have been utilized to fur- ther heighten the colors. E] Valigursky has painted the most recent covers.
Result: September issue, first one designed by Mr. Bruno, recorded 62,000 newsstand jump over previous month.
record album design
Why Decca hitched its sales approach to creative art in order to compete--Carl Weiss, Director of Visual Research, Fredman-Chaite Studios Inc.
Because good art aitracts the buyer’s eye, Decca records use good art to sell records. But art alone is not enough to sell Decca records. Since Decca does not have the fiscal resources of its chief rivals, advertising manager Mort Nasa- tir and his two art directors, Marc Brody and Richard Graham, think and work hard to stay on top of the ruth- lessly high art standards in record albums.
Because Decca’s art overcame budget problems to maintain its standards, it demonstrates that budget need not de- termine quality. For this reason Carl Weiss, moderator of Fredman-Chaite Studios Creative Plus Forums (former- ly sponsored by Hampton Studios), selected Decca to analyze their specific approaches to a selling by design.
Problem: How does Decca success- fully compete with rivals who turn out the same classic records?
Solution: In the classical field, which they entered in 1950 and which was dominated by RCA, Columbia and Lon- don, Decca decided to shock the indus- try with design methods. At first new approaches in materials, cloth, thermog- raphy (embossing effect economically done by letterpress) and tip-ons were used, but these industries were not
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capable of the demanded speed. Mort Nasatir evolved the idea of using one artist who could maintain a distinctive style while varying his approach to each album of the series, thus avoiding monotony yet achieving continuity and company identification. With Erik Nitsche Decca developed the policy of expressiveness through simplification, distortion and _ transposition, using documentary material to render the facts as a simplified, formalized, ex- pressive symbol.
Decca has problems developing new artists. In designing covers they must accept company policy in the overall design yet develop freedom and flexi- bility in style.
Problem: How have you avoided too many cooks spoiling your artistic brew?
Solution: Limit OK’s to a minimum, says Mr. Nasatir, to the advertising di- rector, art director and one non-art person, the recording director. In this way we need only 1 comp, no thumb- nails, no roughs, since we try to give all the necessary information to the artist so that he has all data pertinent to the job before he starts.
Problem: How can album art sell the excitement of a show in the flat black disc?
Art Director & Studio News / November 1953
Solution: The art consciously at- tempts to make customers feel they’re taking home a Broadway show or movie. They work closely with the producer. Photos and art used originally to pub- licize the production are incorporated to retain the original flavor. Even the layouts retain the mood of the play or movie ads in order to capitalize on their millions of dollars of advertising. If the ad plates are the right size they may be used in whole or in part for campaign continuity as well as economy. They often use a finale or curtain scene as the basis of their design.
Problem: How does Decca design records to get maximum display space by the retailer?
Solution: Covers are deliberately de- signed to look different from competi- tors, whether it’s hillbilly, jazz, chil- dren’s sets, mood music, plays, poetry or classics. There is a tendency by all companies to handle classics, for ex- ample, either with old engravings or period pictures. Decca deliberately used modern art to look different. Sales re- sults have justified this break with tradition. Impulse buying figures heavily in music shops and an album
Tansman | triptych
cover that catches the eye often makes the sale.
Problem: Does uniformity in record design help or hinder sales?
Solution: When Decca runs a classic series, AD Brody uses uniformity to maintain the complete collection look. He does this by using the same art with different colors or adding another unit (like an additional branch to a tree) for each new album of the series. For popular records, variety is the theme and the art follows suit. The strong Decca Seal maintains brand identity. Although they frequently use Erik Nitsche, he is selected because he al- ways uses new devices, techniques and so uniformity never occurs.
Problem: When do photos get prece- dent over art?
Solution: Photos are used for glamorous shots of stars, moods, name orchestra leaders. Brody and his artists use photos for special dramatic effects that may be far from the photograph’s original intent. They’ve used _ the World’s Fair Polish Building for a classic record but its identity was just a powerful mood, not architecture at all.
61
Problem: How do Coral and Bruns- wick, subsidiaries of Decca, design covers to sell, based on the recording artist’s reputation?
Solution: When the recording artist is a big name, art director Richard Graham uses big photos. If it’s a polka rather than a “name,” he shows mood
BpimananA - and dancers. If recording artists are
ee known to the public as “characters” he
i ek! a keeps their photos and art mood in character.
Problem: How do Coral and Bruns- wick increase their labels recognition?
Solution: Mr. Graham accentuates poster art and drops subleties. The trend is for boldness and brass. He en-
a” courages the use of primary colors, ® bright and attention-getting, and large DECCA .- type with see-it-from-across-the-street
display value. Here, the thin line to tread between good and bad taste in design is realized. The art he selects is modern and semi-abstract, but so ele- mentary and rzalistic that no “what is it?” questi...s may be asked. This was achieved with Brunswick’s latest vol- ume, Jazztime, USA, which sold 10,000 records the first month released and
made jazz the by-word with Brunswick —— brass -
Problem: How does small budget permit adequate art budget needs?
Solution: Mr. Graham saves on pro- duction costs, utilizing this money for better art. Production costs are lowered (a) by insistence of accurate, color separated mechanicals, (b) 3 color lim- itations and (c) by designing album covers so that the same plates may be used for 7”, 10” and 12” records.
Problem: Can advertising and edi- torial art use these record art ap- proaches?
Solution: They can use its freedom. Abstract art, experimental type — everything goes here. Records sell with- out a lot of copy on the package. Rec- ords, on the other hand, will use more advertising copy on album cover to sell, according to Mr. Nasatir.
Problem: Are Decca, Coral and Brunswick open to new artists?
Solution: They’re welcome. But above all, artists for Decca must know type and production as well as have a creative flair.
