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30 ART DIRECTION ® THE MAGAZINE OF CREATIVE ADVERTISING e

ISSUE

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Art Direction / The Magazine of Creative Advertising / July 1959

A/RT DIRECTION

THE MAGAZINE OF CREATIVE ADVERTISING © OFFICIAL PUBLICATION OF THE NATIONAL SOCIETY OF ART DIRECTORS

Detroit goes stereo

This Detroit issue is unique. In it you will see the medal-
winners from the 11th Annual Detroit AD Club show—
our 1959 testimony to the vitality of Detroit art, design and
photography. But you will also see another group of win-
ners, and their appearance in the pages of ART DIREC-
TION may surprise you. These are “Umbrella Award”
winners, chosen as outstanding in both copy and art, judged
for a total advertising idea and honored jointly by the
Art Directors Club of Detroit and the Detroit Copy Club.
Two different juries, two different groups of entries, two
different sets of criteria.

Why two shows? Because many Detroit club members
feel it is time for the art director to emerge from his “craft
guild” shell and recognize an advertisement for what it is—
a union of art and copy, the coordination of two basic
crafts, not the plaything of design alone...in fact, the
presentation of an idea, which must be stereoscopic in effect.

But, if advertising art and copy create a stereo effect and
this new “Umbrella” show examines both copy and art,
why continue the annual art show as well? Because it is
equally important to remain a craft guild in the best sense,
to applaud experiment and honor good taste in advertising
art—whether the writing and the campaign strategy it serves
be good, bad or indifferent.

The AD show, as pioneered by the New York club and
adopted by the nation’s other clubs, has grown so important
in the minds of all advertising people that many have
lost sight of its avowed purpose—indeed, of its very title,
although this has invariably stated clearly that the show
honors advertising art and design—not marketing strategy,
not copy platform, not media selection, not anything but
art and design.

This confusion has been an unforeseen result of powerful

(Continued on page 91)

Art Direction, published monthly by Advertising Trade Publications Inc., 19 W. 44 St., New
York 36, N. Y. YUkon 6-4930. Subscription price $4.00 per year; $7.00 for two years; $5.00 a
year for Canada and $7.50 for other countries. Back issues 65¢ per copy. Publisher assumes no
responsibility for manuscripts or artwork submitted. Entered as second-class matter at the
post office at New York, N. Y., with additional entry as second-class matter at the post
office at Baltimore, Maryland.

ART/DESIGN PACESETTERS
AIGA's 50 Best Ads and Printing

for Commerce Shows 56
Detroit's AD show 61
Detroit's Umbrella Awards 67

Exhibition roundup: Baltimore, Denver,
St. Paul-Minneapolis, Washington, D.C. 71

DIRECTIONS

How Coca-Cola reaches mass and class

markets with same ad, Stephen Baker 98

IN EUROPE 54
TV

The Rounded Corner, by Steve Frankfurt 28
RESEARCH

Aimed Design, Dr. Irving A. Taylor 16

NEWS & VIEWS

Business briefs 6

Coming events 10

Letters 13

News a

Chandelier photography 49

What's best 50

Detroit's student conference 60

In Chicago 79

In Philadelphia 83

West Coast 84

What's new 85

Cover designer 85
TRADE TALK 86
SERVICES

Bookshelf 94

Ready Reference, classified 96

Advertiser's index 85
Publisher: Don Barron ° Editor: Edward Gottschall
Designer: Ken Saco ° Asst. Editor: Ann Cohen
Circulation: Calla White ° Traffic: Yvonne Lusardi

Advertising: Robert Miller

ASSOCIATE EDITORS: Atlanta, Harold Kjeldsen; Baltimore, Frank C.
Mirabile; Boston, Mark Kelley; Chicago, Harry J. Smedley, Jr.; Cincim F
nati, George Tassian; Cleveland, Carl Behl; Dallas-Ft. Worth, Brook F”
Keller; Denver, Norman Zander Fried; Detroit, lom Roberts; lowa— ©
Wendell Mohr: Kansas City, Thomas R. Korchak; Los Angeles, Arthu §
Sherman; Memphis, Kathryn Huckabo; Miami, Peggy Strickland; Mik R
waukee, Allen P. Zoellick; Minneapolis-St. Paul, Donald K. Skoro, Ry”
Montreal, Frank Lipari; Nashville, Joe Ward; New York, Edward RF
Wade; Omaha, John Andrews; Philadelphia, Lester La Bove; Pitts B
burgh, Walter Lafferty; Portland, Ore., Pat Shaylor; Richmond, Fron
W. Mann, Jr.; Rochester, Ric Rylands; St. Louis, Lovis Meyers; Soni
Francisco, Cal Anderson; Seattle, Mayrus McDonald; Spokane, Ha Ry
Bacon; Toledo, William Kuhlman; Toronto, Stanley Furnival; Wai
ington, D. C., Virgil Jackson. §
WEST COAST REPRESENTATIVE: H. L. Mitchell & Associates, 14%
Lorain Rd., San Marino, Cal. Phone: CUmberland 3-4394. James T.
Stevenson, 5901 Buena Vista Ave., Oakland 18, Cal., Olympic 3-8602
NSAD OFFICERS: Arthur Lougee, Detroit, President; Fred Cole, So
Francisco, Ist Vice President; Oren S. Frost, Miami, 2nd Vice President
Robert West, New York, Secretary-Treasurer; Mrs. Janet Orr, Executive
Secretary-Treasurer. NSAD Headquarters: 115 E. 40 St., N. Y. 16, N. ¥
Phone: LExington 2-1366.

