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= — 34th st., "NEW YORK 1, N. Y. 
Art Director & Stu News / August 1953 














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 5 





NEW ART RESPONSIBILITIES 


WALLACE W. ELTON, NSAD PRESIDENT 


The magazine you are now reading is the official publication of 
the National Society of Art Directors. This is a fact of not par- 
ticularly world wide importance, but the tide of influences that have 
brought NSAD and AD&S News into being are of international 
significance. And they either have or will effect you. 


With the shift of world leadership to this continent, “Us Uncul- 
tured Americans” (that means North Americans, not just United 
States Americans) have acquired leadership in several non-material 
areas. One of those areas includes the graphic arts that are part 
of our great mass communication system. 


It is generally realized that we have established a high economic 
level of living and that we lead the world in material production. 
The growth of our non-material culture seems to be little realized 
and little honored here at home. 


Our painting and our sculpture, like our architecture lean less 
and less heavily upon European schools and traditions. The num- 
ber of our museums has multiplied more than 4 times in the last 
quarter century. Last year our colleges conferred nearly 6,000 fine 
arts degrees, not counting those in drama and music. 


Our commercial art and design have had a great impact abroad. 
The State Department says that among its traveling shows on 
American life those featuring editorial and advertising illustration 
are sure to draw big and enthusiastic audiences. 


To anyone who has not traveled abroad since before the war 
this influence may be difficult to appreciate. Many of us remember 
the days when the designers’ “bibles” were European art publica- 
tions. Today, artists and designers in other lands collect our own 
art books, our annuals of advertising art and our magazines like 
AD&S News. Even among non-English speaking people our mass 
publications have the greatest popular-art-influence of any printed 
media. 


This new and growing reputation is gratifying to all of us. Let 
us accept it as a growing responsibility, too. It is as challenging 
to retain as it is to acquire leadership. 


The 17 member clubs and the 2,000 individual members of the 
National Society of Art Directors comprise the talent and resources 
that can for a long time establish the standards of good taste and 
professional excellence in the world’s picture-form of communi- 
cation. 


CONTENTS 


THIS MONTH August, 1953 


1953 International Design Conference 20 
Magazine Hot Spot 20-21 
Case History: Trade Ads with a Zip 22-23 
Up Comer ‘ 24 
Which Would You Choose? 25-26 
Art of the Plagiarist 26-27 
One Order of Tomato Bisque, Please 28 


EVERY MONTH 
Letters to the Editor 
Joint Ethics Committee Reports 
Tax Talk 

Business Briefs 
AD&S News 
Production Notes 
Trade Talk 

What’s New 
Bookshelf 

Ready Reference 
Classified 


Publisher, Donald Barron 
Editor, Edward Gottschall 


Advertising Manager, L. H. Bremer 
Associate Editors 
Harald Torgesen, Atlanta Robert B. Connolly, Minneapolis 
DeWitt Battams, Baltimore —_ Harry Steinfield, Montreal 
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 


Designer, Ken Saco 


Art Director & Studio News, published monthly by Art Director 
& Studio News, 43 E. 49 St, New York 17, N. Y. Plaza 9-722. 
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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Garfield 1234 Court 1-6489 
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Obey that impulse .. . 

Enclosed is a cartoon... 
Gino Garlanda 
Paterson, New Jersey 


Letter 1/13; wire, 5/12 

Thanks for your intelligent handling of 
our January ad. We airmailed our Feb- 
ruary art yesterday. 


Although we know the road to Hell is 
paved with good intentions, we are plan- 
ning to schedule these ads like any other 
job, and give them the importance they 
deserve. 

However, just in case the mailman hap- 
pens to break his leg, or the jet plane 
runs out of kerosene, we will advise you. 


James H. Gilchrist, Gilchrist Osler 
and Company 


POSTMAN BROKE LEG RERUN COOL CRAZY 
BET DIG YOU LATER—GILCHRIST OSLER 
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Cover artist 


Arthur O. Biehl is a 26-year old, Virginia 
born up and coming artist. Recently he 
has been with Gene Brod Associates and 
at present is on leave of absence to travel. 
He studied commercial and fine art at 
Richmond Professional Institute of the 
College of William and Mary, got his 
BFA in 1950. He taught at W&M for a 
year, worked in Philadelphia and Chicago 
studios doing lettering, layout and illus- 
tration. As an extra, has designed stained 
glass windows. 











os | 
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f° all Session 
fe-4 Registration 


& 


Fall Session interviews will be held on the following eve- 

nings: Industrial Design. Interior Design: Sept. 8: Illustra- 
INTERVIEWS tion. Architectural Drawing and Building Construction: 
Sept. 9: Advertising Design. Technical Workshops. and 
mee Introductory Classes: Sept. 10. Classes begin Sept. 14. To 
receive an illustrated catalug. or for other information, 
write to the Secretary. Evening Art School, Pratt Institute, 
215 Ryerson Street. Brooklyn 5; or phone MA 2-2200, 


INFORMATION 


he instructional offerings include introductory classes for 

ADVERTISING DESIGN applicants without any previous art or architectural educa- 
tion: three and four year certificate courses: advanced 

ILLUSTRATION 


classes: and technical workshops for the development of 


ARCHITECTURAL DRAWING special -skills. Certificate course students follow a planned 


sequence of foundation and specialized studies. while special 
and BUILDING CONSTRUCTION 


students may elect subjects chosen from the courses and 
classes. Forty-seven subject matter specialists. designers. 
illustrators. and architects teach the same subject in the 
evening at which they are employed during the day. Instruc- 


INTERIOR DESIGN 


INDUSTRIAL DESIGN P - . 
tors are present at all classes with the exception of some fig- 
= aay raya TECHNICAL WORKSHOPS ie pointing classse which mest for two evenings cach werk 
with an instructor and fof-one evening without an instructor. 


Evening Art School at Pratt Institute 





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Art Director & Studio News August 1953 





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the case of 


THE JEC 


report of the Joint Ethics Commitee 


In response to inquiries arising from the 
publication of this series of case histories 
of JEC work in this column, we are pub- 
lishing some of the answers requested. 


What is JEC? 

It is a joint committee of the Society of 
Illustrators, the Art Directors Club of 
N. Y. and the Artists Guild, Inc., com- 
posed of three members from each, was 
formed in 1945 to establish and maintain 
ethical standards of practice in the com- 
mercial art field. 


What has it done? 

It created the Code of Fair Practice and 
has acted upon complaints, requests for 
guidance and reports of Code violations. 
It has served artist, representative, and 
art buyer impartially in settling disputes 
arising from the buying and selling of 
art work. 


Who can use it, and how? 

Any person or organization, regardless 
of affiliation, who needs advice, inter- 
pretation of the Code, definition of ethi- 
cal practices, or who has a complaint 
based on apparent unethical practices 
may write to the Committee. 

Services of the members and their legal 
counsel are voluntarily contributed and 
all nominal expenses are defrayed by the 
three organizations, 

All communications must be in writing. 
The Committee does not act as a bill 
collecting agency, offer legal advice, nor 
act in any matter where a contract or 
copyright law is involved. 

How does it settle disputes? 

When a complaint justifics action, a copy 
of the complaining letter is sent, with 
permission, to the alleged offender. If 
this does not answer the problem, the 
Committee may offer informal mediation 
where the disputants mect with a pancl 
from the Committee. If mediation fails 
or is unsuitable, a formal arbitration of 
this problem is held according to the 
Arbitration Law of New York State. 


What advantage does this provide? 

JEC operations provide precedent for 
guidance in problems within the profes- 
sion, creates opportunity to settle disputes 
amicably with experts in our own field 
and at no cost. 


























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Art Director & Studio News / 


August 1953 





tax talk 


MAXWELL LIVSHIN, CPA 


CONTEST PRIZES TAXABLE: Prizes awarded 
in an essay contest were ruled taxable in- 
come recently. The court said, “In the 
legal sense, payment of a prize to a win- 
ner of a contest is the discharge of a 
contractual obligation.” 


VACATE-PREMISES PAYMENT RULED CAPITAL 
GAIN: Under the New York emergency 
rent laws, a tenant remained in posses- 
sion of his leased premises after the ex- 
piration of the lease. On the payment by 
his landlord of $22,500 he evacuated the 
premises. The Tax Court held that the 
lessee had a capital gain, that the sum 
received was not ordinary income. 


TREASURE TROVE IS TAXABLE: Treasury 
Department recently ruled “The finder 
of treasure-trove is in receipt of taxable 
income, for Federal income tax purposes, 
to the extent of its value in United States 
currency for the taxable year in which it 
is reduced to undisputed possession.” 


GIFTS HELD TAX DEDUCTIBLE: A motion- 
picture actress gave personal valuables to 
persons who worked with her—an agent, 
a dialogue director and a designer of 
women’s clothes. The tax court allowed 
these items as deductions and held the 
expenditures were necessary to her busi- 
ness as a professional actress, 


FREE PRIZES DEDUCTIBLE IF THEY STIMULATE 
BUSINESS: Tax Court ruled that a movie 
house may give away all the prizes it 
wants to providing they help make the 
business pay. House in question was al- 
lowed entire cost of bingo games. 
* 

RESIDENT ABROAD GETS REFUND: An airline 
employee was recently refunded income 
taxes which he had paid to the United 
States for 1950, the period during which 
he was a resident abroad. He had spent 
most of 1950 in the Near East on behalf 
of his company and had paid income 
taxes for the year to the Government of 
Iraq. 


ABSCONDED FUNDS A DEDUCTIBLE LOSS: A 
building contractor was given a part pay- 
ment of $7,500 for the construction of a 
home. After performing only part of his 
contract he absconded with the money. 
The Tax Court ruled this was the same 
as a theft or embezzlement and the dif- 
ference between $7,500 and the value of 
the work done was a deductible loss. 





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We thoroughly brief a hand-picked 
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business briefs 


The slow summer season is with us. Studies 
made for AD&SN show that in general 
agency buying and studio billing hit low 
points during the summer. 1953 is prov- 
ing no exception. 

* 


National advertising expenditures in news- 
papers continued its upward trend as 
1952 hit high for seventh consecutive 
year, Says Media Records, $526,058,000 
was spent by 1,352 advertisers on 3,998 
products. 

* 
You are seeing more prices in ads, and will 
be seeing still more. With prices decon- 
trolled, increasing selling power needed 
in ads, and increased supply of products 
and services, citing price advantages is 
increasing in importance in the sales 
Story. 

s 
Woman’s Home Companion and McCalls are 
latest large size magazines to offer ad- 
vertisers a “junior” page. The less than 
a full page ad is offered at lower rates, 
can use plates made for smaller size 
magazines, puts no other ad on the page. 

* 
Shift in size of age groups in our population 
is affecting many sales and advertising 
programs. Greatest increases are in age 
groups 65 years and older and the 5-17 
year olds. Manufacturers of infants’ 
shoes, noting a predicted 20.9 per cent 
decrease in the under 5 infant group by 
1960, are shifting over to children’s shoes 
to meet increased market in the 10-14 
bracket which faces a 53.7 per cent in- 
crease in same period. Blue Bell, recog- 
nizing same trend, is pushing brand name 
items to children. 

8 
Tax-free ad reserve fund was advocated by 
economist J. K. Lasser. He proposed 
5% tax reduction which business would 
put into non-interest bearing five-year 
government securities, When redeemed, 
bonds would be taxed. Redeemer would 
not be taxed if he could show bonds had 
been invested in research and advertising. 

* 
Credit restrictions have been eased by Federal 
Reserve Board action lowering reserve 
requirements of member banks, making 
about $5,780,000,000 more available for 
loans by member banks. This easing of 
the tight money policy will help keep 
interest rates from rising through the 
roof, encourage business spending for 
plant and product expansion. 


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TELEVISION COMMERCIALS ¢ 


12 


Quick Quiz’ 


Who is qualified to make TV film commer- 
cials? 

Advertising men who are experts in visual 
selling. 


SSARRA has been a specialist in visual selling 
for more than 20 years. 


Which technique is best for my commer- 
cials? 


The one which best suits your product and 
sales story. 


SARRA has had brilliant success with anima- 


tion, live action and stop motion — and com- 
binations of all three. 


What is the best way to work with the pro- 
ducer? 


A good producer deserves to be made a 
member of your team. Whether he works 
from your storyboard or his, the more you 
draw on his specialized experience, the 
better the results. 


SARRA ’s permanent staff of script and story- 


board experts are equipped to do the com- 
plete job, or they will cooperate with the 
agency’s departments to carry out its ideas. 


How much of the creative preparation 
should the producer contribute? 


As much or as little as required. 


Sara has produced more than 2500 film 


commercials, of which 65% were created by 
our own staff. 


PHOTOGRAPHIC 


ILLUSTRATION e¢ 


How much should a TV commercial cost? 


There is no such thing as a cheap commer- 
cial. There are good and bad commercials. 
Good commercials are inexpensive. 
SARRA commercials are inexpensive because 
they sell effectively. They are so fresh and 


interesting they can be repeated for cumula- 
tive effect without becoming tiresome. 


Should the producer be expected to sub- 
mit a script or storyboard on speculation? 


No. An established producer's stock in 
trade is ideas and he is worthy of your 
confidence. 


SARRA does not submit material on specula- 
tion. SARRA charges for the creation of 
scripts or storyboards but once okayed, they 
become part of the overall quotation. How- 
ever, you do not gamble time or money for, 
of over a thousand storyboards and scripts 
created by SARRA, only 7 have not been 
produced. 


How important is the quality of the TV film 
prints? 


The print that goes on the air represents 
your investment of time, talent, and money. 
It should be the finest available for TV 
reproduction. 

SARRA insures good reproduction. SARRA 
has its own laboratory for the sole purpose 
of making prints of its commercials for TV 
presentation. These prints are called Video- 
O-riginals and whether you order one or one 
hundred, each one is custom made. 


Are better commercials made in the East, 
in Chicago, or on the West Coast? 


Geography doesn't matter. Facilities and 
equipment are only as good as the men 
who use them. 

Sarra specialists are available in our own 
New York and Chicago studios and in asso- 
ciate studios in California. The script and 
your convenience determine the location. 


SPECIALISTS IN VISUAL SELLING 


MOTION PICTURES «¢ 


New York: 200 East 56th Street 
Chicago: 16 East Ontario Street 





FOR BUYERS OF TV FILM COMMERCIALS 


*Slightly biased 

















Magazines come, go, merge 

Park East, which suspended with the May 
issue will be revived in October by 
Family Circle Inc., combined with Prom- 
enade, the hotel circulated magazine. 
Combined circulation will be 100,000. 
Copy price ups to 35¢. AD has not yet 
been named . . . Mechanics Today, a bi- 
monthly, will bow September 14. Pub- 
lished by A. R. Plaine and Matthew 
Huttner at 444 Madison Ave. Circulation, 
300,000. AD Ray Betuel will be buying 
four-color casein art for the cover, b&w 
spots for inside, It’s a how-to-do-it book 
.. . True Life Stories is bowing in Octobet 
with 250,000 circulation. Published by 
Pines Publications Inc. AD Art Koop 
will be buying mostly photography and 
some b&w spots. Covers and two inside 
pix will be four colors frorh Ektachromes. 
Rest of story illustrations will be b&w 
photos . . . TV Guide has added a Toronto 
edition Fawcett Publications Inc. 
has killed its comics magazines. Issues 
now in production will be completed . 
August will see a combined “Dun‘s Review 
and Modern Industry”, published by Dun 
& Bradstreet . . . Ziff-Davis Publishing 
Co. has bought The Camera and American 
Photography, will merge both with their 
own Photography in August . . . World, 
a new monthly, replaces UN World in 
September . . . Tide magazine has been 
bought by Billboard Publishing Co., will 
retain present format, continue as a fort- 
nightly . .. 3Dmentia has reached comic, 
“The Mighty Mouse”, St. John Publishing 
Co. which is now entirely in third di- 
mension, Institutions Magazine, Chicago, is 
making 3D illustrated features part of 
its regular editorial program, is selling 
3D ads, is supplying necessary viewers to 
its readers . . . TV Reporter, Toby Press, is 
suspending for the summer . . 