Art Studio Trends
Three Chicago studio heads review the studio’s
position in todays advertising procedure
Birds of a Feather don’t flock together
What kind of “birds” do you find in the most successful studios today? Two distinct—and diametrically opposed— types. And there’s a direct relationship between these contrasting types and profitable studio operation.
Take today’s artist, for example. The age of specialization has not passed him by any more than it has your “platoon type” ball players. Ten years ago the “all around” artist was not too rare a bird. Today he’s almost as dead as the dodo bird. Time, quality of work and competition have forced the average artist to be a layout man, a lettering man, a finished art man... or what have you. He’s still an expert and still an artist, but only in one narrow spe- cialized field.
At the other end of the pole from the specialist stands the successful sales- man. He can’t specialize in anything. He has to have broad general knowl- edge of many subjects. For example, he has to be fully familiar and keep pace with changes in all the allied graphic arts fields. He has to know, talk and even sell on the basis of his knowledge of type, production, printing processes, etc.
In addition, today’s salesman has to carry water—or perhaps we should say, crying towels—on both shoulders. If he’s going to help keep his studio going. He must know and understand the prob- lems of the client. And he must know and understand the personalities of the various artists he works with. This marriage by proxy of client demands an artistic temperament, produces the type of work that keeps artists, sales- men and studios working at full blast.
One thing both artists and salesmen share is the love of “mental wages” or “fringe benefits” over and above sal-
Art Director & Studio News / November 1953
aries. Many times today, a salary alone is not enough to keep good men happy. Tnere must be, as in so many other businesses today, a Hospitalization Plan, a Liberal Vacation Policy, Profit Sharing, Group Insurance and the like.
Feldkamp & Malloy, Inc. Eliner Holtzappel
Varied services under one roof
Recent exhibitions of the Art Directors’ Clubs in New York, Chicago and San Francisco, have proved more and more each year how the agency art directors instinctively look to the large studios for effiicient and prompt: handling of their art and illustration needs. Some reasons for this trend are:
More and more these large art studios are attracting the big-name free-lance artist as a natural outlet for his work. In these studios the artist has an opportunity to select the type of work he wants to do and is not obliged to accept work for which he may not be fully qualified or which he may not enjoy doing. His worries about rentals, office space, billing, bookkeeping, adver- tising, calling on clients, etc., are pretty well all solved for him and his mind and hands are freed to develop in his chosen mediums of expression. The problems and necessities of business management need not limit his creative ability. Working in the large studios the artist knows that his particular contribution to an ad or a campaign will be complemented by the work of other equally talented men and women with whom he is associated in daily contact and with whom he can discuss the entire project and thus make the best possible use of the advertiser’s valuable space and time. An advertise- ment produced in these large studios be- comes an integrated selling force and
not a miscellaneous collection of unre- lated units, different in feeling, atmo- sphere and perhaps proportion, from one another.
The agency art director finds at the large studios a wide range of talents, competent to handle any job or any part of any job and his hands are thus freed for the work only he can do; his time and energy are not taken up with a race from one source of supply to another; the failure of one creative man to meet a deadline is not permitted to paralyze the production of the whole job.
Herbert J. Bielefeld, President, Bielefeld Studios
Trends we’ve spotted
1. Major switch from illustration to photography. This began with the technical improvement of color photography—its ability to cap- ture the appetite appeal so neces- sary in a food shot. The growth or impetus has continued into black and white photography, even into situations which do not call for photography. This will continue until the sameness of ad- vertising becomes evident.
2. Much work done today by art studios that was formerly done by engravers. Replacements in this particular phase of production, keyline and assembly are becom- ing extinct. They can earn more in a trade. Very few apprentices learning the business.
38. A constant loss of individualistic talent in the art field. We as an industry are still badly underpaid when one considers the knowledge and talent needed to meet teday’s requirements. This is especially true in the field of good analytical layout.
4. Growth of the small studios who base their entrance to the adver- tising field on price or weakened work.
5. Growth of design and designed illustration. Every day there is more evidence that industry is realizing the importance of de- sign as a sales tool. Each day re- flects their knowledge of the change that has taken place in the individual’s taste during the last ten years. Designed illustra- tion is the perfect foil to capture attention in an abundance of photography.
Howard A. Guernsey Whitaker Guernsey Studio, Inc.
63
studio cards color photo card
something old and something new in 1953's gre
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53's greeting cards
While Christmas Cards only account for about one half of the total of an estimated three and a half billion greet- ing cards that are mailed in the United States each year, it is generally true that the new Christmas lines each year set the pace for innovations and devel- opment of new trends.
The Christmas Cards for 1953 are therefore no exception. Those who select their Christmas Greetings early have been surprised to find both “some- thing old and something new” in holiday greetings for their selection during recent weeks.
One development of marked interest is the very general revival of the use of beautiful vegetable parchment paper to enhance the appearance of the color- ful Christmas illustrations on _ this year’s cards. Originally introduced into the Greeting Card field away back in 1918, parchment paper possesses a spe- cial adaptability to the blending of colors and is particularly appealing when bronzes and metallic inks are used in connection with the reproduc- tions of the illustrations.
The vogue for parchment Greeting Cards faded in the 1930’s and now in 1953, it is back stronger than ever.
In the long interim, improvements in the graphic arts processes have made it possible for today’s publishers to pro- duce hairline register by lithography on the rich mottled parchment stock. There has also been a revival of the illuminated manuscript type of Christ- mas Card design that has a special charm all its own.
In direct contrast to the revival of the use of parchment paper is a totally new trend involving adaptation of color photography to Christmas Card designing. Many Christmas Card lines are now featuring a series of full color reproductions of holly, poinsettia, can- dles, mistletoe, and many other well- loved Christmas symbols realistically portrayed through the magic of the color camera and reproduced with a