IRECTORS

——

Sottschall
nn Cohen
ie Lusard

», Frank C
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ove; Pitts
ond, Frank
eyers; San
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al; Washie

ates, 145)
James
pic 3-8602
Cole, So
President;
, Executive
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art director: ROBERT BROOKS
agency: BENTON & BOWLES
client: GENERAL FOODS
photographer: IRVING PENN
dye transfer retouching: ARCHER AMES ASSOCIATES

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*demonstration on request contact: ARCHER AMES/LEON APPEL/LORAN PATTERSON

business briefs

Studio billings for the first quarter of ‘59
ran ahead of ’58 for all three months,
average a 33%, gain over last year. The
latest month for which hard data is now
available is March. This March, studios
on the average ran 37% ahead of their
base month (average 1957 month). In
1958 March was the best month of the
first three quarters and ran only 11%
over the base month. All but three
studios reporting to CAM ran _ well
ahead this March.

Job opportunities in the ad art field were
reported comparatively heavy for the
second consecutive month by employ-
ment agencies supplying data to CAM
Report of May 20, 1959. This data cov-
ered March and April. Salaries were
reported generally steady with employers
slower to make decisions, looking at
many portfolios to fill one opening.

Happy note in the general economy was
sounded as summer approached. Unem-
ployment figures dropped more than
seasonally, changed the odds on Labor
Secretary Mitchell’s hat eating bet. With
unemployment down to about 3.6 mil-
lion (approximately 414% of the labor
force) and likely to fall in the good
weather months ahead, the total might
well drop under 3 million by Mitchell's
October deadline. If so, and if the job-
less rolls don’t shoot up over the winter,
a great economic and political victory
will have been scored by the adminis-
tration which steadfastly refused to take
what it regarded as inflationary meas-
ures to speed up hiring.

Stronger than anticipated construction and
hard goods manufacturing surprised
economists who predicted it would be a
long while, if ever, before unemploy-
ment would drop toward the 3 million
mark. As you read this and midsummer
temperatures are rising, watch your daily
headlines regarding steel strike news,
steel productivity, automobile produc-
tion and consumption data. Sudden
changes from the first-half performance
of these key industries could depress
the employment second-half picture.

While business magazines and columnists dis-
agree about whether or not we are start-
ing a boom, it seems that corporate
profits are on the way to a record year.
Previous high was listed with $45.5 bil-
lion in 1956. Conservative guesses put
this year’s profits at $50 billion—optimists
say $52 billion is more like it. *

/_ _

;
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?

NOBODY, BUT NOBODY GETS TESTIMONIALS LIKE

INTERSTATE

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American Cyanamid’s 48-state agricultural campaign, they create for us believable
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EARL C. EDGAR, CREATIVE SUPERVISOR, CUNNINGHAM & WALSH, INC., NEW YORK

INTERSTATE

DIVISION

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EXECUTIVE OFFICES: 675 FIFTH AVE., NEW YORK 22. N.Y., MURRAY HILL 8-1880
MIDWEST REGIONAL OFFICE: 469 EAST OHIO ST., CHICAGO 11, ILL., MICHIGAN 2-0080
WEST COAST REGIONAL OFFICE: 700 MONTGOMERY ST., SAN FRANCISCO 11, CAL., GARFIELD 1-1987
PARK AVENUE BLDG., N. W. COR. PARK & ADAMS AVES., DETROIT 26, MICH., WOODWARD 1-6900

DISTRICT OFFICES:
B. F, JONES BLDG. ANNEX, 311 ROSS ST., PITTSBURGH 19, PA., COURT 1-2980

3639 WILSHIRE BLVD., LOS ANGELES 5. CAL., DUNKIRK 5-716!

ALEXANDER ROBERTS: PRESIDENT ano GENERAL MANAGER

Scuttling the Scuttlebutt

Recently we’ve heard a lot of buzzing about our new
layout and design organization, McNamara Design
Company. Typical of most rumors, they have been
wildly imaginative.

These are the facts. We have for many years
enjoyed a fine reputation in the field of layout and
design. A constant striving for quality, a relentless effort
to produce the finest creative work we can do, has
brought us recognition beyond our expectations. The
company has doubled its personnel in the past year
and we are convinced that it will continue to grow in
size in the years ahead. Principal among the reasons
for its growth, is the fact that many advertising agen-
cies, previously reluctant to rely on outside creative

hiev

sources, are now among our biggest clients althoughRight |
our greatest volume comes directly from people wh0fnc. ha
do not have their own creative staffs. espon:
The men who deserve recognition for our success rtists
are well known for their talent and ability : Jim Dunnegitenti:
Eric Erickson, Dallas Gose, Gil Hanna, Lowell Jack#roup,
son, John Kristoffy, Jack McNamara, Don Ross, Tonyj As A
Trozak, and George Wirth. ecord.
We think this group is the finest aggregation of de-Breslov
signers in the Midwest and many of our clients shartfrom N
this opinion. If you haven’t used this creative sources sec
give it a try. We think you’ll agree that we reallyfockin:
have something here. nd W
ration

McNAMARA DESIGN COMPAN
3953 Penobscot Buildi
Detroit 26, Mich. WOodward 3-444

hieving an Ideal

althougiRight from the very beginning McNamara Brothers,
ple whdinc. has maintained an unwavering attitude about our
esponsibilities to our clients. “Represent the finest
successertists available; constantly bring new talent to the
} Dunnesitention of the art buyer, present a highly diversified
11 Jack@roup, be better this year than we were last year.”
ss, Tonyf As Al Smith used to say, “‘let’s take a look at the
ecord.” In less than one year we have brought Jack
n of deBreslow, Tom Ruddy, Bill Teodecki and Frank Wagner
ts sharéfrom New York ; from California, Ron McKee. In Detroit
sourcéeme secured the talented services of John Ball, Harry
e reallPockins, Larry Lake, George Price, Marion Senyk
nd Will Slocum. Eleven artists added to our illus-
ration staff in one year!