August 1953 


Art Director & Studio News / 





ART DIRECTOR & STUDIO 


Gruen to Lester Harrison Lester Har- 

rison Inc. 
has appointed Chuck Gruen, former Art 
Director for Neiman-Marcus, as Art Di- 
rector of the Retail and Direct Mail Di- 
vision. In this capacity, Gruen will serve 
as Art Editor for catalogues, brochures, 
direct mail pieces, gift wraps, merchandise 
cartons, bags, labels, stationery, and spe- 
cial promotional pieces. Gruen joined 
Neiman-Marcus in 1947 and during this 
time the Texas store has received the 
greatest number of art and advertising 
awards ever given a single retail store. He 
received the Art Directors Club of New 
York award of merit for five consecutive 
years (1948 through 1952), as well as the 
Art Directors Club of New York Gold 
Medal Award of Design of Complete Unit, 
1950; Seklemaian Awards (Retail ad 
News) 1949, 1950, 1951, 1952; Socrates 
Awards (Vincent Edwards Company) 
1950, 1951; Dallas Advertising League 
Advertising Awards, 1948, 1949, 1950, 
1951, 1952; American Institute of Graphic 
Arts —two certificates of excellence in 
printing for Commerce, 1952. 












news AUGUST 1953 


Ad expenditures up 


Recent Wall Street Journal called atten- 
tion to the acceleration of advertising 
expenditures with the increasing of pace 
in business competition. 8 billion dollars 
worth of advertising this year will set the 
record of expenditure, an increase of 
10% or more in some cases, over 1952. 


Agha heads AIGA 


New officers of the American Institute 
of Graphic Arts are: president, Dr, M. F. 
Agha, consulting art director; vice-presi- 
dents, John Begg (Oxford University 
Press), Ray Freiman (Random House), 
Charles E. Springhorn (Standard Oil of 
N. J.), Harold M. Davis (Davis 
Delaney), and Eugene Ettenburg (The 
Gallery Press); treasurer, Ray Freiman; 
secretary, Leonard B. Schlosser (Schlos- 
ser Paper Corp.). 


AIGA magazine jury 


Jury for the Fourth Annual Magazine 
Show, sponsored by the American Insti- 
tute of Graphic Arts, has been chosen: 
Alvin Lustig, Robert Major, John Peter, 
Ted Sandler, Milt Zudek. The show will 
be held October 13-23 at the Artists 
Equity Building at 13 E. 67th Street, 
New York. 


It pays to repeat 


Printers’ Ink has reported that research 
by McGraw Hill shows the advisability 
of repeating advertisements. Similarly, in 
the April issue of AD&SN an article by 
Elwood Whitney reached the same con- 
clusion. 








Package design entries due 
August 31 


The Package Designers Council announces 
eight Package Design Awards for 1953 
and the Irwin D. Wolf Award for the 
best package, or line of packages. The 
awards will be made at a luncheon to 
be held at the Park Lane Hotel, New 
York City, Oct. 21, 1953. Accepted en- 
tries will be exhibited in the Versailles 
Room of the Hotel on Oct. 21 and 22. 
A selected group including award win- 
ners will be published in “P.D.C, Annual 
of American Package Design.” Entries 
go to Awards Committee, Package De- 
signers Council, 118 E. 40th Street, New 
York 16; deadline is August 31, 1953. 


Kling expands 


Robert Eirinberg, President of Kling 
Studios, Inc., has announced expansion 
of its Motion Picture-T.V. Division in 
Chicago and Hollywood. Giant sound 
stages and complete production facilities 
are being constructed on the newly 
acquired properties. 






_s 
i oo ie 
Duffy joins Beattie-Watts John J. 
Duffy has 
joined the Beattie-Watts Photographic 
Studio, New York City, as vice president 
in charge of sales. He is well known in 
the advertising business, having operated 
his own studio for many years. Mr. Duffy 
was associated with BBDO for ten years 
in New York and Boston. 





Antiques forum 


The 1954 Williambsburg, Va., Antiques 
Forum and Garden Symposium, major 
winter events in this restored 18th Cen- 
tury city, will be held in two sessions: 
week of January 25 and of February 1, 
1954, . 


4 


Functional die-cutting Shell Oil Co. 

promotion, 
“Carol Lane’s Vacation Dress-O-Graph”’, 
features slit pages showing how minimum 
wardrobe can combine to many outfits. 
Contains data on planning trave] ward- 
robe, convertible costumes, packing tips, 
AD was F. H. Roberts. 


Anti-Vivisection Society 

sponsors art contest 

A nation-wide art competition is being 
sponsored by the National Anti-Vivisec- 
tion Society, Any amateur and profes- 
sional artist may submit without fee his 
own original work in any media. Prizes, 
$1,000 in cash awards with a first prize 
of $500, will be awarded on or before 
December 1, 1953. Judges will be Roy 
Patterson, Chicago artist; K. C. August, 
Advertising Agency executive; and Clar- 
ence Richard, Managing Director of the 
society. The contest closes November 1. 
Inquiries should be sent to the National 
Anti-Vivisection Society, 37 S. Wabash 
Ave., Chicago, IIl. 


Art Directors Club formed 
in Washington 


The Art Directors Club of Metropolitan 
Washington was formally organized at a 
meeting on July 2, attended by 80 char- 
ter members. 

After adoption of a constitution and 
by-laws, the following officers were 
elected: President: Eugene T. Hoover, 
AD, Henry J. Kaufman & Associates; Ist 
V-P: John H. MacLeod, AD, Lanman 
Art Service; 2nd V-P: Garnet Jex, U. S. 
Public Health Service; Secretary: Wil- 
liam Sholar, Sholar Services, Inc.; 
Treasurer: Henry Bausili, Art Designers 
Studio. 

The newly-formed group expects to 
apply for affiliation with the National 
Society of Art Directors. 





Mechling, Costa win 
press photo awards 


FPG’s John Mechling won first prize in 
the world’s largest competition for press 
photography, sponsored by the National 
Press Photographer’s Assn. and Encyclo- 
paedia Britannica. Joe Costa of King 
Features tied for first place. Mr. Mech- 
ling’s winner was a human _ interest 
picture of two kittens in full color which 
appeared on the April 1952 cover of 
Woman’s Day. 





for its Vivid Realivm 


ae i Ee crsmic ¢ eye f elev stati 


Space-display coordination features 

current 
Sparton campaign. Sparton sales job is 
to rebuild in key markets by securing a 
large, downtown prestige, such as a lead- 
ing department store. Ad copy features 
one store in each ad. Photographic setting 
is shipped to store and they have it on 
display during week ad appears in Life. 
After store has been featured its name 
moves down to a Sparton logotype and is 
listed there in subsequent ads. AD is Ed 
Rogers, Brooke, Smith, French & Dorrance, 
Detroit. Creative supervisor was Larry 
Rockelein. Photography by Paul D’Ome 
Studios, New York. 


Rochester photo conference 
opens September 13 


Outstanding editors, production men, 
researchers, and photo directors will lead 
discussion groups in the National Press 
Photographers Association—George East- 
man House sponsored Rochester Photo 
Conference which opens September 13. 

Among topics to be discussed are the 
use of photographs in general problems, 
the editor-photographer “picture teams”, 
tools and materials, and color photog- 
raphy for newspapers and general pub- 
lications, 

















LINCOLN 
8 


High angles and interiors feature much current car advertising. Lincoln ad 

4 shown was AD’d by Kenyon & Eckhardt’s Gerald 
Link and photographed by Richard Beattie. Mercury ad was AD’d by K&E’s William 
Rienecke and photod by Cle Clark of Detroit. Tan and red Mecury by artist A. M. 
Fitzpatrick. 


Now - lets drive towards tomorrow 
7 MERCURY 
@ 





Jonah Kinigstein is a painter, sculptor, and a toy maker but he’s attract- 
ing most attention for window displays designed for Bonwit Teller, Saks 
Fifth Avenue, Bloomingdale’s, and Ohrbachs. 

Born in 1923 in Brooklyn, Kinigstein got his art schooling at James Monroe 
High School and Cooper Union. His paintings hang in the Wichita Museum, 
Kansas; Corcoran Gallery, Washington, D.C., and the Museum of Modern 
Art, New York. 

His work was also shown in the Metropolitan Museum Show in 1952 and 
in the Pennsylvania Academy Exhibition this year. In addition to free-lance 
work for two national display companies, Austin Displays of New York and 
W. L. Stensgaard & Associates of Chicago, he designs lamps, record covers, 
and furniture. Represented by Downtown Gallery. 








} 
| 
| 
j 
| 





Art Director & Studio News / August 1953 














Daredevil photo: There is a real dare- 

devil story behind the 
photo in the above American Petroleum 
Institute Ad running in June in all na- 
tional publications. O. Winston Link, the 
photographer chosen to take the main 
illustration is here shown as he took the 
photo 200 ft. in the air, shooting head 
downward between the “bubble” and skid 
of the Bell Helicopter. The door was taken 
off, his seat cushion and pad were re- 
moved to permit maximum extension of 
himself and the camera. His safety belt 
is secured with baling wire. A series of 
32 pictures were taken of the skidding 
operation—following the rig a quarter mile 
as it was moved across the desert to the 
new site. 

Because of strong cross winds, pilot was 
only able to hover for 2 minutes at a 
time, then he would make a half mile 
circle to relieve his muscle strain before 
continuing. The position of the hole, the 
acute perspective wanted of the derrick, 
action of bulldozers and clearance of der- 
rick from equipment on ground made it 
mandatory that this picture be caught at 
exactly the right time, the right altitude 
and the right place—and with the right 
lens at a fast shutter speed (1/500 sec.) 
so that picture would be clear in spite 
of vibration. Art Director for the American 
Petroleum Institute is Norman B. Mullen- 
dore of Sullivan, Stauffer, Colwell & 
Bayles. 





Rubber sets for TV 

developed by Ostrander 

A. A. Ostrander, former CBS-TV art 
director is now pilot producing rubber 
scenic sets for TV use. CBS will be first 
to try the sets. The following advantages 
are claimed for them: they are cheap 
enough for local stations to use; for some 
purposes they are more realistic; require 
small storage space; are virtually un- 
breakable; are washable, paintable, fire- 
proof. They also take one-third shipping 
space of conventional scenery and are 
80% lighter than standard sets. These 
sets are now being constructed by Chester 
Rakeman Studios, New York. 


Portland elects 


Portland Advertising Artists Guild elected 
the following officers: Ed DeTemple, 
AD, Blitz Advertising Co., Portland, Ore. 
—president; Jack Meyers, Carvel Nelson 
& Powell—vice-president; Pat Shaylor, 
Joseph R. Gerber Co.—secretary; John 
Blew, Gerber Co.—treasurer. 


Dennis heads Milwaukee 

Newly organized Art Directors Club of 
Milwaukee has elected officers: Ray 
Dennis, The E. F. Schmidt Co.—presi- 
dent; Richard Hoffman, Advertising Art 
Studios — vice-president; Everett Edel- 
man, Phillips Litho —secretary; Jay 


Conley, Wetzel Bros.—treasurer. 





Art first policy was followed by Arthur 
Lougee in feature story in 
May-June issue of Lincoln-Mercury Times. 
Artist Cal Dunn was commissioned to 
make a trip on an ore boat and record 
his impressions in a series of watercolor 
sketches. The story, by Bernard DeVoto, 
followed. Explaining this art first policy, 
Mr. Lougee says, “On occasion we com- 
missioned an artist to illustrate a story 
assignment for us before the story is 
written. This was the case when Cal Dunn 
made the watercolor trip aboard our ore 
boat, the Henry Ford II, for the ‘Ore for 
the Rouge’ article. To date this art first 
experiment has proven very successful in 
emphasizing the visual aspect of the story, 
which the author, in his concentration on 
words is frequently apt to overlook.” 


% 





Art for fiction portfolio Five outstand- 

ing contempo- 
rary artists have done illustrations for 
Charm Magazine’s annual fiction portfolio, 
a separate section of the magazine con- 
taining new stories by distinguished writers. 
Ben Shahn did a series of line drawings 
in the July issue to accompany Aldous 
Huxley’s latest novelette, “Consider the 
Lilies.” 

The portfolio, printed on antique stock, 
rather than the usual coated, also features 
paintings by Lucille Corcos and Jan Balet 
in addition to line drawings by Richard 
Lindner and Albert Gay. These were es- 
pecially commissioned to illustrate short 
stories by Colette, Shirley Jackson, Hor- 
tense Calisher and John Moore. 

It has been the policy of Charm, since 
it directed its editorial content three years 
ago to women who work, to regard these 
readers as mature and discriminating, and 
to publish for them the finest art and fic- 
tion in the magazine’s pages. Shown above 
is Jan Balet’s painting for Colette story, 
“La Shah”. 


Litho awards catalog available 


An illustrated catalog of winning entries 
in the 3rd Lithographic Awards Com- 
petition is available from Lithographers 
National Assn., 420 Lexington Ave., New 
York 17. The catalog, designed by Lester 
Beall, contains illustrations of the Ist, 
2nd, and 3rd award winners in about 
40 different classifications of lithography. 


U.S. art on tour 

Museum of Modern Art is organizing an 
exhibition for circulation abroad, “Cre- 
ative Skills Today, U.S.A.” 

In this connection, Wallace W. Elton, 
President of NSAD, has written an edi- 
torial in this issue calling attention to 
the influence of American art and design 
in other countries, 


3rd Creative Plus Forum 
on August 26 


Monthly meeting of the Creative Plus 
Forums, sponsored by Hampton Studios, 
Inc., will be held at the Willkie Memo- 
rial Bldg. of Freedom House, 20 West 
40th Street, New York, at 7:30 P.M. on 
August 26th. Panel includes Mort Nasa- 
tir, Advertising Manager, Decca Records; 
Marc Brody, AD, Decca Records; Rich- 
ard Graham, AD, Coral Records; Harry 
Trucelli, Production Director, Decca 
Records; Theodore Matucci, President, 
Amalfi, Job Counselors. Admission is 
free. 


STA names Beck 


Society of Typographic Arts elected the 
following officers for 1953-54: president: 
Bruce Beck, designer; Whitaker-Guernsey 
Studios; vice president: Susan Karstrom, 
AD, Science Research Associates; secre- 
tary: Violet Fogle, illustrator; treasurer: 
Carl Regehr; designer, Bert Ray Studio. 
Elected Fellow of the Socjety of Typo- 
graphic Arts for 1953: E. Willis Jones, 
Designer. Elected Honorary member: 
Beatrice Warde, Monotype Corp., Lon- 
don, England. 








Copy for Lily of 
France ad features 
“The Coolest Couple in Town”, snowman 
and girl in an Enhance girdle and a 
strapless bra. Reverse art on soft gray 
background by artist Jackie Silon. AD, 
Sherman Raveson of Sterling Advertising 
Agency. 


Gray for coolness 








Scanning TV — 

Magazine style format: Instead of permit- 
ting advertisers to program their own 
time, trend is toward a magazine type 
policy in which the station or network 
creates the programs, sells portions to 
advertisers. Examples: Show of Shows, 
Today. Pat Weaver, vice chairman of 
NBC, told the Economic Club in Chica- 
go “These great shows are based on the 
theory that if you spend money on the 
show and make it so good you can get a 
huge audience, then you can allocate cost 
among several advertisers.” 


Equipment advances: Vidicon Tube is said 
to give greatly improved picture when 
using films . . . new GE equipment cuts 
costs by making it possible for station to 
use only two technicians when running a 
string of films... 


SAG code spurs art use: Recent Screen 
Actors Guild code has raised ‘costs of 
live talent, resulted in drop of live talent 
in commercials to less than 10% of last 
year. Code provides for payment to ac- 
tors when films are reused. Five Star 
Productions, Inc., is using 5 actors in 16 
currently produced films as against 68 in 
21 films made last year, according to re- 
port in Advertising Age. 


Color TV imminent: Technical problems 
delaying advent of color TV are under 
control and best thinking in industry is 
that FCC approval will be won by early 
1954. Cost of shows and of sets will be 
high at first, as with b&w TV, then will 
come down. Systern will be compatible, 
permitting reception of color telecast in 
b&w on old or non-converted sets. 


Cleveland publishes - 
its Fourth Annual 


The catalog of the Fourth Annual Ex- 
hibition of the Art Directors Club of 
Cleveland is off the press. Copies are 
available from the club, 430 Bulkley 
Building, Cleveland 15, at $2.00. All 
work from the exhibit is shown, 224 
pieces selected by three man jury com- 
posed of Charles T. Gerhart, Arthur 
Hawkins Jr., and Bradbury Thompson. 


Atlanta issues second 
ad art annual 


If you want to see the work done by art 
directors in the South, get hold of the 
Second Annual of Advertising Art, pub- 
lished by the Art Directors Club of 
Atlanta. Sections on fine art, commercial 
art, design. Includes club roster, glossary 
of printing and advertising terms, state- 
ments from leading artists and printing 
craftsmen. Club president J. Pat Denman 
is at 83 Cain Street, NE. 