MPAN
Buildi

lustration

For more dramatic impact . . . use illustration!

As a result, we have been interested in observing
our clients’ response. Many have expressed enthu-
siasm for the diversification we have to offer in the
field of illustration. Others have commented most
favorably on the fact that we are bringing new kinds
of illustration to this area. All in all, it has been most
rewarding.

We are justifiably proud of our fine group of artists.
Never, at any time in the past has McNamara
Brothers, Inc. been able to offer you so many artists of
so much ability. We have made the same statement
before and we shall make it again— because we are
dedicated to the idea of being “better this year than
last year—and even better next year if it is possible !’’

McNAMARA BROTHERS, INC.
38th Floor Penobscot Bidg.
Detroit 26, Mich. WOodward 1-9190

The new brochure showing
examples of advertising
pieces in both two or three
dimensions available from
Stephens- Biondi-DeCicco
230 E. Ohio St. Chicago 11
Write on business letterhead
today for your free copy.

calendar

July 6-26 . . . Second National Jury Show,
The Chautauqua Exhibition of American Art,
presented by Chautauqua Art Association in
cooperation with Chautauqua (N. Y.) Insti-
tution.

July 25-31 .. . 68th Annual Exposition of
Phoiography, Professional Photographers of
America, Los Angeles. To be held in con-
junction with Western States Convention and
National Industrial Photographic Conference.

To Labor Day . . . “The Roaring ‘20s”, mani-
kins and photos, Museum of the City of New
York.

September . . . Art Directors Club of Toronto,
First Canadian Communications Conference.
Stratford Festival Theatre.

Sept. 13-16 . . . DMAA Convention, Montreal.

Sept. 25 . .. Advertising Research Foundation,
Fifth Annual Conference, Waldorf-Astoria.

Sept. 29 . . . Fourth Annual Newspaper ROP
Color Conference, Biltmore.

American Museum of Natural History .. .
Rumanian Folk Art, through July 19.

Metropolitan Museum of Art . . . Photography
in the Fine Arts, through Labor Day.

Museum of Modern Art . . . Recent Sculpture
USA, through Aug. 16; New American Paint
ing, through Sept. 8; Drawings and Water-
colors, new acquisitions, July 15-Sept. 13.

Museum of Primitive Art . . . Stone Sculpture
from Mexico, through Sept. 13.

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 Direction, Circulation office, 19 W. 44th
St... NYC 36.

Pla

Say it with...

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FIND YOUR NEAREST FLUORO LICENSEE (Cities are listed alphabetically)

ABILENE, Tex.
News Engraving

AKRON

om
ALBUQUERQUE

Acacia Ly ye ‘
Jackson's New Mexico Engraving
Gerald E. Mahaffey Company

ALEXANDRIA, Le.
Alexandria Engraving

Process Engraving
Western-Perry Printing Processes
ae. >
Garden City Engraving
AUSTIN

Economy Engraving Co.
Wallace Engraving

BILLINGS
Billings Engraving

BINGHAMTON
S. J. Kelley Engraving

Statesman Printing

BRIDGEPORT

Ariel & Eccles

Swan Engraving
BROOKLYN

Boro Offset Corporation
BUFFALO

Niagara Photoengraving
Rapid Service Engraving

CANTON

Canton Engraving & Elec.
CHARLESTON, S$. C.
Charleston Evening Post
CHARLESTON, W. Ve.
Charleston Daily Mail
Charleston Engraving
CHARLOTTE

Arts Engraving

Pictorial Engraving
CHATTANOOGA
Chattanooga Publishing Co.

CHICAGO

Alden Press

Butler Brothers

ay American Publishing
R. Donnelley & Sons

fabs & Ollier Engraving

Liberty Photo Engraving

Newsprint Engraving

CINCINNATI

Central Engraving

Chapman & Rapp Photo-Engravers

Kenand Photo nies

CLEVELAND

Art Gravure tion
Cadillac Litho-
Cleveland

—
Duluth Herald & News-Tribune
Duluth Photo Engraving

DURHAM
Durham Herald

Pazder Art ,
ELGIN, I.

David C. Cook Publishing
& PASO

The White House —
EMPORIA, Ken.

*Kansas State Teachers College
Forsythe Engraving :
National Service Engraving
EUGENE

Wiltshire’s Engraving
EVANSVILLE, Ind.
Keller-Crescent Company
FARGO

Dakota Photo Engraving

FLINT
Flint Graphic Service
Flint Johnson Engraving

FT. SMITH, Ark.

Graphic Arts Engraving

FT. re. ore, Ind.
Lincoln Engravers

FRESNO, Calif.

Bee ving

Valley ving

GALVESTON

Galveston Photo Service

Hughes
Newspaper ving

GREAT FALLS
Great Falls Engraving

GREENSBORO

North State Engraving
HAMILTON, Cenede
National Engravers
HARRISBURG

Patriot & Evening News
HARTFORD, Conn.
Warner Murphy Company
HOLLYWOOD
Gore Brothers
Superior Engraving

HUNTSVILLE, Tex.
*Sam Houston State Teachers College

a < BFIND OUT ABOUT FLUORO-COLOR
OVERLEAF

; Lithographers
*L. A. Trade Tech. Jr. College
| es & Offset Plate

MILWAUKEE
Milwaukee Journal
Milwaukee Sentinel
MINNEAPOLIS
Bureau

Printing
Minneapolis Star & Tribune
Weston Engraving

MOBILE

Gulf States ving
Mobile Press Register

MODESTO, Calif.
Modesto Bee

OGDEN
Western Arts Photo

Bomac Electrotype

Jones Photo —
Rapid, Grip & Batten
PENSACOLA

Pensacola Engraving
PEORIA, Ill.

Hagel Artcraft Engraving
Peoria Engraving

ng
Republic & Gazette Engraving
PITTSBURGH
Liberty Engraving
PITTSFIELD, Mess.
Eagle Publishing Co.
PLEASANTVILLE, N. J.
Volk Corporation

PORTSMOUTH, Ohio
Compton Engraving & Printing
PORTSMOUTH, Ve.
Tidewater Engraving

PROVIDENCE
Barbett Phot: ving
Roger Williams aving
PUEBLO, Colo.

Colorado Engraving
RALEIGH
News and Observer

REGINA, Conede
TriGraphic Engravers

RENO
Silver State Press

RIVERSIDE, Calif.
Rubidoux Printing

Roberts Engraving
Southeastern Engraving
ROCHESTER

Franklin Engraving
SACRAMENTO

Alta Engraving

Bee Engraving

Dome ving
SALT LAKE CITY
Debouze!

Engraving
Zion's Cooperative Mercantile
SAN ANGELO
Red Rooster Photo & Engraving
SAN ANTONIO
Robinson Platemakers
SAN BERNARDINO, Celif.
Inland Printing & Engraving
SAN DIEGO
Carroll Photo Engraving
Progressive Photo Engraving
Sunset Engraving

Sterling Engraving

SAN JOSE, Celif.
Coast ving

San hee ene Herald
SAN MATEO, Celif.
Premier vers

SAN RAFAEL, Calif.
Independent Journal
SANTA ANA, Celif.
Santa Ana Engraving
SANTA BARBARA, Calif.
Aristo

*Robert W. ine
*Joseph C. p
SAVANNAH

Savannah News-Press

SCRANTON
Advertisers Engraving

SEATTLE
Artcraft Engraving
News Publishing
Northwest Engraving
Seattle Times
Sterling Engraving
Western Engraving
SHREVEPORT
Louisiana Engraving
Shreveport Engraving
SIOUX CITY
Journal Tribune Publishing
Service Engraving
pens

arent Engraving
Spokane American
SPRINGFIELD, Mass.
P & B Engraving Co.
ST. LouIS
Central Engraving
St. Louis Engraving

Photo Offset Plate Co.
St. Paul Dispatch-Pioneer Press

ST. PETERSBURG
St. Petersburg Times
Southern Engraving

Liberal Engraving
West Coast Engravers
TAMPA

Johnston Printing
Tribune Company

TOLEDO
Toledo Blade

TOPEKA

Capper Publications

Topeka Engraving

TORONTO, Canada

Bomac Engravers

Photo Engraving & Electrotypers
Rapid Grip & Betten
TRENTON

Leader Photo Engravers

TUCSON
Hollis Photo-Engravers

TULSA
Southwestern Engraving

UNION CITY, WN. J.
New City Printing
VANCOUVER, Conade
Cleland-Kent Western Ltd.
Repro Printing Plates
Tri-Graphic

Vancouver Province
Zenith Engraving

VICTORIA, Cenade
Flynn Engraving
Island Engravers
waco

Alco Engraving
Austin Engraving
WATERBURY, Conn.
American-Republican

WHEELING
Wheeling News

WICHITA, Ken.
Wichita Beacon

Wichita Eagle
WICHITA FALLS, Tex.
Story & Company

WILKES-BARRE

Barre Engraving Co.
WINDSOR, Canede
Star Publishing Co.

WINNI Caneda
Brigdens of Winnipeg
Bulman Brothers
jnee Art Engravers
Process Plate Service
Rapid Grip & Batten
Stovel-Advocate Press
Western Engraving Bureau
WINSTON-SALEM
Piedmont Engraving

YOUNGSTOWN
Photo Reproductions
Youngstown Arc Engraving

*Universities and Trade Schools

THIS LIST WAS NECESSARILY COMPILED LONG BEFORE PUBLICATION.
NEWEST LICENSEES ARE THEREFORE NOT SHOWN.

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letters

Let’s give the designers credit...

The May Critic Panel choices for pack-
age design—the redesigned Pond’s line
and the new cartons for Wilson Sport-
ing Goods Co.—appeared without proper
credits for the designers. I’m for design-
ers! So please take note: The Pond’s
sharp, fast yet elegant packaging was
designed by Frank Gianninoto & Asso-
ciates, Inc. The Wilson packages, a good
example of illustrated sporting goods
cartons that escape the busy cluttered
look while combining bold colorful de-
sign, picture and typography, were de-
signed by Ken Yoshizumi of Dickens,
Inc.