Art Director & Studio News / August 1953 


Visually dynamic are being produced 


business ads by Gotham Adver- 
tising Co. for Gen- 


eral Dynamics Corporation. Brief head- 
lines, small copy block, layouts and art- 
work by Erik Nitsche feature series of 
eight running in U. S. News & World 
Report and in Business Week. 


New films available 

This is a list of films on the fine and 

graphic arts. The first group is available 

from the National Film Board of Can- 

ada, 620 Fifth Avenue, New York 20. 

Each film has sound, is 16 mm. 
Sources for the last group are listed 

separately with each film. 

CANADIAN LANDSCAPE. Color, 18 min. 

Study of pair‘ing style of Alexander 

Young Jackson. Rental $5. 

CRAFTSMEN AT WORK. Color, 13 min. 

Crafts and folkmusic of Nova Scotia. 

Rental $5. 

ESKIMO ARTS AND CRAFTS. Color, 22 min. 

Particular craftsmanship of the Baffin- 

land Eskimo. Rental $5. 

FLIGHT OF THE DRAGON. Color, 15 min. 

The Chinese collection at the Royal On- 

tario Museum. Rental $2.50. 

HABITANT ARTS AND CRAFTS. Color, 10 min. 

Quebec ways. Rental $2.50. 

HOLIDAY AT SCHOOL. Color, 18 min. The 

Banff, Alberta summer school. Rental $5. 


KLEE WYCK. Color, 15 min, Biographical 
of the late Emily Carr, painter of British 
Columbia, Rental $5. 

THE LIVING GALLERY. Black and white, 20 
min. Toronto Art Gallery and the needs 
of its community. Rental’ $2.50. 


PAINTERS OF QUEBEC. Color, 18 min. Que- 
bec as seen by seven Canadian painters. 
Rental $5. 

LA POULETTE GRISE. Color, 6 min. Art-on- 
film story of a Canadian lullaby. Rental 
$2.50; in French. 

PRIMITIVE PAINTERS OF CHARLEVOIX. Color, 
22 min. Techniques and subject matter 
of four French-Canadians. Rental $5. 
CADET ROUSSELLE. Color, in French, 8 min. 
Two dimensional puppets illustrate a 
popular French folk song. Rental $2.50. 
THIRD DIMENSION. Black and white, 19 
min, Several Canadian sculptors at work. 
Rental $2.50. 

TOTEMS. Color, 11 min. Music and totems 
of the British Columbia Indians. Rental 
$2.50, 

WEST WIND. Color, 18 min. Biographical 
of the Canadian Painter, Tom Thomp- 
son. Rental 35. 


PUEBLO ARTS. Color, 11 min., sound, Prim- 
itive and modern art of the Pueblo In- 
dians, New York City Public Library. 
Rental Fee. 

REMBRANDT—POET OF LIGHT. Black and 
white, 13 min., New York Public Lib- 
rary. Rental $4.50. 

LITHOGRAPHY. Black and white, 16 mm., 
14 min., sound. Successive steps required 
for production of a lithograph. New York 
City Public Library. Rental $4. 

COLOR COMES OF AGE. Color, 35 mm. 
slides. Views of designers, editors, etc. 
on the importance and influence of color. 
Martin-Senour Co., 2520 Quarry Street, 
Chicago 8, IIl. 

THE MIRACLE OF THE CAN. Color, 41 min., 
16 mm. Story of the contribution of can 
industry to American way of life. Ameri- 
can Can Co., 190 Park Ave., NYC, 
PACKAGING PAYOFF. Color, 16 mm., 26 
min., sound. Manufacture and applica- 
tion of. aluminum foil labels and wraps. 
The Motion Picture Dept., Reynolds 
Metal Co., 2500 S. Third Street, Louis- 
ville. Free. 


Type-lettering service 

under one roof 

Rapid Typographers, Inc., of 305 E, 46th 
Street, New York, announces Rapid Film- 
Lettering Service enabling advertisers, 
agencies, ADs and production men to 
secure both typography and hand letter- 
ing simultaneously—day and night. The 
special equipment “sets” the letters and 
words on film and a contact print is 
made suitable for reproduction, 

It will reproduce an advertiser's own 
alphabet of established lettering styles. 
A sample book of over 60 styles is avail- 
able. 





N 
S 


Dunlany to head Boston 

Jacques Dunlany, AD of John Donnelly 
& Sons, is new president of the Art 
Directors Club of Boston. Thomas S. 
Baker, Baker Studios, is v.p. Secretary is 
Herbert Dye, of Herbert Dye Studio, and 
Richard Johnson of Sutherland Abbott 
is treasurer, Stephen O'Leary, McCann- 
Erickson, and Vincent Ostrand, Fannell 
Studios, were named to the Executive 


Board. 





19th Exhibition of the Philadelphia Art 

Directors Club will be 
held in the Pennsylvania Academy of the 
Fine Arts from December 4 through Janu- 
ary 3, 1954. Discussing plans for the show 
are Edward Cullen of Arrow Display 
Associates and Chairman of the Exhibit 
and Warren G. Thomas, designer and Co- 
chairman. 


NSAD establishing 
Speakers Bureau 


A Speakers Bureau is being established 
by the National Society of Art Directors. 
It aims to assist affiliated clubs in getting 
speakers for programs, bring about closer 
relationship among ADs coast-to-coast, 
stimulate clubs to train and send speakers 
to schools, clubs, and ad groups. 

A questionnaire has been sent to mem- 
ber clubs to help organize the bureau. 
Chairman is Arthur Hawkins of New 
York. Working with Mr. Hawkins are 
Hal Jensen, Chicago; Colin McMichael, 
Montreal; Robert Roadstrum, Detroit; 
and Harald Torgesen, Atlanta. 





Baltimore Art Directors Club elect. Left to right is, first row: E. Carter Perkins, 

Free Lance Artists, Ist vice president; Harry 
Zepp, AD, Van Sant, Dugdale & Co., president; Charles B. Keesy, Major and Keesy 
Studios, 2nd vice president. On second row: Edward L. Christie, 4-A Art Studios, 
treasurer: IT. King Smith, Free Lance Artist, secretary. 





Stickle leads Cleveland Fred H. Stickle, left, is new president of the Art Direc- 

tors Club of Cleveland. Hugo DiZinno is v.p.; Polly 
Boughton, secretary; and Vernon Dahlke is treasurer. Mr. Dahlke is with Advance Art 
Studios. The others are with Fuller & Smith & Ross, Inc. 





Los Angeles elects Jack Roberts, of Carson-Roberts Inc., president for the coming 

year. Above are Mike Such, Erwin Wasey, Secy; Jim Hawkins, 
Studio Artists, 2nd v.p.; Mr. Roberts; Ist v.p. George Rappaport of Anderson-McCon- 
nell, and treasurer Juan Casado, of Erwin Wasey. 





H and a mobile, Attracted 1600 people in a 

chapter clips mon 
Los Angeles: ADs took a booth in the All- 
Atlanta: Joint meeting between AD club city Art Festival, showed step-by-step 
and Club of Printing House Craftsmen procedure in producing an ad from copy- 


to discuss common problems was big suc- writers copy to finished proof. Outdoor 
cess, Carrying the ball for ADs in panel show included 1000 paintings . . . Bill 
discussion were E. M. Lusnik, Coca- Tara calls attention to Westways maga- 


Cola AD; James J. Hanna, of Beaumont zine which won award from N.Y. Club 
& Hohman, and artist Wendell Jackson. at their 32nd annual show for excellence 
Detroit: Is sending copies of its news bul- in reproduction. Printer was Pacific Press, 
letin to all AD clubs in the country as AD Lowell Butler. 

an idea exchange . . . Campbell-Ewald Philadelphia: 75 members frolicked at Oak 
ADs had a fine art show in their con- Terrace Country Club recently, Shindig 
ference room. 62 picces included paint- was arranged by Ed Evans of J. Falk- 
ings, photography, sculpture, jewelry, ner Arndt. 





— - as “4 


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Production News 


Screen Process convention 
schedules specific forums 


Victor Strauss, forum coordinator for the 
Screen Process Printing Association world 
convention, to be held in New York Nov. 
1-4, is arranging two sets of forums. 
One set will be of “How-to-do-it” variety, 
for craftsmen. Advanced programs on 
“How To Run Things” will be directed 
to management. Speakers will employ 
case history approach and much visual 
presentation. 


Blue-prints in color: Now you can get a 
visual idea of how your printed job will 
look before plates are made, Offset 
printers are using the new Chromeline 
print, developed by Vincent Subenski of 
Superior Ink to facilitate checking of 
color separations. Print uses ink pigments 
in suspension for developing each color. 

Material is non-shrinking plastic so 
prints can be used to check size and fit 
of elements. They can also be used to 
check tone value of duotones and in 
some cases as guides in féur-color sepa- 
ration work, Color fidelity is not yet 
possible with the process so the prints 
do not substitute for press proofs but do 
serve as a check on negatives and posi- 
tives before completing the plates. 


. 


Emh. A Snich 





paper : Greeting card de- 
signers are making greater use of em- 
bossed designs in paper. Paper mills are 
selling more fancy finishes, available in 
cover stock, offset papers and of course 
in weddings and vellums. Some cur- 
rently popular finishes include linen, 
crash, ripple, basketweave, handmade, 
stucco, light pebble, corduroy, and leather. 
Stock your library with samples of sheets 
readily available. 


Dry Offset: An old process now becoming 
popular because it combines lithography’s 
ability to print fine screen halftones on 
coarse paper surfaces with letterpress 
chemistry-free performance. A letterpress, 
photoengraved plate is made for the 
whole printing form. Relief plate trans- 


Art Director & Studio News / August 1953 


fers inked image to rubber blanket which 
in turn prints onto the paper. No damp- 
ening mechanism is used. Process fea- 
tures extraordinarily long plate life, 
prints fine screens on everything from 
cast-coated to newsprint. Newspaper pub- 
lishers are researching it as a means to 
printing fine screen halftones in long 
runs, at high speeds, on newsprint. Press 
has been built for the process, new inks 
have been formulated. Chief bottleneck 
to date is platemaking and photoengrav- 
ing industry is developing methods and 
equipment to make dry offset plates 
readily available. 


Pigmentizing: The newest trend in paper 
making aims at better printing, greater 
opacity. Paper surface is filmed with a 
light, practically invisible coating. Print- 
ing brilliance, contrast, dot formation are 
improved, Among the sheets now pig- 
mentized are Silkote Offset, Printone, 
Consolith, Adena Offset and Wescar Off- 
set Gloss Plate. 


New tough paper: A new, imported parch- 
ment-like paper, Elephant Hide, is being 
distributed in the U.S.A. Produced in 
West Germany, Elephant Hide is made 
in 12 colors with configurations that pen- 
etrate the paper from front to back and 
vary from sheet to sheet. Standard sizes 
are 25 x 38, 38 x 50 and rolls up to 38” 
wide, in medium, heavy and extra heavy 
weights. 

Extremely tough but highly pliable, 
it is resistant to abrasion, dirt, grease and 
water and is washable with a damp cloth 
without affecting the surface or color. It 
is fast to light and sun. 

It is suitable for every printing process, 
stamping, engraving or metal leaf em- 
bossing and will glue easily with good 
trade adhesives, preferably well-warmed 
animal glues or synthetic resin adhesives. 

Typical applications include book 
covers, albums, catalogs, diaries, greeting 
cards, fancy boxes, menus and writing 
pads, ete, 


A sample book illustrating the range 
of colors and weights is available on re- 
quest from Fromson Orban Company, 
Inc., 205 East 42nd Street, New York 
7, ™ 


Lightweight fluorescent paper: Designed 
especially for box coverings, labels, gift 
wraps, greeting cards, direct mail pieces, 
a light weight lower cost fluorescent 
paper, Velva-Glo 40, is now being pro- 
duced by Radian Color Co., 830 Isabella 
St., Oakland 7, California. 

Velva-Glo 40 is available in 20” x 30” 
sheets or 30” wide rolls, one to ten reams 
to the roll. It is offered in blue, cerise, 
chartreuse, red, orange-yellow, orange- 
red, green, and orange. Colors are stable 
in storage, remain effective for several 
months of interior exposure to artificial 
light or direct sunlight but are not rec- 
ommended for outdoor uses or for more 
than seven days’ exposure to direct sun- 
light in store windows. Paper is suitable 
for all printing methods with standard 
inks. 


ROP color news: A new monthly newsletter, 
“What’s New in ROP Color”, is being 
published by New York’s Reilly Electro- 
type. It’s a 2-page 8% x 11, factual 
readable report with data of interest to 
everyone connected with newscolor ad- 
vertising, ad manager, art director, artist, 
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magazine 
0 
spot 


By Eugene Milbauer 


Promotion Art Director Newsweek Magazine 


There's no record of a promotion art 
director who died of boredom, probably 
because none ever had time to be bored. 


The promotion art director on a big 
national magazine is a combination 
sprinter, midwife and magician. He does 
not lack for bosses: promotion manager, 
circulation manager, the advertising 
brass, and a flock of salesmen. 


And the problems they raise! We bat 
out booklets for liquor accounts, folders 
for travel accounts, postcard mailings, 
color spreads for trade papers, black & 
white newspaper ads, fractional pages 
and lots more, Letterheads for branch 
offices, buttons for convéntions, pop-up 
merchandising pieces for Detroit, easel 
presentations for salesmen covering 
Madison Avenue, slide films covering our 
editorial operation, point of purchase 
merchandising, trade show displays and 
exhibits and lots more. 

Research wants an art treatment to 
liven its report. Liven it, that is, with- 


out taking away its statistical authority; 
we're supposed to take the curse off the 
statistics without imparing their awesome 
impact on industry. 

We do them all at the gallop. We do 
them in a hand-tailored style . . . each is 
made to fit the particular industry or 
account. They aren’t stamped out with 
a cookie cutter. 

But because each piece is different, 
aimed at a different audience, solving a 
different problem, it’s a daily challenge. 
We aim to talk their language, right on 
their familiar ground, giving them in- 
formation which stirs their interest, and 
offers help with their problems. 

Our output is designed to be read, and 
read fast. It ought to make its point 
simply, effectively and quickly. It usually 
has a single central idea, or a short, re- 
lated series of ideas, The aim is for im- 
pact and instant understanding. 

We're in a fight for attention, and 
eager to upgrade our artwork, figuring 


A copy of NEWSWEEK 
and take out for the coxes 








that visually we can catch the prospect's 
eye, lift our material out of the mass of 
direct mail on his desk, and register the 
message before he discards it, 


Our department can take a piece of 
copy from rough to comp to mechanical, 
and we use a gamut of techniques: line, 
wash scratchboard, air brush and others. 
And we often buy artwork when we need 
special talent, and in the jam-ups (plenty 
of them!) we bleat for help from the 
Art Studio. 

We're bucking some of the best adver- 
tisers and merchandisers in the business, 
and we expect our art to carry a major 
part of the load. It needs to be bright, 
efficient and knowledgeable. 


There isn’t any barrier to new art tech- 
niques in our shop. We're ready and 
eager to look for them, and to use them 
where they fit our needs. In the promo- 
tion art business, as with pedestrians, 
there are only two kinds: the quick and 
the dead. 


dint 


el 


agape 








pT- 
SS 
or 


nt, 











MAUAZEN 


DUPLICATION 


Art Director & Studio News / August 1953 





case history 





ads 
with | 

































9 out of 10 


























AY, | 


Ke 





Problem: The problem on the Talon trade 

paper ads was to present as dra- 
matically as possible that relatively small 
but important article in clothing: the 


zipper. 
Background : A nation-wide survey. brought 


out an astonishing preference 
figure on the Talon zipper and it was de- 
cided that the results of this survey would 
be used. However, advertising has been 
rife with 4 out of 5’s, 5 out of 6’s, and 9 
out of 10’s since who remembers when. 
Not that these figures lack validity or 
importance; but the mere numerals, these 
days, may fail to register as vividly as 
they should. 


Solution: To make these numerals come 

to life, the one dissenting voice 
in a grouping of ten people was handled 
as a gag, and often given tremendous 
importance to underline its very rarity. 


Who did it: McCann-Erickson, Inc., New 

York. Don Shure was AD on 
all ads shown here and co-AD with 
Gunnar Anderson on “A few men like to 
be different,” and on the ad showing ten 
boys. Photographers were: Mark Shaw for 
ads c, f, g, i. Dick Litwin for ads e and h. 
Paul Wing and Frederic Lewis for ad b 
and Paul Wing for ads a and d. 