Karl Fink,

President,

Package Designers Council

the good old mixup...

Enjoyed reading Art Direction’s review
of Typography-USA in the May issue
but was dismayed to find Saul Bass
credited not only with his own com-
ments but with Paul Rand’s as well. On
pages 58-59 the six paragraphs under
the subhead “the good old neue typog-
rafie” are excerpts from Paul Rand’s
statement.”

James Secrest,

President, Type Directors Club

You're welcome...

I would like to express my deepest ap-
preciation for the truly wonderful ar-
ticle, “More Than Contemporary. . .”
(pp 60-61), that you published in the
March issue, Art Direction Magazine.
This was the greatest way of bringing
recognition to a group of designers and
illustrators who are doing a job that
they know best while fulfilling their
obligation to “Uncle Sam”.

I understand from Lt. Rudisill that
he has had several responses in recruit-
ing top talent for his staff—this was due
to your article.

I really do hope that the Art Section
of the Recruiting Publicity Center
strives to maintain a high caliber of art
and design in the future, as I have
experienced only too well the “red tape”
that has to be cut in order to attain
this goal.

Thank you again for a wonderful
article.
Sheldon J. Streisand,
Art Director,
Popular Science Promotion

=n = Oo Go =< Or

Art Direction / The Magazine of Creative Advertising / July 1959

This day

Wo one could at first believe it!

and age of fantastic claims causes a real

value to get lost in the shuffle...but...
All of a sudden, the word gets out!

Already, designers like Saul Bass...
Studios like Walt Disney Productions...
Agencies like Stromberg, LaVene, McKenzie..
Publications like PLAYBOY...and commercial
firms like Prudential Life Insurance and
Container Corporation of America have
selected LUCYGRAF as the outstanding "luci"

unit for value and performance]

Because of the overwhelming acceptance
throughout the western hemisphere,
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inside
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DR. IRVING A. TAYLOR

When introducing a new image, for
enduring value the object is to develop
an image which is functionally effective,
not merely different in appearance, and
one which strikes a balance between con-
cepts of progress and stability.

The corporate image contains a self-
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The flood of articles, talks, and con-
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Images are nothing new. We have al-
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we are beginning to question them, to
doubt them.

We put our images on public view
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with the indulgences of “The Affluent
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Psychologically, the corporate image
is to the consumer what the appearance
of a prospective employee is in the per-
sonnel office, and mere appearance, of
course, can be overdone. Symbolically,
the image (and the prospective em-

250

Art Di

e, for
evelop
ective,
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a self-
namic
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ms of

ive al-
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uy we

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Art Direction / The Magazine of Creative Advertising / July 1959 17

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Art Direction / The Magazine of Creative Advertising / July 1959 ~

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ployee) must, contradictorily, embody
both stability and growth. Because the
corporate image is a deliberate attempt
to combine tradition and _ reliability
with development and change, it is in-
herently a self-contradiction and _ its
symbols must to a certain extent pre-
vent the very progress it aims to achieve.

Looking into corporate images is like
looking into the past, present and fu-
ture of a culture. Advertising provides
one of the quickest and most reliable
vehicles to understanding a country. Of
course the messages are implicit and
frequently deceptive.

Images are compounded from many
disjointed experiences from _ various
direct and indirect sources. Actually, the
corporate image is only one of several
concentric rings of images converging
on a central product. Beginning with
the product which itself possesses an
image, there is the manufacturer’s image,
the class of manufactures producing
that product, the various collective
images, and the advertisement and
direct contact media. All these images
interact in an almost unpredictable
manner.

What is the image of soap, for ex-
ample. Culled from the records of depth
research and trial and error practice
has emerged an image of whiteness,
mildness, gentleness, airiness, and, of
course, cleanliness. The latter to the
distracting point indicating that we are
a nation of guilty Lady Macbeths who
for the first time in our lives want to
be really clean, have zest and glow.
Also, the image of soap under-smacks
of femininity, youth and sex.

How does the recently introduced,

Mr. Clean, a Proctor and Gamble prod-
uct, fit into this scheme. It comes as a
dramatic change in soap image for a
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to Lestoil tradition. Mr. Clean does
about everything that other soaps do
not—in image, at least. The ad contains
a grimy gray, coarse, down to earth,
bald-headed, gray (eyebrows) strong, old
man. His cleanliness and sex appeal
are also questionable. Even the name
is at odds with the customary superla-

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Art Direction / The Magazine of Creative Advertising / July 1959 23

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tive product name tradition: No verbal
jingle, just plain Mr. Clean. Perhaps
herein lies the secret.

By reversing the entire image and
introducing itself disarmingly as Mr.
Smith, it is certain to evoke attention
and may thereby succeed. It is perhaps
significant that it appears not too long
away from Stripe. The concreteness of
such product names as Stripe and Mr.
Clean indicate not necessarily a break-
down in imagination—an inevitable cul-
mination in the continuous search for
superlatives—but a sudden contrasting
desire for simplicity. A similar trend
revealed itself in this country with re-
gard to certain traditional practices of
inventing elaborate names for persons.
A revolt resulted in the rise and popu-
larity of plain John Doe.

Probably Mr. Clean will be even-
tually washed away as are most other
soap names. This is also inevitable in a
society that engineers products and
names for immediate success and even-
tual obsolescence. It does, however, in-
dicate a new trend.

The advertising context of a product
is also unpredictably influential. When
it first appeared, I showed it to a group
with the comment that it appeared in
Fortune magazine. The group was asked
if they thought it would succeed and
most thought it would. Another group,
shown the same ad and asked the same
question, but told it appeared in Look
magazine, responded with slightly more
indicating the belief that it would fail.
Assuming that the two groups were
comparable, it would seem that the
media in which an ad appears may
interact with the product to produce
a negative as well as a positive percep-
tion which has a decisive impact on the
product image. The reflection of the
advertising media as well as the place
of direct contact, may produce a clash
in images. Compatibility of all images
involved is an extremely difficult
achievement.

So what? What is the danger in being
so self-conscious of images? The great
danger in over-emphasizing corporate
or product images is that we thereby
facilitate stereotyping to a point where
another equally stereotyped image, Mr.
Clean, appears deceptively fresh. This
sets up a trend to buy because the
viewer is intrigued by sheer difference
in appearance rather than being swayed
by value. This is a less lasting influence
than is desirable. Our great concern
with images is also disturbing because it
emphasizes social consciousness of ap-
pearance rather than evaluation of func-
tion. The durability of impressions so
established is of questionable value. @

verbal
perhaps

> and
s Mr.
ention
srhaps
» long
ess of
d Mr.
break-
le cul-
h for
asting
trend
th re-
ces of
Tsons.
popu-

even-
other
»ina

and
even-
T, in-

oduct
When
sroup
ed in
asked
/ and
roup,
same
Look
more
. fail.
were
. the
may
duce
Tcep-
n the
' the
place
clash
nages

icult

eing
preat
orate
reby
here
Mr.
This
the
ence
ayed
ence
cern
se it
ap-
unc-
iS SO
. @

400 Penobscot Building « Detroit 26

Art Direction / The Magazine of Creative Advertising / July 1959

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Art Direction / The Magazine of Creative Advertising / July 1959 27

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PHOTOGRAPHY ff
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the

rounded
corner

By Steve Frankfurt

sound—tv’s forgotten dimension

Tony ‘Schwartz recently prepared for
me the sound track for a series of TV
commercials. Working with him was
such a rewarding experience, I planned
this column about his work. In 1957,
he was awarded the Prix Italia for the
world’s best radio show—“The Sounds
of My City”. His latest record album,
“The New York Taxi Driver,’ released
by Columbia Records, has received wide
acclaim. The New York Times said...
“Without going overboard, it can be
stated that Schwartz is doing in sound
recordings such as these what the pre-
television documentarians Flaherty and
Grierson did on film.”

Tony’s current radio and TV com-
mercials include Johnson’s Baby Powder,
Franco-American Spaghetti, Pepto Bis-
mol, RCA, and Proctor and Gamble’s
new product Whirl.

Since Tony’s world is on tape, it was
his idea to tape and transcribe the fol-
lowing interview.

Tony—Since the beginning of advertis-
ing in print media, TV or radio, the
creative impetus for the ad or radio
commercial came from the account
people working with their copywriters.
As time went on, through the struggles
of many art directors, the creative im-
petus began to come from art directors
alone or from art directors working with
writers.

sTEvVE—I think that many times, too,
copy came from art directors, and lay-
outs from copywriters, so I think this
was an interaction, almost a visual and
copy renaissance.

tony—That’s right...the art director,
because of his having a visual idea,
would then stimulate the copy. There
was an interaction between artist and
copywriter that ended with a welded
layout and copy concept. Now, in TV
you have three elements—copyline, visual,
and sound.

STEVE—It seems to me that up to now,
the advertising agency has had old
radio writers, movie people who knew
films but were still making them for
the big screen, and print copy people
who were trying to write moving ads.
There wasn’t any such thing as a true
television writer per se, or television

By all the accepted standards for judging
and evaluating a fine motor car—
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copywriter or designer or art director.
There was the misconception that tele-
vision is movies on a small screen, or
radio with a picture, or a print ad
come to life.

TOoNY—You now find that. the emphasis
is shifting from the writer determining
everything, and everything being plan-
ned to work to his writing in the
studio, to a man who can go out and
actually create with a camera, or in
my own case, with a tape recorder.
The writer then assumes the function
of a person who puts the concrete be-
tween bricks, he cements the bricks
together. What I am getting at is that
the sound man has been considered a
technician. I’m probably one of the
first sound men to be considered as a
creative artist.

sTEVE—You, being a designer and an art
director too, have a tendency to think
graphically, particularly so for televi-
sion. Even your radio pieces are as
visual as a piece of impressionistic
music.

ToNY—Let’s stick to TV commercials.
Originally, commercials were conceived,
and most commercials are conceived, by
account executives alone or with their
writers. Then there was a stage where
they went ahead, and, as in your case,
the art director was included. Now
there is a new direction. For the first
time that I know of, a sound person is
being called in on creative conferences.
My working with you enables you to
visualize things with a new approach.
There are many new stimuli.

STEVE—Let me say this; it seems as im-
portant for you, as the sound contribu-
tor, to be involved at the very beginning
as it would for an Irving Penn to be
on top of a photographic - assignment.
One of the problems of making a com-
mercial believable, is to create a feeling
or empathy between listener and
speaker, buyer and seller. There is a
kind of a wave that has to be set up
between a 17 inch receiver and the
person sitting in his living room. How
do you speak to this person? You're a
guy with a foot in the door, opened
when someone turned the set on. When
the picture comes on you are speaking.
Now what do you say? You're a guest
in somebody's home. How should you
act? I think one problem has been that
the people who speak, sell, and drama-
tize, are never real people. Very rarely
is there the feeling on the part of the
listener/viewer that he is watching
something that really could exist, or
with which he has any connection. I
think that this was something we rea-
lized a long time ago, and have been
striving to achieve. To me, one of the

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Art Direction / The Magazine of Creative Advertising / July 1959

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real strong links to this problem, a
catalyst to its solution, is a person like
yourself who can achieve a quality of
realism because it is realism, and at the
same time build a selling message both
graphically and audiowise believable.