23 


Art Director & Studio News / August 1953 








Freshness, versatility and the ability to 
produce animation in his models have 
been getting 25-year old Howard Zieff a 
and jobs. 






























lot of notice 

The Navy made a photographer out 
of Zieff. He had studied art at Los An- 
geles Art Center School. When he joined 
the Navy he became a motion picture 
cameraman in the states, then went to 
Gaum for a year where he covered the 
Japanese war crime trials, 

After his discharge Zieff put in two 
years at A.C.S. then got a job setting up 
a still and motion picture department for 
KLAC-TV. He was the youngest still 
photographer on the Coast. 

After a year in New York with a lead- 
ing illustration studio, Zieff opened his 
own studio in 1952, In the past year he 
has done work for Pond’s, Ford, This 
Week Magazine, Good Housekeeping, 
Columbia Records, Cowles Publications, 
J. Walter Thompson Co., McCann-Erick- 


son, Cecil & Presbrey, and Ellington. 




















which 


would 


. 
| you 


chooser 


Art Director & Studio News / 


August 1953 








Art Kane, AD for Seventeen, was given 
a story, “So Close”, to run in the July 
issue. He faced this illustration problem: 
story, by Radcliffe student, Mary Ellen 
Reinert, was an introspective, psychologi- 
cal story about a young girl. Kane 
wanted a head shot, but something that 
would capture the spirit as well as the 
appearance of the girl. He called in 
artist Eugene Karlin who likes to work 
with melancholy studies that lend them- 
selves to mystical treatment. 

After two weeks Karlin showed Kane 
14 completed drawings, including reed 
pen drawings and monotones. All were 
so close, yet so different. Both artist and 
AD made the same first choice. Of those 
shown here, which would you choose? 


(For final choice see page 41.) 


the art of the plagiarist 





DALE NICHOLS 


Tue ART OF THE PLAGIARIST is 
the Vampire bat in the field of advertis- 
ing art. It is an art that sustains itself by 
sucking out the life blood of another 
artist’s work. 

To demonstrate: In the early thirties 
an outstanding American artist walked 
into the office of the late William A. Kit- 
tredge, Art Director of R. R. Donnelley 
& Sons of Chicago. “Bill,” he said. “I’m 
nearly broke. I have with me the originals 
of my last book. Maybe you know where 
I could get $1,000 for them.” 

That artist has been spoken of by a 
great American writer on art as being 
“one of the healthiest influences upon art 
in America.” He did not die, however, at 
the hands of those he influenced. His fate 
was sealed by the plagiarist . . . those who 
wantonly copied him, For at the moment 
he stood in the office of Kittredge, a 
large western railroad was running na- 
tional advertising using the art of a 


2% 


Plagiarism, like the weather, is something we often deplore, rarely do 
anything about. Many, too many, artists and ADs are guilty of it. Dale 
Nichols, who has been the victim of plagiarists until he feels he makes 
four dollars for every imitator to one for himself, has strong feelings 
on the subject. AD@SN prints his comments here. If you agree, or dis- 
agree with his point of view, sound off in a letter to the editor. 








\S SIDE . 


| 
ALL. CASH AND AWARDS 
. . PLEASE 





plagiarist; and a leading national maga- 
zine was featuring the cover paintings and 
illustrations of another. Throughout the 
breadth of the land others sucked away 
satisfying the demands of art directors. 
They drained the originator of the style 


of his just income . . . and made him 
commonplace to a point where one no 
longer wanted either his work or his 
imitators. 

Some, I suppose, would call that busi- 
ness. In my book, however, it reads 
theoretical thievery. The first thief is 
usually a youngster who theorizes that if 
he can produce a good copy he is as good 
as the originator. Later he may see the 
dollar sign and rationalize, “He stole the 
idea from someone . . . why shouldn’t I 
steal it from him?” 

Or he may be laboring under the im- 
pression that he is merely “influenced” 
by the originator. To be influenced, and 
to copy, however are two different situa- 
tions. I believe all artists are influenced. 
It seems that human expression divides 
itself into definite interests such as one 








artist’s obsession with light and another’s 
obsession with texture. Naturally, a be- 
ginner will gravitate toward the mature 
artist whose work best fits his artistic 
ambitions. But downright copying is 
another thing. Take Rockwell Kent and 
Pablo Picasso, for example. Kent's fine 
art can be traced to the influences of 
Michelangelo and William Blake. But 
Rockwell Kent had a soul of his own 
and expressed himself originally. Pablo 
Picasso was influenced from Greek 
Classical art to the primitive sculpture of 
the African Negro. But, like Kent he also 
possessed a soul and remained 
original in his expression. Kent, however, 
differed widely from Picasso in one way: 
Kent’s work was popular with the avcrage 
man, while Picasso’s was not. Therefore 

. and this is an important point... . 
Kent’s work was copied while Picasso’s 
work was adapted. In this manner Kent’s 
market was blood-sucked. But Picasso’s 
wasn’t touched. 

Then, there is the case of Frank Hoff- 
man. Frank has been raisi. g horses so 











long (near Taos) that most younger artists 
won't know of him, But open any pulp 
magazine and Frank Hoffman’s famous 
dry-bush style gleams on half its pages... 
carrying the signature of a plagiarist! I 
remember the comment made by one 
Chicago art salesman about a top Frank 
Hoffman plagiarist of the early thirties: 
“He’s better than Frank!” He was prob- 
ably cheaper, too. At any rate Frank 
Hoffman decided to raise horses. He 
knew he could protect his animals from 
blood-suckers by using an insecticide. 
The plagiarist works hand-in-hand with 
an Art Director. It is difficult to decide 
which came first. From personal expe- 
riences I believe the condition comes 
about through the exploitation of the in- 
fluenced. In my youth I was strongly 
attracted to the work of Rockwell Kent. 
I didn’t ever copy Kent. But I stood on 
common ground with him in his strong 
use of light and shadow. I well remember 
the first time an art salesman approached 
me saying, “Wally wants a Rockwell 
Kent style of drawing and thinks it is 


Art Director & Studio News / August 1953 


right up your alley.” I flatly told him 
to tell Wally to go to Kent. Ironically, 
Wally was to eventually use the work of 
an artist who had stolen my style! This, 
of course, years later, He managed to ob- 
tain copies of Kent after my refusal. 
Kent, of course, is still awaiting an 
assignment on his own style from Wally 
who, incidentally, is AD of one of the 
nation’s top slick magazines. 

Trying to remain yourself in the land 
of the plagiarist the advertising 
agency and magazine publisher . . . is to 
beat your brains out. Or have them 
beaten out. Turn down an invitation to 
plagiarize and you are a dead duck with 
the AD making the request. Take the 
case of Nichols vs John. John, reading the 
publicity about one of my paintings tak- 
ing the top prize at The Art Institute of 
Chicago called me up. “I’ve got three 
jobs here that are right up your alley,” 
he said. In his office he brought out OK’d 
comprehensives which were cold and cut- 
up steals from Grant Wood! When I re- 
fused John upon the grounds that I 
couldn’t sell my career short by copying 
Wood, he didn’t throw me out . . . he 
merely forgot I existed. 

On another occasion Sidney of another 
agency gave me a comprehensive based 
on Kent, and in this case I took it be- 
lieving I could take a few liberties and 
manage to express myself. That was my 
first and last mistake . . . with apologies 
to Kent. Sid threw out the job and 
offered to pay me half the agreed amount 
for my time. The letter I wrote to Sidney 
put a few more curls in his hair . . . and 
a permanent one in my purse insofar as 
he was concerned. 

The advertising agency and the maga- 
zine publisher offer a strange paradox. 
I’ve never been in the reception room of 
The Post, but they tell me it is as im- 
pressive as the Acropolis. I have, how- 
ever, been in the reception rooms of 
many advertising agencies. All, with no 
exception, gave visitors the impression 
that they had entered Buckingham Palace. 
But, behind that formidable front is an 
Art Director who is busily tracing the 
work of an original work of art so that 
he can get his pet plagiarist to work it up. 

Ever see a photograph of an AD and 
his pet plagiarist standing in front of a 
prize-winning crib? The _ uninitiated 
would swear to the gods that they were 
looking at the most important mon in 
the universe. Proud is not the word for 
it. Analyze the situation and one m‘ght 
find that their loftiness is born of an 
overwhelming realization that their com- 
bined talents have succeeded in a “swipe” 
that even the originator might find in- 
credible. Page Willie Sutton! 





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one order of tomato bisque, please 


DOROTILY REYNOLDS, ART BUYER, 


This spring a friend of mine was bitterly 


bemoaning the disastrous attempts of 
some painters’ (walls and woodwork va- 
riety) to mix, to her satisfaction, a 


couple of simple shades of paint. “After 
all,” she complained, “anybody knows 
that French Gray is simply white with a 
discreet amount of lamp black and just 
——. And Tomato Bisque 

you just open a can of 


a touch of 
well 


| tomato soup, simply dilute it slightly with 


heavy cream, and there you have it!” 

While I can readily sympathize with 
my frustrated friend, still, everytime an 
art director casually remarks, * Say. I’ve 
got a simple little job here . . .” ——— 
then I really begin to feel for those be- 
wildered painters. For it is never that 
easy. 

But there is always a starting point in 
solving any problem. Happily, for art di- 
rectors and art buyers, it can be the ar- 
tist’s agent. A successful agent is one who 
understands his artist thoroughly, knows 
his work intimately, and recognizes just 
what his artist can do. 

I think the agent is entirely within his 
rights to expect the art director and the 
art buyer to give him ALL of the de- 
tails and background material available, 
so that the story he gives to his artist 
will be as complete as possible. The 
agent cannot merely sell the artist’s “po- 
tentials.” He must be able, at all times, 
to convey to the artist the “feeling” that 
must go into an assignment. 

While the art director and the 
buyer presumably know what they ex- 
pect, they must give reasonable and in- 
telligent instructions to the agent. In 
turn, the agent should listen — ask ques- 
tions, if in doubt — and then give the 
WHOLE story to the artist. 


art 


MCCANN-ERICKSON, INC. 


Of the of the whole 
undertaking is still dependent on another 
point. An agent can't give a tomato 
bisque job to a fellow who is gastro- 
nomically color-blind. Otherwise, he’s 
likely to get green turtle in return. Such 
things do happen. Whether it be soup, 
automobiles, roofs, bathing beauties or a 
cold glass of beer with a sensible head 
on it, the good agent can look the art 
buyer in the eye and say, “I’ve got just 
the man to do that.” And the finished 
artwork will prove it. 

It simmers down to a very simple 
promise, If art directors, art buyers AND 
art agents, as specialists in a highly spe- 
cialized profession, have, through down 
to earth experience, acquired a mutually- 
understood terminology, they can usually 
convey to cach other a clear word pic- 
ture of what the artist is expected to pro- 
duce. 

In this very complex business of pro- 
ducing advertising art, where the com- 
bined talents of so many creative people 
go into every job, it is absolutely essen- 
tial to clarify every step. Certainly, the 
artist’s agent is in a position to make an 
important contribution. In these days of 
specialized techniques, ever-changing 
pace, and the constant challenge of find- 
ing new ways to tell the copy story 
through graphic illustration, most artists 
feel that an agent is a tremendous help 
and almost a necessity. A feeling of 
mutual trust and respéct between the 
artist and his agent reflects in the sparkle 
and impact of every piece of artwork 
that is turned in to the agency. 

Instead of soup du jour, it should in- 
variably be the kind of illustration that 
deserves the extra special caption, “Soup 
of the evening, beautiful soup!” 


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Art Director & Studio News / 


29 





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1953 
International 
Design 


Conference 


The 3rd Design Conference held in 
Aspen, Colorado was successful by all 
standards of measurement. This year’s 
gathering became an International De- 
sign Conference with speakers and partic- 
ipants from Switzerland, England, Italy 
and Japan. The Conference attracted 
attendance by nearly 300 registrants who 
gathered at Aspen from every geographic 
area of the United States. 

These participants were representative 
of all phases of the design field; Archi- 
tects, Industrial Designers, Advertising 
and Publication Art Directors, Photog- 
raphers, Businessmen, Art Instructors and 
Students—all motivated by—and sharing 
a common interest in design problems. 
A series of lectures and round-table con- 
ferences was held by day in the canvas 
tent covered Amphitheatre designed by 
Saarinen, and by night in the Wheeler 
Opera House. 

The Conferees were welcomed on 
opening day by Container Corporation’s 
Board Chairman, Walter P. Paepcke. Mr. 
Paepcke, together with Chairman, Leo 
Lionni, outlined objectives of the con- 
ference which were based on broad phi- 
losophies as opposed to small technical 
details. No attempts were made to reach 
conclusive agreements but throughou 
the discussions the aim was to strive for 
understanding and cooperation between 








artists, craftsmen and clients, Thus the 
Conference became “a Forum for people 
with ideas, in a setting conducive to re- 
laxing, reflection and inspiration.” 


Cliches refuted 

Major speeches were given by Nikolaus 
Pevsner, Editor of the Architectural Re- 
view and Art Editor of Penguin Books, 
Max Bill, Swiss designer and head of the 
new Bauhaus, Professor Gyorgy Kepes of 


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rector of the Museum of Modern Art. 
Mr. Pevsner’s speech, which was given 
early in the week, became a Conference 
highlight. Brilliantly and entertainingly 
he exposed some of today’s commonly 
accepted design “Fallacies”. With con- 
vincing logic, he refuted such generally 
accepted cliches as: “Good design will 
always increase sales.”; “People auto- 
matically appreciate and buy good de- 
sign when it is available.”; “Pure func- 
tional design is always beautiful.” 


Art is no window dressing 
When Otto Spaeth, businessman and art 


patron from Wisconsin, told of his suc- 
cessful art program for business, his talk 
led into one of the Conference’s most 
lively discussion periods. Herbert Bayer 
and Charles Eames warned of the dan- 
gers if industry uses art as “window 
dressing” or to put on an “air of refine- 
ment.” Mr. Bayer stressed that a more 
desirable goal would be Industry’s belief 
in and application of good design to all 
phases of its activities. The Container 
Corporation and The Olivetti Corpora- 
tion were cited as having outstanding in- 
tegrated design programs — largely be- 
cause one important man in each firm 
believes that Industry needs art as much 
as art needs Industry. 

Professor Buckminster Fuller was again 
a principal speaker at this year’s Con- 
ference—this time discussing the subject 
of “Industrial Prototyping”’—and leading 
up to the erection of a 36 foot Fuller 
“Geodesic Dome” on the Amphitheatre 
grounds by a group of students of the 
University of Minnesota. Students at this 
Conference, by the way, were very visible 











and vocal, 

Informal round-tables 

In addition to listening ta the principal 
speakers all participants had the oppor- 
tunity of contributing individual ideas 
and philosophies during the informal 
round-tables. Subjects discussed at these 
round-table sessions included: The so- 
cial responsibilities of the designer; the 
nature of the creative processes; the in- 
fluence of economic, technological and 
sociological trends on design; and the re- 
lationship between the designer, the ar- 
tist and the businessman. Throughout all 
of these informal round-table discussions, 
which were very skilfully moderated by 
Mr. Bartlett Hayes Jr., Director of the 
Addision Gallery of American Art, the 
aim was to bring into focus roster 





common to all designers. This cross-fer- 
tilization of ideas between all groups of 
designers and businessmen, irrespective 
of their individual specializations, _re- 
sulted in each participant searching his 
soul to find ways to apply the principles | 
of good design to his own sphere of op- | 


eration and influence. 








August 1953 


Art Director & Studio News / 




















You know this man knows his 
job — because we know ours! 
Knowledge of industrial 
requirements backed by 20 years 
of advertising art experience 
gives us the plus essential to 
put over your story 
accurately and dramatically. 


One of a series of 
paintings by Murray 
Hirsch, from our 
photography, at the 
plant, for Buglecraft 
Ine. 





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31 











ART DIRECTION DALLAS: Ann 
Bryan appointed 
AD with Neiman-Marcus . . . NEW YORK: 
Grant Advertising named Al Burwinkle 
AD and Charles O’Brien Asst. AD... 
John De Nero from Lennen & Newell to 
Ted Bates & Co... . Chuck Gruen. for- 
merly of Neiman-Marcus, ADing now with 
Lester Harrison Inc Bud Hemmick 
moved to Kenyon & Eckhardt, Inc. . . 
replacing him at William Esty & Com- 
pany is John J. Hill as AD .. . Smith, 
Hagel & Snyder named William Knudsen 
AD; he was with R. T. O'Connell Co. as 
v.p. and AD . Bill Montgomery to 
Sherman & Marquette, replaced at Hilton 
& Riggio py Daniel Loizeaux... Andrew 
Maddalone to Sherman & Marquette .. . 
Robert Petrocelli appointed AD with 
Dowd, Redfield & Johnson, Inc... . Roy 
Durstine, Inc. has assumed top accounts 
and personnel, including Ernest Schroe- 
ter, AD, of the John H. Riordan Co. of 
Los Angeles . . . Ernest Socolov from 
Esquire Magazine to Fairfax, Inc, AD 
. . Herbert Roan now AD of the new 
Quick magazine, Triangle Publications, 
Inc., Walter H. Annenberg, Publisher. 
First issue of the bi-monthly news pic- 
ture magazine scheduled for Sept. 16. 
Offices in RCA Bldg. . . . RICHMOND: 
New AD of Cargill & Wilson is Luther C, 
Wells ... SANTA FE: C. B. Mayshark is 
now director of the New Mexico State 
Tourist Bureau, was AD with J. M. 
Mathes Inc. . . . WASHINGTON, DC:: 
Eugene T. Hoover Jr. AD has been 
elected an associate of Henry Kaufman 
& Associates. 


ART & DESIGN BALTIMORE: 

Ken Witt has been 
added to the staff of Dodson-Krauss 
Studios, was formerly with Hirsch-Rut- 
ledge, St. Louis . . Royal Dadmun 
Studios are moving to larger quarters 
from 16 E. Chase Street .. . BOSTON: 
Norman Martin has joined the art staff of 
Henry A. Loudon from Sandborn Co., 
Cambridge . . CHICAGO: Robert P. 
Borja exhibited at McCann Erickson last 
month . . . David Lockwood's one man 
show at the Stevens-Gross Galleries sold 
18 out of 24 paintings. Nice going ... 
LOS ANGELES: Don Dubois of Elwood J. 
Robinson Co. just returned from Korea 
where he and several Disney artists were 
on a USO sponsored tour entertaining 
troops .. . NEW YORK: Four of the illus- 
trators represented on the editorial pages 
of the July issue of Good Housekeeping 
are Charles E. Cooper artists ... JM 
Advertising Art to 1170 Broadway ... 
Klores & Carter has added Paul Levy, 
free lance artist to its art staff... Hugh 
Ryan v. p. and AD 18 years at Ruthrauff 
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in his own office at the Biltmore Hotel 

. Alexander W. Robbie, AD, NYAD 
club member, formerly of 542 Fifth Ave. 
now at larger quarters at 16 W. 45, of- 
fering complete art service .. . Browning 
Studio moved to 150 E. 40, MU 5-0240... 
Romeo Sarry has left Boyan & Weatherly 
Inc. to free lance at 16 W. 45... Don 
Colochio took over to head up B & W's 
retouching department .. . Studio 2, a 
new ad art and art representative group 
at 230 Fifth Ave., for creative advertis- 
ing, promotional and editorial art... 
Designer Frank Vincent Vitullo now at 
17 W. 45, JU 6-0538 . . . March of Time 
film for the 1953 United Community Cam- 
paigns presents “The American Scene”; 
an authentic art gallery, Associated 
American Artists’, and the work of promi- 
nent artists share the spotlight with Con- 
rad Nagel .. . American Weekly, page 
18, June 7th, tells the story of the handi- 
capped pupils of Albert Dorne—how art 
has been therapeutic... Arthur Rankin 
Jr. from Graphic Art Director with ABC- 
TV to Video Craft, the only art service 
devoted exclusively to TV . . . READ|NG: 
Richard Yeager and Clarence Weight 
join the art staff of Beaumont, Heller & 
Sperling .. . John Mandable is now with 
Benson & Bowles, Inc. as a print super- 
visor... 


AGENCIES BOSTON: Maguire Adver- 

tising Agency, 150 Cause- 
way St., has been opened by Ray Ma- 
guire, formerly a.e. and media director 
for Arthur W. Sampson Co. . . . CHI- 
CAGO: Cruttenden & Eger Associates 
moved to 201 N. Wells St... . Tim Mor- 
row Advertising now at 444 N. Lake 
Shore Dr. . . . Moved to larger quarters, 
Sherwin Robert Rodgers & Assoc. 60 E. 


Scott St... . DENVER: Bob Betts Adver- 
tising now at 1150 Bannock St. 
DETROIT: Marvin Hahn Advertising 


moved to 2887 W. Grand Blvd... . FORT 
WORTH: Duke Burgess promoted to v.p. 
at Glenn Advertising .. . LOS ANGELES: 
The following companies have moved: 
Harry Bennet, advertising to 3440 Wil- 
shire Blvd... . W. H. Hunt & Assoc. to 
1044 S. Robertson Blvd... . Los Angeles 
Advertising Women. Inc. to 609 S. Grand 
Ave. .. . Speer Advertising to 2223 S. 
Olive St... . Alice Walsh Co. to 1250 
Wilshire Blvd. . . . LOUISVILLE: James L. 
Dooley, owner of the Dooley Advertising 
Agency, has opened new offices in the 
Washington Bldg. Robin M. Briggs is AD 
.. . MILWAUKEE: W. B. Doner & Co. of 
Detroit has opened a branch office at 
2051 W. Wisconsin Ave. . . . NASHVILLE: 
Rob McDonald, previously with Ruthrauff 
& Ryan, Chicago, and John Haggard, 
formerly of Webster & Gibson, Nashville, 
have formed a new agency. McDonald 
Haggard Inc. is located in the Home 


Art Director & Studio News / August 1953 


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Federal Bldg. PHOENIX: Caples 
Company has opened branch at 1617 
E. McDowell Rd. . PHILADELPHIA: 
Nelville & Bell Advertising Agency is 
now the William H. H. Nelville Co... . 
John G. Petrik Co. has changed its name 
to Petrik-Kevis-Greentfield. Inc. . . . PORT- 
LAND: Heims & Holzman Advertising 
Agency has dissolved partnership. New- 
ly formed Earl Heims & Associates is 72] 
S.W. Madison St. Sylvia Holzman Agency 
in in the Morgan Bldg. . . . SAN FRAN- 
CISCO: Abbott Kimball Co. has moved 
to 405 Montgomery St... . Caples Co, 
of Chicago has taken over the offices and 
personnel of Ley & Livingston at 260 
California St. Mr. Ley is manager and 
Mr. Livingston, v.p. . . . Charles P. Galt 
& Associates now at 573 California St. 
. . . Lee Wenger Advertising moved to 
1005 Market St... . NEW YORK: 30th 
anniversary present of Mervin & Jesse 
Levine, Inc. was a move to new offices, 
461 Eighth Ave. ... John A. Pringle has 
joined the Ted Gotthelf Agency to form 





| 
| 
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tough steak is just what Adolph’s Ltd. 
| like best. Producers of a meat tenderizer 
| that used 70-line newspaper ads, through 
| Erwin, 
| Adolph’s is now running full and half 
| pages in magazines and Sunday Sup- 
| plements, such as Life, SEP, Parade, and 


Pal Blade Co. and Personna Blade Co 


| and Catalog Planning Co., 101 W. 55th 


the Pringle-Gotthelf Associates, Inc. . . 

Ysobel Sandler Advertising, | Gramercy 
Park, has been formed by Mrs. Sandler 
in association with Miss Frances Pinkett, 
both formerly with Shaller-Rubin Co. 
Specialty is direct mail advertising .. . 
New offices of David Singer Advertising 


St... . Walter Wiley Advertising moved 
to 29 Pearl Street .. . WASHINGTON, 
D.C.: Harry W. Graff Inc. of New York 
has opened a Washington office, 1205 L 
St., N.W. . . . WINNIPEG: James Lovick 
& Co., Ltd. opened at 203 Portage Ave. 


CAMPAIGNS It's an ill wind that 


blows no good. Your 


Wasey & Co. Los Angeles, 


This Week Magazine .. . JWT has pro- 


Citrus Commission... . Lightolier is aim- 


running business paper cam- 


. new Lifebuoy Soap with Puralin 
added, will get a $500,000 push from 
Lever via Sullivan, Stauffer, Colwell & 
Bayles . . . Do-it-yourself is theme of 
summer campcign of Douglas Fir Ply- 
wood Association American Safety 
Razor Corp.. Brooklyn, has purchased 


ASR is now in single, double edge and 
injection blade fields. Pal Blade AD, Al 
Alco will not be joining ASR, his plans 
indefinite at his writing 1953-54 


for change in 
proportion of 
existing art. 


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Swiss Watch Campaign, through Foote 





JOSEPH MAYER CO, Inc. 


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displaymen supplies . silk screen 
materials. Agents for The International 
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Cone & Belding will use 9 full color a s 
pages in major consumer magazines... S ecialized Art for 
Motorola is spending $12,000,000 for 25th s 8 @ 


anniversary drive in 1953-54, compared to 


past years $9,000,000... tsford, Con- 

stantine & Gardner has a plum in its @ tv spots 

prune account. California Prune Advisory e slides 

Board budget for coming year is almost ‘ 
$500,000. Starting in late summer, cam- * presentations 
paign runs through Fall, Winter and . slide films 

Spring . . . Deepfreeze Appliances esti- 

mated that in recent month it hit public = color 

with 83,000,000 buying messages. Quality e black and white 


as well as quantity was high, as Starch 
reports show Deepfreeze had best-read 
refrigerator ad in national consumer 


magazines in past 12 months, and best complete production facilities including animation, live 
rated home freezer in Saturday Evening action, sound recording a 

Post for same period .. . For hotheads 

only, in your pillow a Chillow Cooling by specialists in the field of commercial motion pictures, 


Pad. a plastic, water-filled pad that slips 
between pillow and case and is kept 
cool by a small electric pump. Testing in 
Horne’s in Pittsburgh, Burdine’s in Miami Phone or write for our Brochure. 

. . Blue Bell Inc., soft goods manufac- 
turer, moved into play clothes field heav- 
ily after the war, is now in number one Our 23rd Year 
spot. Its play and work denims are now 


brand named. Mass media advertising, Wetcher S mith issdkins | * 
5] . 


via N. W. Ayer, helped . . . popularity of 
gin and tonic is spurring ads by both 321 EAST 44™ ST., NEW YORK 17, N.Y. 


gin and mix makers, such as Seagram's TELEPHONE MURRAY HILL 35-6626 
current full-color Seabreeze campaign 

. coop food advertising is growing. 
Campbell Soup and Kraft Foods have 
teamed up and so have General Mills, 
Realemon, and Armour... watch ads of 
Super-Coola, the soft drinks sold in cans, 
if you can see them. Many papers and 
magazines have, turned them down be- 


cause copy is negative, takes hard slaps 

at bottles being used, broken glass, etc. 

. . . Bigelow-Sanford is getting into one 

of its heaviest promotional drives. Full- 

color Life ads will feature five carpets, ART SERVICE 


retailers promotional aids and local ads 
will tie-in .. . Peter Pan Foundations has 


a two-pronged Fall promotion: to back-to- 1S pleased to announce 


school teenagers, collegians, and teach- 


ers, and to national consumers general] 

.. . Republic Steel will be ite its all new and larger 
steel kitchens in the Fall via Meldrum & 

Fewsmith, Cleveland .. . Devoe & Rey- quarters at eee 
nolds paints and Artloom carpets jointly , 

promoting in a 5-page ad in September 

Living for Young Homemakers . . . Doug- 15 west A4Ath street 
las Aircraft. via JWT, is pushing new 


structural material, Aircomb, in trade 
Papers ... Surf,. Lever Brothers deter- 


gent, is getting outdoor airing on posters 
in 400 major markets. Will other deter- XFORD 7 -199 -| 
gents follow Surf outdoors? . . . Pillsbury 


Mills now test marketing a waffle mix, a 
gingerbread mix, a chocolate chip cookie 
mix, and Golden Rich cookie mix... 
“stronger than beer” is part of unortho- 
dox approach to new campaign for Ar- 


television spots and television shows... 

















Art Director & Studio News / August 1953 








er aN 3 
Amer 


that sells 








the 
art 
director \ 





McNAMARA 
BROTHERS 


38 FLOOR PENOBSCOT BLDG. - DETROIT, MICH. 
WO. 1-9190 


thur Guinness Sons & Co., promoting its 
stout via Compton. 


ADVERTISING- Waldes_  Kohinoor, 
PROMOTION Inc. Long Island 
City has named 


Leonard A. Kirsch assistant advertising 
manager. Mr. Kirsch was formerly with 
Cowles Magazines, Inc. . . . Norton B. 
Jackson has been appointed Executive 
Director of the Point-of-Purchase Adver- 
tising Institute of New York . . . Cluett, 
Peobody & Co., Inc. has promoted G. A. 
Phillips to AD. His former position, ad 
manager is filled by Russell A. Zeigler 
.. Melvin Singer, after moving through 
various agencies handling Schenley 
brands, hus been made advertising man- 
ager for Schenley Distributors, Inc. .. . 
James McCreery & Co. promoted David 
Abrams to sales promotion manager... 
Coleman Co., Inc. has named Tom Gib- 
bons to consolidate its advertising and 
sales promotion activities ... John S. 
Brookes, E. J. Brach & Sons, Chicago, 
now advertising and merchandising man- 
ager. . . Taystee bread and Grennan 
cake, Purity Bakeries, Chicago, has 
named Robert Llewellyn ad manager. 
He previously was with Tatham-Laird 
.. . BR, J. Gunder, Hamilton Watch Com- 
pany, Lancaster, Pa., formerly sales pro- | 
motion manager, is now also AD. Former 
AD, Robert Waddell, becomes director | 
of public relations . . . Melrose Distillers | 
made K. H. Seidel AD and director of 
merchandising; was am with Schenley | 
Wilbur C. Jones to advertising mana- | 
ger with Hoover Co., previously at Bendix 
New AD at Owl Drug Co., West | 
Coast division, Robert L. Benveniste, | 
formerly media director of Rexa_] 
Charles F. Pearson now ad sales pro- 
motion manager with John Oster Mfg. | 
Co., Racine, Wis., was with Gibson Re- | 
frigerator Albert Millet upped to pub- 


is Bernard Segal . Sherman & Mar- 

quette has added Jerry Gordon to the 

merchandising department .. . David D. 

Doniger & Co. appointed Albert L. Morse 

AD and director of publicity. Mr. Morse | 
was v.p. and Ad with Gooddall-Sanford, | 
Inc. .. . John D. Davis, formerly with | 
Proctor & Gamble and Clopay Corp., now | 
am with Simonize Co... . Montgomery | 
R. Budd upped from assisiant io AD at | 
Hercules Powder Co. Charles E. | 
Robert now am with Northam Warren | 
Corp Paul A. Wassmansdorf am at | 
General Electric, appliance division . . . | 
Brown & Bigelow appointed am Kendall 
B. Priester senior v.p. . . . Formerly v.p 
at Campbell-Mithun, Neal Nyland is now | 
director of creative merchandising, direct 

mail dept., R. L. Polk & Co., Detroit 





Now account executive at Hutchins Ad- 








CONTACT 


MILLER 
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vertising, James L. Newman; was am 
with Fasco Industries, Rochester 

George H. Merritt now am at Milton 
Bradley Co., Springfield, Mass. . . . P. 
Lorillard Co., New York has appointed 
Alden James v.p., James is AD and a 
director of the company .. . Robert A. 
Sperling upped to am at Turner Printing 
Machinery, Inc., Cleveland . Rudy 
Johnson business manager, art depart- 
ment, Kudner Agency, Inc., New York... 


PHOTOGRAPHY Revere Camera Co. 


has purchased out- 
right the Wollensak Optical Co. Revere 
has recently entered the field of still 
camera mfg. . Irwin Ryan and Larry 
Reif cf Ryan-Reif have joined Charles F. 
Kuoni Studio in Chicago. Specialty is 
color photography of food .. . Wesley 
Balz, formerly partner at John Joyce, Inc., 
has formed his own studio at 17 East 35th 
Street, New York . .. Peter Buckley is 
doing color retouching for Robert W. 
Bishop Studio, New York, specialists in 
black-and-white photo retouching . 
Eastern Studios has moved to 120 W. 
50th Street, New York . . . Authenticolor 
Inc., color photographers and laboratory 
service, has formed Colorstat Corp. at 
270 Park Street to produce full color, low 
cost color prints on one day service for 
presentations, layouts, advanced proofs, 
etc. Same officers as Authenticolor: 
Michael Lavelle, president and John 
Flanagan, v.p. . .. Ansco is offering the 
1953 Program for Professionals, “pack- 
aged” promotion and merchandising pro- 
grams for studio photographers “rt A 
reminder of Ansco’s 2nd National Color 
Photography Contest: closes Sept. 30... 
Four Eastman Kodak scientists have been 
given recognition for research from Sig- 
ma Xi, national scientific honorary so- 
ciety: Dr. Edwin E. Jelley, Ralph M. 
Evans, and Dr. Wm. J. Knox received 
full membership; Louis Fortmiller was 
made an associate member . . . Ed 
Scherck, has formed his own advertising 
photography agency, the Ed Scherck 
Studios, at 6 E. 39th St. and 470 Park 
Ave. . . . Pavelle. Laboratories of New 
York has added a night shift . Helen 
Heller's camera studies of children is 
being featured during the month of Au- 
gust at an exhibition at Parents’ Maga- 
zine, 52 Vanderbilt Avenue 


PRODUCTION Green-Brodie Adver- 
tising, New York has 
made James J. West production manager 
Enid B. Voss is now production man- 
ager and space buyer with Blitz Adver- 
tising, Portland . . . Richard V. Holohan 
formerly pm at Street and Smith Publica- 
tions, now in charge of production at 
O. E. McIntyre, Inc. at the Great Neck, 
Long Island plant... 