ToNY—I have many attitudes towards
commercials. One: I feel that you have
to start with the assumption that com-
mercials are a necessary evil in the
home. But the better commercials have
made people actually like them. You
shouldn’t send an aggressive salesman
into the home. The best person to send
is someone who can reach people, not
antagonize them.

I've tried to deal with sound as an
art form; I feel a kinship to the artist
and photographer. I work with sound
as the photographer works with the
35mm camera. I capture people in
sound, and in a way that moves other
people. Now I apply this same. thing to
commercials. If you can take a child
eating spaghetti, and capture all the
charm and fun that spaghetti is to a
child, and you can bring this across
and identify it with your product,
you’ve made your product believable.

Commercials have to sell, but no
one in them should look or sound as
if he’s selling. They’re doing a poor
job when anyone in a commercial be-
comes an obvious salesman. The best
commercials have people who are just
people. They’re so structured that they
sell the product without the feeling
someone is actually selling the product.

STEVE—Yes, but does the commercial as
a commercial sell you a product? Is
this what makes a sale, or doesn’t there
have to be an identification with a
problem or a need?

Tony—Yes. Take your Johnson’s spots,
for instance. If you have a salesman
saying that Johnson’s is best, and so
forth, I think this may move certain
people. But you can create believable
people who use and like Johnson’s for
its values. When you put these people
in a situation that others can identify
with, you really have a strong, moving
message. People in your commercial
are not saying to use Johnson’s out of
context. You actually have the child
wonder what is that up on the shelf.
The mother tells him it’s Johnson's.
The child wants to know what it’s
used for, and the mother explains. This
is a natural situation.

stevE—Do you think you can do this
with any product? Don’t you think that
certain products lend themselves more
readily to this kind of a sale?

tony—I think any product can be sold
with this concept; any product can be

artist
sound
th the
ple in
s other

art director +» ROBERT SHEPPERLY

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shown in a convincing light.
sTEVE—What about sounds other than
the sounds of people?

tony—Well, just as commercials gain
interest through treatment of letters or
slogans or trademarks, interest can be
stimulated with sound. I have been
working in the area of orchestration
with sound; treating the reality sounds
of a product in an abstract manner. I
have created abstract sounds for such
things as coughs and colds and queazy
stomachs.

sTEve—It seems to me that one of the
problems now is how do you make an
audience subjected to X number of
commercials, 365 days a year, feel your
commercial is different?

TONY—Just as an art director can do ten
different visual solutions to a problem,
the sound artist can come up with sound
solutions. The whole question of sound
is open to investigation and delightful
exploration in terms of how sound
reaches people. I can record an an-
nouncer on top of Bear Mountain, in
the subway, in the Empire State Build-
ing lobby, on 42nd Street and Fifth
Avenue, or in any other place, even
in a recording studio. Each one of these
places would give a different quality to
the announcer. I think the whole world
of sound can be explored and give
commercials a great creative kick.

STEVE—Tony, you’ve also branched into
entertainment with a Saturday night
club bit using your tape recordings.
What do you record?

Tony—Well, I carry a portable tape
recorder around just as the photog-
raphers carry a 35mm camera. And, say,
I want to show what I’ve picked up of
children in the city. One day coming
out of Bloomingdale’s, I recorded chil-
dren . . . Another day I did the same at
Macy’s . . . One of the interesting things
about children is the sound of their
voices, and I'll have a montage of chil-
dren talking about things that interest
them . . . Then I'll say in addition,
having many favorite recordings, I have
many favorite children, and I present
some discussing favorite subjects.

This February, a new stamp came out
with a beautiful portrait of Lincoln. I
thought that it would be interesting to
see what picture of Lincoln remains
in the minds of people. My whole night
club presentation once was people talk-
ing about Lincoln, and it was one of
the most moving and beautiful things.

steve—Well, Tony, you're a true artist.
You're also a copywriter without pen
and ink, an artist without a canvas.
And it all comes out of that little box,
your tape recorder. .

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Direction

PHOTOMECHANICAL VARIATIONS

75 WEST 45 CIRCLE 5-6781-2 N. Y.

posterized original

“EDSTAN

mezzotint

The Magazine of Creative Advertising / July 1959

July 4, 1959

THE DECLARATION
OF INTERDEPENDENCE

When in the course of human events it becomes necessary for a publi-
cation to raise its subscription rates and yet not dissolve the bands which
have held it together with its subscribers . . . proven by an 86% renewal
rate ... highest in the advertising field...

A decent respect for the opinions of mankind requires that they should
declare the cause which impels them to this course...

We at A/D hold these truths to be self-evident . . . when paper, type,
postage and mailing costs continually rise year after year without being
reflected in our rates . . . we finally have to adjust our rates slightly . . .
$6.00 yearly, $10.50 for two years...

Creative men are endowed with certain inalienable rights... that
among these are Life, Liberty, & A/D! ... a lot more of A/D in cov-
erage, scope, new ideas, and visual concepts. The best there is to offer
and more.