Art Director & Studio News / August 1953 





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MEDIA “Tempo”. pocket-sized succes 

sor to “Quick” is on the news 
stands, and with no plans for advertising 
Edwin F. Thayer is publisher and Normar. 
Lobsenz is editor. Offices at 1140 Broad 
way .. . “Holland’s Magazine” will 
switch in Sept. from a subscription-only 
basis to drugstore newsstands. The new 
plan: a merchandising tie-in with drug- 
stores similar to family magazines in the 
supermarket . . . A new half-size tabloid 
will appear in either New York or Boston 
in Nov. ... 


TYPOGRAPHY Advertising Typogra- 

phers Association of 
America has a new chairman: Harry J. 
Lattman of Chris F. Olsen .. . Royal 
Typographers, Inc., 115 W. 65 St., New 
York, has a new broad, sweeping type 
face called Grotesk, available in caps, 
lower case and figures, range of sizes 
.. . Glenn Foss, formerly typographer at 
William E. Rudge’s Sons now director of 
typography, Advertising Agencies Serv- 
ice Company .. . Susan B, Karstrom, AD, 
Science Research Associates of Chicago 
has been elected v.p. of the Society of 
Typographic Arts... 


EXHIBITIONS Cooper Union: Thru 

Sept. 4 collection of 
18th, 19th and 20th century fans... 
Moore Institute of Art, Science, & Indus- 
try: Thru the summer, annual Student 
Exhibition . . . Museum of Modern Art: 
Thru Sept. 7, Sculpture of the 20th Cen- 
tury; thru Sept. 20, recent acquisitions, 
German expressionism, Kuniyoshi, others; 
thru Sept. 20, Furniture by Thonet; Aug. 
26-Nov. 8, graphic arts of Jacques Villon; 
. . . Salmagundi Club: Paintings, prints, 
sculpture, thru Sept. 4... 


PERSONALS Ken Saco’s first baby, a 
girl named Karen. . 

A boy for Al Gardener, his second child. 

Al is p.m. at Waterston & Fried .. . 





PRODUCTS FOR THE 
ADVERTISING ARTIST 
New! Rubber Base E-Z FRISKET 


Given up on prepared frisket products? 
Here's one that really 
works! New E-Z Frisket is 
made with a rubber base 
adhesive that adheres to 
photographs or drawings 
and comes off clean. Use 
it on retouched areas 
without worry — leave it 
on for long periods with- 
out injuring your copy. It 
comes to.you ready for 
use—the adhesive is al- 
ready on the back. Only 
genuine E-Z Frisket has 
the rubber base adhesive 
especially formulated for 
retouching. Still skeptical? 
— write for free sample. 
No. 133—24”" x 5 yds. $4.00 roll 
No. 134—24” x 20 yds. 12.00 roll 


TOMKINS TELEPAD 


Leading agencies and 
studios use the Tom- 
kins Telepads to make 
neat, orderly, TV 
“storyboards.” Each 
pad contains fifty sheets 
of fine white visualizers 
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ARTHUR BROWN & BRO 
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Hortense Mendel married to artist Ish 
David .. . Edwin Kolsby, AD at American 
Artist, now the father of a baby girl, his 
third child . . . Ernst Reichl back from a 
European business trip... 


DEATHS Edward A. Bell, an American 

artist of New York . .. Bonnie 
Weber, TV reporter and production assist- 
ant of Kling studios, Chicago . . . Edmund 
L. Koller, artist, designer and author of 
books on art... Ewing Galoway founder 
and owner of a large stock photography 


agency in the Graybar Bldg., died after | 


injuries received in an accident . 
Wi!l Foster, portrait painter and maga- 
zine illustrator .. . 





TO ART DIRECTORS & STUDIOS 
PRODUCTIONS MEN 
We pamper prints | 
and baby blow-ups 

FOR SPECIAL PHOTO JOBS| 

Call Renita Johnson 


PL 9-1712-3 





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NEW YORKER AGENCY ¢ Plaza 5-4723 
399% Madison Ave. © N.Y.17, N.Y. © Rm E506 


























what's new 


A COMPACT CAMERA OF RUGGED CONSTRUC- 
TION, the Lacey-Luci Jr. Process Camera, 
is now on the market. In addition to 
making negatives, line and halftone, the 
camera doubles as a light table and. may 
also be used for artwork, layouts, letter- 
ing, perspectives, etc. Additional litera- 
ture describing the camera will be pro- 
vided by the Merritt Lacey Corp., 31 
Central Ave., Newark, N. J. 


LACQUER IN SPRAY CONTAINER. A display 
product that will adhere to wood, paper, 
glass and metal. Its high concentration 
requires small doses for effect. Comes in 
2 reds, orange, 2 yellows and green. 
The Craftint Mfg. Co., 1609 Collamer 
Ave., Cleveland, Ohio. 


TYPE FACES. 36-page specimen booklet, fea- 
turing Caledonia and Caledonia Bold, 
each with accompanying Italics has been 
issued by the Mergenthaler Linotype Co. 
There are specimens of each in their full 
range of sizes. 29 Ryerson St., Brooklyn 
5, NY. 


SHORTRUN LAMINATION. A new wear-proof- 
ing service is now available for press 
clippings, tear sheets, etc. that will keep 
any paper article fresh and new for the 


next 100 years. Process electronically 
heat-seals material between two thin 
layers of genuine “water-prufe’’ plastic, 


making it impervious to time, wear, soil- 
age or fingerprints. The service also indi- 
vidualizes promotional pieces in quantities 
of 500 to over 5,000. For information 
write Seal-it Company, Box 1184, Grand 
Central Station, N. Y. 17. 


COPYSCALER: The Photoguide is an 8 
by 11 acetate device. It is ruled in 4”. 
Is laid over the artwork or photo to scale, 
crop and square copy. Is also available 
calibrated in picas, measuring up to 48 
x 60. $1.00 apiece. The John Warner Co., 
Box 595, Ithaca, N. Y. 


POSTAL GUIDE. 28-page illustrated booklet 
published by Direct Mail Envelope Co., 
Inc., features a complete summary of 
current postal rules, regulations and 
postal rates. It offers such valuable in- 
formation as: how to profitably use spe- 
cial reduced mailing rates, how to save 
time and money with commercial insur- 
ance, how to use parcel post and postage 
metered mail. Free. The Company is at 
15 W. 20th St., NY 11. 


Art Director & Studio News / August 1953 








LETTERING 
BY LARRY OTTINO 


jim triggs and many others 
PLUS a complete service 
from visualization 


to mechanization 


trHrouch ROY GERMANOTIA INC. 


40 EAST 49TH STREET, ELDORADO 5-7155 





Louis Hoebermann 


Photographic illustrations that Sell 


illustrative ‘still life: commercial | publicity 


49 west 44 street 


VAnderbilt 6-0006 





SERVING ARTISTS FOR 50 YEARS 


schneider &co. 


ARTISTS MATERIALS © PICTURE FRAMING 
mail and phone orders carefully filled 
123 WEST 68 ST., W. Y. C. TR 7-8553-8 


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COLOR TONING 





HARRY WERTZ 


Studia MU 6 82 8 | 


M e 4 N Y 











Meet Ben... 


If experience is the best 
teachber—be bas loads of it, 
working for all the agencies. 
Some current accounts: 
4 Lucky Strike, Con Edison, 
Wilson, Ford, Lincoln, 
| Bond Bread, Chrysler, 
_ Listerine. 


A\ 
ASSOCIATION OF PHOTOGRAPHERS 


Ben De Brocke. . . Advertising 
| ROSE ee fashion 
Dan Coleman...... reportage 
Helen Post..... representative 


270-H PARK AVENUE, NEW YORK « EL. 5-4291 


Each Photographer a Specialist 


39 





ART DIRECTOR & STUDIO NEWS 


bookshelf 


The AD&SN bookshelf makes it easy for readers 
to buy, at list price, the best books of current interest 
to the art professional and advertising manager. 


ANNUALS 


2. Graphic Annual of international Advertising 

Art. Edited by Walter Herdeg and Charles 
Rosner. 753 fully captioned illustrations of the 
best in poster, magazine, newspaper, and direct 
advertising, as well as book jackets, album 
covers, trademarks, letterheads, packaging, cal- 
endars, Christmas cards and television. $12.50. 


45. Penrose Annual 1953, edited by R. B. 

Fishenden. A review of what's new in the 
Graphic Arts, general, technical articles, docu- 
ments, illustrations in color. Fine reference 
piece. $8.50. 


5. International Poster Annual—1952. Edited 

by W. H. Aliner. Illustrates hundreds of 
carefully selected examples of the year’s out- 
standing poster art from 25 different countries. 
180 pages. $10.00. 


28. 31st Annual of Advertising and Editorial 

Art. Published for the Art Directors Club 
of New York. Just published. A record of the 
best in American ad and editorial art and of 
graphic trends. A valuable visual swipe file. 
$10.00. 


41. Modern Publicity, edited by Frank A. Mer- 

cer. An international annual of advertising 
art with 600 illustrations from 27 countries. A 
visual survey of international ad art cross- 
currents. $8.50. 


PHOTOGRAPHY 


46. Photography Year-Book, edited by Harold 

Lewis. An international review includes 
present and past famous photos. Articles by 
leading photographers. $6.00. 


29. Feininger on Photography, Andreas Fein- 

inger. Technique and art of making a 
photograph. Comprehensive, practical and in- 
spiring. $7.05. 


37. U. S. Camera Annual, 1953. Edited by 
Tom Maloney. A collection of outstanding 

photographs from all over the world repre- 

senting every phase of photography. $6.95. 


TYPOGRAPHY 


39. How to Recognize Typefaces, R. Randolph 
Karch. Shows key characters of more than 
1400 currently used type styles, arranged in 
order of their likeness. Includes data—on type 
classification, families, fonts, color. $6.00. 


17. Design With Type, Carl Dair. Discusses type 
as a design element. Applies Bauhaus prin- 
ciples to practical printing problems. $4.50. 


43. An illustrated History of Writing and Let- 
tering, Jan Tschichold. Illustrations of writ- 
ing from Egyptian, Grecian, Roman civilizations 
through the middle ages down to the present. 
History of book-press lettering traced. $4.00. 


49. Pen and Graver. Alphabets and pages of 
calligraphy by Hermann Zapf. A fine ex- 
ample of a revived art. $8.50. 


59. The Studio Book of Alphabets. 67 complete 

specimen alphabets, some type, some hand 
drawn, covering a wide range of styles. Foun- 
dries noted. $2.00. 


SWIPE FILES 


19. 750 Designs, Borders, Backgrounds, Tints 

and Patterns, H. B. Coffin. All illustrations 
can be cut out or copied without permission. 
$4.50. 


20. Idea File, H. B. Coffin. Shows wide variety 
of basic practical layouts for folders, 
pamphlets, self-mailers, ete. $1.50. 


50. 5000 Helpful Pictures of architecture, 

beasts, birds, flowers, fowl, fish, costumes, 
inventions, tools, weapons, musical instruments, 
and vehicles, foreign and familiar, present and 
past. $3.00. 


51. 3000 Pictures of Animals, Reptiles, Fishes 
and Marine Life. Photographs, prints, and 
drawings of hundreds of species. $3.00 


52. 3000 Pictures, grouped according to classi- 

fication from Agriculture to Zoology. In- 
cludes diagrams and dictionary style legends. 
$3.00. 


53. 3000 Photos and Drawings of Birds. $3.00. 


60. Picture Encyclopedia. 164 pages, 24,000 
illustrations, mostly line drawings, wide 
variety of subjects, legends. $15.00. 


TELEVISION 


31. Designing for TV, Robert J. Wade. Text 

plus 200 illustrations tell TV artist about 
scenic design, art direction, title and graphics, 
ing, preparing for production, 
commercials, story-boards, and staging. $8.50. 


57. The Handbook of TV and Film Technique, 
by Charles W. Curran. A_ non-techni 





58. The Drama of Display, visual merchandis- 

ing and its techniques, by Jim Buckley. 
Begins with simple, elementary designs and how 
they apply to the display of merchandise and 


includes an analysis of its hanics, method 


and techniques. Many illustrations supported by 
legends. $10.00. 





ART 


27. New Techniques in Practical Art for Re- 

production, Jean Borges Mayfield. About 
using Bourges sheets, black-and-white retouch- 
ing, pre-separated art, transparency correcting. 
$7.50. 


38. What People Wore, Douglas Gorsline. A 

visual history of dress from ancient times 
to 20th century America, with nearly 1800 de- 
tailed illustrations. $7.50. 


40. African Sculpture Speaks, Ladislas Segy. 

Background and meaning of different Afri- 
can art styles with hundreds of never-before- 
reproduced wood carvings. $7.50. 


44. English Costume, Doreen Yarwood. Detailed 
drawings tracing costume development 
from second century BC to 1950. $7.60. 


48. The Book of Kells, described by Sir Edward 
Sullivan. 24 color reproductions of the 
manuscript with full explanations. $7.50. 


54. The Science of Color, prepared by the 

Committee on Colorimetry of the Optical 
Society of America. Traces the use of color by 
prehistoric man, through the Roman civilization. 
Technical and theoretical accounts of color, 
includes 25 color pages, diagrams and graphs. 
Excellent reference for students and profes- 
sionals. $7.00. 


55. Loren Maclver and |. Rice Pereira, by John 

1. H. Baur. Biographical and critical study 
of two leading American women painters. Many 
reproductions of paintings by both, in color, 
half tones, and line cuts. $3.00. 


56. African Folktales and Sculpture by Paul 

Radin. Collection of African myths and 
folktales with over 160 photos of examples of 
the plastic art of the African cultures. Glossary 
of unfamiliar terms, index of tribal sources. 
$8.50. 


61. Dictionary of the Arts, by Martin Wolf. 

Materials, terms, imp 
etc., of all aspects of the arts ‘defined “end 
described with reference to all schools and move- 
ments in esthetics. Unfamiliar and local terms 


ee 








guide on film production costs, methods, and 
processes for executives and lay readers. Includes 
standards for programs and commercials, charts, 
diagrams and a g y of ti picture 
nomenclature. $3.00. 


WINDOW DISPLAY 


24. The Art of Window Display, Lester Gaba. 
Well illustrated primer on how to design 
windows that sell. $5.00. 





are explained. Periods from cave-dwelling to the 
present are covered. Familiar, as well as obscure 
cultures included, with major stress on Western 
civilizations. Cross-indexed. $10.00. 


COPYFITTING 


42. Streamlined Copy-fitting, by Arthur B. Lee. 

58-page manual has character count for 
more than 1350 faces, including caps and small 
caps. All necessary scales on one master gauge. 
$4.95. 





ART DIRECTOR & STUDIO NEWS 
43 E. 49th Street, New York 17, N. Y. 


York City delivery. 


Amt. Encl. $ 





Please send me, postpaid, the books corresponding to numbers circled below. 

2 5 17 1 20 24 27 28 29 31 37 38 39 40 41 42 43 44 
45 46 48 49 50 51 52 53 54 55 56 57 58 59 60 61 
8/53 All orders shipped postpaid. No C.O.D.’s. Add 3% sales tax with orders for New 





NAME & FIRM 





ADDRESS 





city 


ZONE STATE. 




















was » 























book notes 


A POPULAR GUIDE TO GOVERNMENT PUBLICA- 
TIONS, W. Philip Leidy. Columbia U. Press. 
$3.00. 

The first comprehensive guide to more 
than 2,500 titles arranged under 100 plus 
subject headings. Does not include strictly 
legal, statistical or technical material. 
Subject headings include art, painting, 
printing, publishing, bookbinding. 


THE DUTCH MASTERS, Horace Shipp. Philosophi- 
cal Library. $6.00. 

Story of Dutch art told against its his- 
torical and social background. The hu- 
man story of each master is accompanied 
by an easily grasped analysis in non- 
technical language of his qualities as a 
painter. There are 17 color and 24 black- 
and-white plates. 


THE ORIGINS OF ART, Gene Weltfish. Bobbs- 
Merrill. $4.50. 

An interpretation of how art first grew 
up, using to the full the sciences of 
archaeology and ethnology and based on 
the author’s many years of association with 
American Indian tribes in Oklahoma and 
the Southwest. Traces are as a by-product 
of industry necessary to survival. 








Kane, Karlin chose this 
illustration—did you? 


Above picture was selected because both 
men felt it caught most accurately th: 
spirit for which they were searching. 
Monotone selected was done with prin- 
ter’s ink, rolled on glass. Impression was 
made by working with a sharp instru- 
ment and picking up the imprint on the 
other side. Some of the others were done 
with pencil, back of pencil, or on wood 
grain rather than glass. 


Art Director & Studio News / August 1953 





presen... 


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‘147 EAST SOtH STREET 
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advertising photography 


1780 BROADWAY, CORNER OF 537TH ST. 
NEW YORK 19 e COLUMBUS 5-5864 





top quality 


Retouching 
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* CARBRO * TONING 
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BLACK ano WHITE 


FRANK EBUL 


114 East 54 Street, N.Y. 22 AJEKECRLT' 


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ILLUSTRATION 


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7th AVE. and S5th St wv 19 








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JACK GOOLD 


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80 Madison Ave. 
MU 3-0545 
illustrative & product 


photography 








this 20 page booklet 
shows you how by using 
camera composition 


elastik photostat 
plastik 3 dimensional 
curvall photostat 


CALL otcss 


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ready reference 


to have your firm listed call PLaza 9-7722 


ART BOOKS 


Bookshop of James J. Kane 


Art Books—Fine & | ~ ‘hee 
We Buy, Sell, Rent & Trade 
135 E. 34th St., N. Y. LE 3-4539 


ART SERVICES 
Peter George Art Service Inc. 


4 color separations from art & transparencies; 
4 color buildups in Kemart from B&W art and 


| 
2 2nd Ave. (44-45 Sts.) MU 4-2124 


COLOR PHOTO SERVICES 


Kurshan & Lang Color Service 


24 Hour Custom Ektachrome processing 
Duplicating & Dye Transfer Prints 
10 E. 46th St., N. Y. 17 MU 7-2595 


319 East 44th Street, New York, N. Y. 
Complete Custom Photo Service for professional 
photographers, magazines and industry 

* Developing, printing 

* Airbrushing, retouching 
* Studio Available 

If you have a problem 
Call Ralph Baum 


COLOR TRANSPARENCIES 


The Shostal Press Agency 


The syndicate for color photography. 
Large file for every purpose. 
545 Fifth Ave., N. Y. 17 


HISTORICAL PRINTS 
The Bettmann Archive 


Old time illustrations on any subject. Events, 
industries, Fashion, Decors. Ask for folder 6A. 
215 E. 57th St., N. Y. 22 PL 8-0362 


PHOTO RETOUCHING 
Peter Buckley 


Transparency retouching, montages, 
silhouetting, color correcting. 
157 East 48th St., N. Y. 16 


Color Correction and Retouching of 
Transparencies, Dye Transfers & Carbros. 


Flexichrome Coloring 
516 5th Ave., N. Y. 18 MUrray Hill 7-6537 


Helen Gee 


Retouching of transparencies 


LExington 2-4052 


VA 6-4381 


PL 9-7842 


201 East 40th St., N. Y. 16 MU 7-2839 
Frank Van Steen 
Quality Flexichromes 

370 Lexington Ave., N. Y. 17 LE 2-6515 


SERVICES 
Way's Standard Viewers 


For viewing color in transparencies correctly 
William P. Way 
Chappaqua, N. Y. 


SILK SCREEN PROCESS 


Jaysee Display Advertising, Inc. 
Quality reproduction. Posters and displ. 
12E. ae st. N.Y. 3 Ok 5-7280 


Masta Displays Inc. 


20 years leadership in silk screened 
posters and displays 
230 W. 17th St., N.Y.C. 


TYPOGRAPHY 


The Composing Room, Inc. 


Advertising Typographers 
130 W. 46 St., N. Y. 


Kline Linotyping Co., Inc. 


Proofs or Type for the Artist, Printer 
or Agency 
146 W. 25 St., N. Y.1 CHelsea 3-3610 


Typography Shops Inc. 
245 Seventh Ave., N. Y. 


CH 2-3717 


LUxemburg 2-0100 


OR 5-7535-6-7 


classified 


call Plaza 9-7722 





TWO ARTISTS | 


wanted by art representative with top | 
accounts. Must be of high calibre. Box 
700, Art Director & Studio News, 43 E. 
49th St., NY 17. | 











HIGH CALIBRE ARTISTS wanted by repre- 


sentatives with national accounts. Box 70!, 
AD&SN, 43 E. 49th St., NY 17. 


ART DIR. ASST. desires position. 8 yrs. exp. 
as fashion photog, layout, finished art. Crisp, 
smart and fast. Full or part-time. Box 702, 
AD&SN, 43 E. 49 St., NYC. 


LARGE COMMERCIAL PHOTO STUDIO ito 
share. $100 month. Box 703 AD&SN, 43 E. 
49th St. NY 17. 





NEW ADDRESS 


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of pHs Src) 
125 WEST 45™ STREET NEW YORK 36, NY. 


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os , ed 


” for Photographs that SELL! 


PHOTOGRAPHIC 
(ILLUSTRATORS 

















u 4 Ss ‘ : IRK 17 NY * MURRAY HILL7-O087 


Art Director & Studio News / August 1953 









































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UNIVERSITY OF MICHIGAN 
LIGRARIES 


OCT 27 1953 





ARCHITECTURE LIBRARY 








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“style conscious”’ artist who believes each art problem requires an 


individual interpretation. His deft creative ability is exemplified 


ralph ballantine, illustrator. A very versatile, 


in colorful illustrations, smart line work and sophisticated 

cartoons. We believe ballantine has the solution for 
your “‘art styling’’ needs. ralph is associated 
with kling studios in chicago—another 


outstanding artist on our staff. 


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Art Director & Studio News / Septem ber 1953 


A CREATIVE-CUSTOM SERVICE ...UNIQUE IN ITS FIELD SINCE 1936 















e: 
DIRONE Photography 


215 EAST 37th STREET ¢ NEW YORK 17 
VAnderbilt 6-112] 
Contact Walter Redmont 









































Talented artists backed by a 
fine studio service 


Rolf Anderson 
Gertrude Baehr 
James Bama 
Teasdale Barney 
Sam J. Bates 
Albert Baxter 
Sheilah Beckett 
Edward Berkovitz 
Wayne Blickenstaff 
Joseph Bowler 
Barbara Briggs 
Lynn Buckham 
Arthur T. Cooper 
Charles E. Cooper 
John Cornick 
Donald Crowley 
Bernard D’Andrea 
John Del Gatto 
Joe DeMers 

Roy Deming 
Anne Donovan 
James Dwyer 
Freeman Elliott 
Kenneth Fagg 
Lorraine Fox 
Nino Giarratano 
Mary Louise Gilkes 











Remie Hamon 
John Hickler 
Fred Irvin 
Alfred Jaeger 
Robert Jones 
William Kautz 
Frederic Kirberger 
Henry Koehler 
Anton Kurka 
Robert Lavin 
Robert Levering 
Jeanne Maloney 
Barbara Mazanek 
Harold Marchant 
Robert Meyers 
Edward Moclair 









While Len does illustrations in all media, 





Robert McCall » 
Harold McNeill he has developed a water color technique 
Fred Natarus — which has unusual freshness and spon- 
wai taneity. He has a wonderful color sense 
Jim Schaeffing and in this medium his colors reproduce 
Frank Schermack with high fidelity. 
Richard Schwarz 
Leonard Steckler 
Robert Swanson Charles E. Cooper, Inc. 
Stanley Wagner oe 
Robert Watkins Advertising Art 
Soha Whines 136 E. 57th St. « New York 22, N.Y. 
Th . 

wn a The Technigraphic Company * 2016 Walaut St. * Philadelphia 3, Penna. 


Margaret Williamson = 
Ben Wohlberg Frederick Kopp Advertising Art Studio ¢ 301 S. Harvard Blvd. ¢ Los Angeles 5, Calif. 


























an URE 


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, 
NSAD Headquarters: 115 East 40th Street, New York 16, N. Y. 


Secretary-Treasurer. 


R 
STUDI NEWS 





VOLUME V, NUMBER 6 





WHO SEES YOUR ADVERTISING ART EXHIBIT? 


BILL JOHNSON, PRESIDENT, ART DIRECTORS CLUB OF DETROIT 


Do enough of the right people see it? 

In order to do appropriate and stimulating advertising design, 
the art director must have the confidence of both his account group 
and client. Their confidence is naturally developed when good de- 
sign and art is proven in their campaigns or the campaigns of others. 
An unusual measure of confidence is often required when we ven- 
ture into new avenues of design and art. 

It is in this respect that the good advertising art exhibit, well 
publicized, can be of great valuc. Few people are exposed to more 
than a very small portion of the variety and volume of good ad- 
vertising produced. An advertising art exhibit is an assembly of the 
best in all media and is a rare opportunity to see things that would 
otherwise, in the course of the normal year, completely escape most 
of us. 

Even more important than the recognition involved is the 
stimulus provided. The wide scope of a good exhibit can indicate 
that there are new avenues to explore. The average account man or 
client is not exposed often enough to a stimulating art environment 
such as this. The advertising art exhibit is our opportunity to place 
them in that environment. We should make the most of the oppor- 
tunity. 

These important people that we hope to attract will not sec 
our shows unless they deem them important. For this reason, our 
exhibits must be responsible, significant and even provocative to be 
worth while to ourselves and them. The fact that an exhibit is 
representative of an area is not necessarily a credit to that area, 
or even a good reason why it should be attended. 

Once a significant exhibit is developed, it needs good publicity 
and an impressive awards ceremony of proper dignity. Again, our 
publicity should be channeled to reach our account people and 
clients. We should plan awards presentation ceremonies to be as 
elaborate as possible in order to develop the prestige value of the 
awards. With good publicity placed in trade magazines, we should 
make every effort to get copies into the hands of these key people. 
With sufficient stature and proper promotion, our exhibits can 
become meaningful events of real value to them. 

We should use our exhibits more as an opportunity to display 
a variety of fresh thinking which might suggest that there are many 
other directions open to exploration. 

There should be greater support of the National Society of 
Art Directors by local clubs in order that, collectively, we can put 
more helpful and significant material into the hands of our clients 
and agency people. 

Support and participate to the utmost in your annual exhibits. 
Get your copy people, account groups, and clients over to your 
shows. Help them keep abreast of what we think is good and develop 
their interest in new directions, 

The AD show is for other art directors, artists and students, 
but they represent only half of the job to be done. 


Art Director & Studio News 


/ : September 1953 


CONTENTS 

THIS MONTH September, 1953 
Staging TV 14 
Detroit Is Busy 23 
Graphic Arts in Detroit 24 
Detroit’s Show 38-47 
A Newcomer Looks At Detroit 48-49 
Detroit Art Schools 50 
The AD And Magazine Sales 52 
How Ford Uses Regional Art 54 
Macy’s Uses Saleswise Art 58 
Car Art 60 
The “Eye” And You 62 
Upcoming Artist 66 
Detroit’s Cover Contest 72 
Campaign Continuity 73 
3D TV Displays 78 
EVERY MONTH 

Tax Talk 7 
Joint Ethics Committee Report 8 
Business Briefs 12 
AD&S News 31 
Production News 71 
Trade Talk 77 
What’s New 88 
Book Notes 89 
Bookshelf 92 
Ready Reference 94 
Classified 94 


Publisher, Donald Barron 
Designer, Ken Saco Editor, Edward Gottschal! 
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 Wn. 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. Plaza 9-7722. 
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. 





CAR ILLUSTRATORS 


ERIC VALLEAU 
HERB GUTHEIL 
CLYDE MCWILLIAMS 
ROSS COUSINS 


NORBERT CZARNOWSKI 


JOHN ARVAN 
WAYNE DUNHAM 
GENE CONNELLY 
GERALD IRWIN 
DALE GUSTAFSON 


INTERIOR ILLUSTRATIONS 


CLYDE MCWILLIAMS 
JIM FETTER 


ILLUSTRATION 
BILL FLEMING 
DON WHITNEY 
ED PAULSEN 

JOHNNY JONES 


NORBERT CZARNOWSKI 


JOE MANISCALCO 
JOHN ARVAN 
BILL DURNELL 
BILL HOFSCHER 


LETTERING 


ED GROMMES 
BEN SOWA 


CARTOONS 
BOB FARBOLIN 


LAYOUT AND DESIGN 
BILL SIMPKINS 
BILL HOFSCHER 


RETOUCHING AND 


MECHANICAL. ILLUSTRATION 


KEN SODERQUIST 
JIM FETTER 

ED PHELAN 

MARY AMBROSE 
RICHARD BACH 
JAMES BRADFORD 


MICHAEL BROZOWSKI 
NICHOLAS DIEDERICHS 


WALTER GURNIAK 
GEORGE KORBY 
JOSEPH MISKULIN 
CHUCK MITCHAM 
RICHARD RADTKE 
CARL REMMERT 
IRVIN ROOT 
OTTO WUERFEL 


PRODUCTION 

JIM TANK, MANAGER 
MIKE DANKO 
CAROL FORD 
JOHN JAQUISH 

ED KMIECIK 
TERRY SMITH 


CONTACT 


WALT LADRIERE 
EDDIE KORAN 

JIM HADDEN 

BOB WOOD 

BERNIE POTOCHNIK 
TOM ROBERTS 


ov 























EADQUARTERS 
AUTOMOTIVE ART 


suelo ZS years! 


La DRIERE STUDIOS INC. 
1700 CADILLAC TOWER, DETROIT 26, MICH. 





* 











tax talk 


MAXWELL LIVSHIN, C. P. A. 


FOREIGN INCOME TAXABLE. Since the tax- 
payer was subject to changes of assignment 
and intended to return to the United 
States when his Red Cross duties termi- 
nated, the Tax Court ruled that the com- 
pensation received in Europe during 1943- 
1944 should not be excluded from gross 
income under section 116 of the tax code. 
That section provides for the exemption of 
certain income received for services out- 
side the United States if the taxpayer was 
a bona fide non-resident during a period 
which includes an entire taxable year, or 
was outside the United States for at least 
510 days during 18 consecutive months. 


NOTE: A bill was recently introduced in 
Congress to amend this law. The Treas- 
ury Department feels the law, as it now 
stands, has been abused. 


CERTAIN PROFESSIONAL FEES CAN BE DE- 
DUCTED. An accountant advised a taxpayer 
regarding benefits to be derived from a 
change in the taxpayer’s accounting system 
and also advised the taxpayer as to the tax 
consequences resulting from a change in 
business form, from corporation to partner- 
ship. The Tax Court ruled that the fee 
paid the accountant was an ordinary and 
necessary business expense. On the other 
hand, the Commissioner ruled that the 
amount paid to an attorney for the forma- 
tion of a partnership to take over the cor- 
poration was a capital expenditure. The 
Tax Court agreed. 


C.P.A. CAN BE SUMMONED TO TESTIFY. A 
District Court recently ruled that a certi- 
fied public accountant could be required 
to produce a client’s records and to testify 
regarding them. 








Cover designer 


27 year old AD at Kenyon & Eckhardt, 
Detroit, Doug MacIntosh got his start in a 
high school job with a _ lithographing 
house. After a navy stint during which he 
did visual aids work, he enrolled for four 
years at the University of Michigan, Col- 
lege of Architecture and Design. While in 
school he worked with Jepson-Murray Ad- 
vertising. 


After graduating in 1950, he went with 
Kenyon & Eckhardt. 


Art Director & Studio News / September 1953 











brochures 








design 

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cartoons tailored suit. 

—” Let us show you what we have done for others. 
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the case of 


THE AGENCY'S DILEMMA 


report of the Joint Ethics Committee 


Problem: An artist had been commissioned 
by an agency to do four illustrations for 
a mailing piece for one of its clients, a 
book publisher. The budget did not allow 
the art director to offer the artist the 
remuneration he would normally receive 


-for a job of this sort but when it was 


explained that they could pay no more 
the artist agreed to do the job. He de- 
livered the job to the satisfaction of all. 
Later the client decided to use one of 
the illustrations for a window display. He 
so informed the agency and asked that 
they have the artist make some altera- 
tions and deliver the art work to him in 
order that he could have his own supplier 
produce the displays. 

The agency account exec. was in a 
quandary. It was evident that the client 
thought the art work could be altered 
without extra charge. He went to the art 
director with his problem. The AD 
pointed to the Code of Fair Practice and 
felt that to expect the artist to alter the 
drawing no matter how slightly for addi- 
tional use would be a violation of para- 
graph 11 of the code. 


Decision: He referred the matter to the JEC 
who in turn agreed with the AD, basing 
their reasoning on the fact that the artist 
agreed to a price lower than his usual 
charge on the basis that the budget was 
limited by the one use alone. 


Result: Armed with this information, the 
account exec. explained the matter to the 
client, and suggested that since the artist 
was entitled to additional compensation 
and it was on a production job the agen- 
cy was not handling, the artist and client 
would both be happier if they worked 
out the details together. The client 
readily agreed to the suggestion and ex- 
pressed his full appreciation of the situa- 
tion and the existence of the Code, ad- 
mitting that it brought home to him the 
necessity of such standards of practice 
that had never before occurred to him. 

































Ors NE GUN SALUTE 
TO DETROIT aT 
* DIRECTORS e374 285 


CONGRATULATIONS BOYS, ON WHAT WE 
THOUGHT WAS A GREAT SHOW...AND if 
35° THERE'S ANYONE IN THIS TOWN WHO KNOWS 

GREAT STUFF WHEN THEY SEE IT, ITS US | 





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% ART FOR ADVERTISERS x 
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1,000 words etc. 


We are told that preparation for a recent 
Talens’ ad caused a tempest in an Orien- 
tal teapot. Ruth Willock submitted layout 
and copy to Henri Heystek, Talens’ 
managing director in the United States. 
Came back a gratifying O.K., with the 
suggestion that the correct statement be 
used. Question: Was one picture worth 
one thousand words or more than ten 
thousand? 

A newsweekly magazine morgue and 
the New York Public Library Information 
Desk quoted Burton Stevenson, giving 
the more conservative estimate of one 
thousand. 

Stevenson's authority: Dec. 8, 1921 
issue of PRINTERS’ INK, wherein an 
F. R. Barnard had stated that one look 
(changed to picture, by FRB) was worth 
a thousand words. Barnard’s authority: 
“a Japanese philosopher”. 

A call to PRINTERS’ INK traced the 
F. R. Barnard story to a double page ad 
for Street Railways Advertising Co. 
Twelve years later, a PR editorial writer 
—not content to let sleeping dogs lie— 
had written in a July, 1933 issue: “.. . 
we have set it up, not as a rule but as a 
desideratum, that in discussing the virtues 
of illustration in advertising we shall not 
remind our readers that some sagacious 
Oriental is said to have said that ‘a pic- 
ture is worth two thousand words’ (or 
was it ten thousand?).” 

One month later, Terry Ramsaye 
then editor of MOTION PICTURE 
HERALD—commented on this to PR 
editors: “... I am particularly entertained 
by your reference to the ancient Chinese 
‘a picture is 
. . The ori- 
ginal Chinese expression, literally trans- 
lated, being characteristically in reverse 
of the Occidental manner of expression 
is ‘one thousand tellings are not so good 
as one seeing’, This, I believe, should 
be accredited to the great philosopher 
and sage, How Kum.” 


adage which you quote as: 
worth two thousand words’ . 





Change of Address. Please send an address 
stencil impression from a recent issue. 
Address changes can be made only if we 
have your old, as well as your new address. 
Art Director & Studio News, Circulation 
office, 43 E. 49th St., NYC 17. 




















ff Our new photographer adds to our quality standard 





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Flexichrome is still 
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HIGHLAND PARK 3, MICHIGAN 


Art Director & Studio News / September 1953 





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HYPNOTISM AND THE ADVERTISING MAN 


N our modern sophisticated world, 

many intelligent people look upon 
Hypnotism with an air of skepticism. 
This skepticism in many cases is 
founded upon a lack of knowledge of 
what the true scientific meaning and 
application of hypnotism really is. 

There are many practical benefits to 
be derived from hypnotism. These 
benefits may very well help you in 
your chosen field. 


You can learn how to use Hypno- 
tism and apply its amazing power to 
yourself or others. Hypnotism can 
help you toward greater achievement 
in your creative work. This truly amaz- 
ing science could mean more to you 
than you ever dreamed possible. 

For further information and at no 
cost to you, please mail your name, 
address and occupation to: 


THE MODERN SCHOOL OF HYPNOTISM 


47 WEST 44th STREET 


NEW YORK 36, N. Y. 











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business briefs 


Acceleration in ad art business, following a 
slighter-than-usual summer  slow-down, 
started early as many large Fall and win- 
ter campaigns got into production. Many 
a free-lance AD, artist, photographer plan- 
ning an August vacation never got away 
and doesn’t know when he will. Photo- 
retouchers are very busy. 


Economists eyes are on Detroit. One of the 
first markets to show signs of drying up 
is automobiles. Used cars are piling up. 
Trade-in values are down, discouraging 
some new car sales. But advertising is 
being intensified to spur sales. 


Advertising should counter contraction of na- 
tional economy, says Under Secretary of 
Commerce Walter Williams, calling for 
more ad expenditures, higher ad, sales anc 
distribution budgets. 


That recession still looks like it’s coming next 
year, but ecoprophets have been saying 
that for several years now. Current fore- 
cast is for mild recession sometime in 
1954. Short view still shows strong busi- 
ness, heavy advertising. 1953 is expected 
to get a postwar high in many respects. 
National advertising is now 8% ahead of 
record 1952. Newspapers are expecting 
record $600 million linage this year, a 
14% gain over 1952. 


Business Week reports 1953 will be the best 
profits-after-taxes year since 1950. This 
was the year that some economists said 
would show a recession. Doesn’t prove 
anything, but should temper one’s assump- 
tion that recession is inevitable. 


Magazine picture is spotty. Many magazines, 
some large and well known, have folded 
or retrenched in recent months, as report- 
ed in AD&SN. Though some, like Time 
Inc., and McGraw-Hill publications are 
very strong, many others show dipping 
profits. Story magazines continue to face 
rough sledding. Specific interest magazines 
(news, woman’s service, business) are 
prospering. 


Index of this is E. V. Hale report showing 
nearly eight times as much long-term 
financing for magazine and newspaper 
publishers as in 1951. On the strong side, 
many magazines are steadily raising rates 
to meet costs and are holding their adver- 
tisers. Not only rates based on circulation 
are going up, but so is cost per thousand. 




















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LETTERING INC 
COMES TO DETROIT ! 


WE'RE HAPPY TO ANNOUNCE THE OPENING OF OUR NEW STUDIO 
IN DETROIT ON OR ABOUT OCTOBER I5th, FROM WHICH WE WILL 
BE ABLE TO SERVE THE GREAT MOTOR CITY AREA MORE PROMPTLY 


AND PERSONALLY THAN EVER BEFORE. 


WE TAKE THIS OCCASION TO THANK OUR MANY DETROIT FRIENDS 


FOR THEIR CONFIDENCE IN THE PAST WHICH HAS MADE POSSIBLE 


THIS NEWEST EXTENSION OF OUR LETTERING SERVICES. 


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Art Director & Studio News / September 1953 = 











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staging TV 


(With more and more Art Directors be- 
coming involved in producing for tele- 
vision all over the country, we know that 
this new feature which indicates how 
artists and technicians are solving day-to- 
day TV staging problems will interest 
those of our readers who are now—or 
hope to be—working in this medium. 
The feature is conducted by Robert J. 
Wade, a TV pioneer, former art director 
and facilities manager for NBC, and now 
resident designer for the P. J. Rotondo 
Co. He is the author of Designing for TV 
—the Arts and Crafts in Television Pro- 
duction (Pellegrini @ Cudahy), Oper- 
ation Backstage, a 75-page NBC staging 
manual, and is now preparing a hand- 
book on staging especially for the regional 
TV station, to be published in February 
by Farrar, Straus and Young). 


Because the achromatic television system 
reacts only to light and shade, three- 
dimensional! objects that can be effective- 
ly displayed and lighted usually make a 
much better impression and offer greater 
contrasts to backgrounds than flat art- 
work in both TV films and live produc- 
tion. As a result, set designers apply 
“practicable” mouldings or install lathe- 
turned finials, columns or balusters when- 
ever solid realism is to be suggested. In 
commercial displays—and of course legi- 
bility is most important in the commer- 
cial—there is a growing trend towards 
the usage of cut-out, three-dimensional 
lettering, frequently the product logo- 
type, but sometimes other additional type 
material, or even a stylized treatment of 
the brand name, in the original logo, but 
with “built-in” distortion. 


A good example is the Super-Coola 
lettering display, about 30” long, with 
cut-out block, square-serif letters 12” 
high, made for a filmed commercial, The 
original sketch showed letters in eleva- 
tion, and indicated that the sides and 
bottom of letters were to vanish in solid 
perspective, so to speak, at a distance 36” 
from the front plane. Such a display is 
easy enough to draw and to render with 





























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Art Director & Studio News 


/ 


|| 
| 
| 
| 


September 1953 















Photos by Weegee 

















115 W. 45TH STREET, N. Y. 36, N. Y. 














ADVERTISING 


ARI . 1005 


STEPHENSON BUILDING ° 


DETROIT 























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an air-brush on a flat surface, but offers 
many technical problems in execution in 
wood or plaster. The Super job was 
actually made of whitewood, with the 
sides of each letter and each serif hand- 
planed to the vanishing point. Top of the 
display was kept level, so that cans of 
beverages could be displayed over the 
lettering. And since the bottoms of each 
letter also “vanished” upwards, an invisi- 
ble wire support had to be invented to 
hold the display in position. Wood was 
filled, sanded and sprayed a light gray. 
individual and the 


whole 


Because the letters 


display as a cast interesting 
shadows, unusual and variegated lighting 


effects were readily developed. 


In another commercial now being pre- 
pared for early fall, the product name is 
spelled out in three-dimensional letters 
15” high by 7” 


individually from 34” 


deep. These were cut 
fir plywood and 
laminated to the specified thickness. All 
surfaces were finished in a TV off-white 
(grayed yellow) casein paint. Assembled 
bench, 
lighting, the 


on the workman’s even under 


ordinary overhead letters 
cast bold shadows indicating that on the 
TV system the display will come up with 
a great deal of contrast and punch. Re- 
cently a solid display logo was designed 
for a cigarette commercial with letters 
nearly 30” high and 34” thick, complete- 
ly covered with silver flitter over lacquer. 
Suspended on an angle-iron frame in the 
setting, the letters, lighted directionally, 
were clearly legible in the longest “long: 
shot.” 


However, custom-built lettering of this 
nature is fairly expensive, and while such 
work is within the budgets of larger pro- 
grams, clients with limited allotments or 
agencies in small cities that stage local 
commercials find the costs of physical 
cut-outs prohibitive. Fortunately, there 
are several substitutes that are extremely 
low in cost, and readily available at most 
art stores. The Hernard ceramic letters, 
ranging in height from about 1” to 5” are 
adaptable to many special effects, and are 
widely used in TV and in the display 
trades. Letters may be pinned to pieces 
of Celotex (a soft wallboard) with self- 


contained brads, glued to fabric stretched 


















































































Ow fhe 


for the recognition given our efforts at 
the Detroit Art Directors Show, and to the 
wonderful group of Art Directors and clients 
it is our privilege to serve. 
















Specialists in creative advertising 
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Art Director & Studio News / September 1953 17 








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over plywood, or fitted into a groove as 


stand-ups, Letters may be sprayed, paint- 
ed, air-brushed, gilded or flittered. For 
the Scott Music Hall introductory title, 
Hernard letters are fitted into tiny 
sleeves to keep them away from back- 
ground surface in order to heighten a 
shadow effect from a moving spotlight. 
Under certain conditions, it is possible to 
glue two or more plaster letters together 
to achieve greater thickness. Before paint- 
ing or texturing, joints between letters 
are filled with plaster of Paris, or crack 


filler sold for domestic use. 


Other stock letters, especially devised 
for television work are becoming gen- 
erally available. One inexpensive type is 
in the form of die-cut letters of Upson 
board (a 4%” wallboard), about 6” high. 
Although these letters are thinner than 
the Hernard type, they are bold in de- 
sign, and also may be laminated to in- 


crease thickness 


Naturally, all logotypes cannot be 
made with stock letters. But, on a low- 
budget commercial, text of a display 
message can be set up in stock, and the 
actual logo custom-cut, thus reducing 


costs to a minimum. 


A few weeks ago, an agency created a 
very effective live motion display by 
using plaster letters in an upright posi- 
tion. The product being advertised was 
placed in a diorama or shadow box 
about 14” deep against a neutral back- 
ing. Letters were fastened to sliders, 2” 
square, which fitted into slots in the floor 
of the shadow box. On cue, the slider 
was manually pushed through from left 
to right, and the slogan brought into the 


camera field. 


Stock three-dimensional letters—plas- 
ter, wallboard and other types—can be 
fastened to drums, to revolving wheels or 
discs, to dealers’ “store windows” and 
other background material. And of course 
they make effectual and dignified price 
tags placed on or near merchandise in 
live commercials. Most stock letters, de- 
pending on size, cost from five to ten 
cents each, and as a result may enjoy 
quite a future in both TV program stag- 


ing and in commercials. 





Coo sae 


Bh Se 





Looe 


a ee an 














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Here’s a “classical” modern 
face! 

One look at Linotype Caledonia can 
show you why this modern face has 
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Caledonia’s even, medium weight, 
its “liveliness of action” are the result 
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Start with a generous 
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Scotch Modern, one of Caledonia’s 
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Look at the Caledonia curves. They 
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with a flick that recalls the callig- 
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grace without fussiness—no hairline 
thins that can disappear and spoil 
the color of a page. 


Caledonia reproduces very well on 
smooth-finished, antique or coated 
stocks and its use has been greatest 
in the better publications. In large 
sizes it is an excellent display face. 


“Scotch is Scotch” 

There’s a story in how Dwiggins 
came to design Caledonia. He had, 
as he puts it, “a strong liking for 


Art Director & Studio News / 


CALEDONIA 


Scotch” He tried “sweating the fat 
off it but that didn’t help. He tried 
combining elements of Baskerville, 
Bodoni and Didot, also early mod- 
ern faces, but all that resulted was a 
kind of Scotch pudding, a rehash of 
earlier forms. 




















September 1953 


“Aye, yon swing takes my fancy!” 


In pursuit of “lively” 
curves... 


Still looking for a modern air com- 
bined with “livelier” curves, Dwig- 
gins turned to Bulmer’s type, first 
cut by Martin in 1790. Though its 
letters were a little more slender 
than those he had envisioned, they 
had the “swing” he wanted. By add- 
ing a little weight, and by making 
the finishing strokes at the bottoms 
of letters cut straight across without 
“brackets; Dwiggins drew his en- 
tirely new alphabet that restored the 
vigor of Scotch by adding contem- 
porary snap and crispness. He christ- 
ened the face CALEDONIA in 
honor of its ancestry. 


Choose the Size and 
Weight! 

The basic Caledonia design is avail- 
able in three distinct series, in sizes 
to accommodate practically every 
need. For text needs you can choose 
between Caledonia with Italic (6 to 
24 point) and, when emphasis is de- 






sired, Caledonia with Bold (6 to 14 
point). Then there’s the Caledonia 
Bold with its own Italic series to pro- 
vide the somewhat weightier note, 
also available in a 6- to 24-point size 
range. And finally, there’s Caledonia 
Bold alone for display heads, in sizes 
from 16 to 36 point. Specify Cale- 
donia in the form you prefer for that 
next job—and enjoy the economy of 
Linotype composition plus the clar- 
ity and vigor of this excellent design. 


Caledonia Specimen 
in Process 


A new specimen booklet for Lino- 
type’s Caledonia family is now being 
prepared. It will comprise full show- 
ings of each of the three series (Cale- 
donia with Italic or with Bold, and 
Caledonia Bold with its Italic) in all 
point sizes. And it will be chock full 
of ideas on how to use Caledonia for 
many advertising and printing pur- 
poses—both heads and text in ads, 
as well as for brochures, catalogs, 
books and periodicals. 
To reserve your copy, just mail the 
coupon below. The booklet will be 
mailed when it comes from the press. 
This advertisement is set in 10- 
point Caledonia with two point 


leading. Sub-heads set in 14- 
point Caledonia Bold Italic. 


Dept. Z-11 

Mergenthaler Linotype Company 
29 Ryerson Street 

Brooklyn 5, N. Y. 


Please reserve my copy of the 
New Caledonia Specimen Book. 


Sa 
Company 


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