That to secure these rights... all they need do is to renew their sub-
scription now ... and at least for the next two years receive A/D at the

old rate!

Free men! Creative men! Unite! Renew today!

Dyes Rawr

P.S. This subscription offer good only until August 20, 1959.

i ae

Seated left is the

New York club
re-elects Garrett Orr president of the
AD Club of

New York, Garrett P. Orr, eastern AD
Outdoor Advertising Inc., re-elected to
his second term. Beside him, first vp
Edward R. Wade, editorial consultant.
Standing from left, secretary Andrew
K. Nelson, AD, JWT; Stephen Baker,
senior AD C&W, elected to the execu-
tive committee for a two year term;
second vp A. Russell Hillier, AD Kastor,
Farrell, Chesley & Clifford; treasurer
Mahlon A. Cline, designer/consulting
AD.

Other officers include Ed Graham,
creative vp JWT, and John A. Skid-
more, AD Union Carbide Corp., elected
to two year terms on the executive
committee. Continuing on the executive
committee for a second term are Louis
Dorfsman, director of art, advertising
and promotion of CBS Radio; George
Krikorian, promotion AD of Look and
William Strosahl, vp and creative direc-
tor of William Esty Co.

Chicago publishes its
‘58 Annual

For the first time in 20 years, Chicago’s

Art Direction / The Magazine of Creative Advertising

AND, ane DIRECTION

AD club presents a printed annual.
The '58 show, including award winning
pieces from an area bounded by Pitts-
burgh in the east and the Rockies in
the west, is available at $2.50 from the
club, 6 E. Lake St., Chicago 1. The
book was designed by Carl Regehr, has
finished art by Bert Ray Studios, photog-
raphy by Morton Shapiro. It was edited
by Kenneth G. Boehnert, executive AD,
Grant Advertising.

There are 297 pieces reproduced
large enough to see clearly. Usually
four to eight pieces and corresponding
credits appear in open double spreads.

aN
Warren Blair elected New offi-
Philadelphians’ president cers of the

ADCP are
headed by Warren Blair, AD Smith,
Kline & French and general chairman
of the club’s 24th annual show. Joe
Gering, of Gering, Kahana Associates,
was named vp; Nate Berman of Berman-
Steinhardt Studio, secretary; and Carl
Eichman, AD General Outdoor Adver-
tising, treasurer.

‘

/ July 1959

KC elects New officers of the Kansas
City Club and recent guest
speaker. From left, treasurer Bob

Daughters, Moyer-Crandall Studios; vp
Bob Sokoloff, Potts Woodbury; speaker
Rex Warner, creative director, TWA;
president Earl Radford, Valentine-Rad-
ford; secretary Jack O'Neil, Potts Wood-
bury.

Atlanta club joins

in 10th Ad Institute

Media, research, art direction, mer-
chandising, tv and radio executives par-
ticipated in the 10th Annual Atlanta
Advertising Institute sponsored by At-
lanta Advertising Club, in cooperation
with the Art Directors Club of Atlanta
and Emory University School of Busi-
ness Administration.

Some of the speakers and their mes-
sages: Herbert Greenwald, of Herbert
Greenwald Associates, creative con-
sultant in retail advertising and pro-
motion, called for greater image
development by retail stores. Dr. G.
Herbert. True, director of Visual Re-
search, Inc., discussing creativity, em-
phasized the importance of boldness.

(continued on page 92)

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Pepsi ads show thumbnail, rough, to
finish progression typical of the author's
use of contemporary ads and his how-
it-was-done approach.

Practicality plus creativity is
theme of Stephen Baker’s new book

Advertising Layout and Art Direciion,
Stephen Baker. McGraw-Hill. $13.50.
Here are 342 pages and almost 1000 il-
lustrations of highly readable, thor-
oughly professional and up-to-the-minute
commentary on art direction as a busi-
ness.

From cover to cover outstanding con-
temporary advertisements, promotions
and campaigns are “case historied” to
illustrate the author’s points. Result is
not a how-to book, but a how-it-was-
done book, giving the reader believable,
concrete information.

This is a pro’s view and as such is
_€qually valuable to other pros, students
and tyros. All media are covered, maga-
zine advertising, newspaper advertising,
TV, promotional material, etc. Included
are sections on typography and printing
production, chapters on such business
aspects of the art director’s job as work-
ing with copywriters (and clients too),
how the AD works with research, how

different agencies and companies or-
ganize their art departments, traffic
control, problems in art buying.

Author Stephen Baker is known to
Art Direction readers for his monthly
articles, “Directions”. He has written
more than 100 articles for this and
other advertising magazines, is Senior
Art Director and Group Head at Cun-
ningham & Walsh and a member of the
Executive Committee of the Art Direc-
tors Club of New York. Copies of the
book may be ordered through this
magazine.

Photography exposition
and conference July 25-31

Combined 68th Annual Exposition of
Professional Photography, the National
Industrial Photographic Conference, and
the National Print Exhibit will be at
the Statler Hilton, Los Angeles, July
25-31. Convention opens Saturday, July
25, and the trade show Sunday. Com-
mercial sessions will be at the Friday
Morning Club, include programs
planned by W. W. Carrier, Jr.; Rudolph
J. Gottosch, president of Kranzten
Studio, Evanston, Ill.; Jason Hailey;
and Charles A. Weckler of Color Age,
Burbank.

Dr. Arthur W. Gutenberg, business
consultant to PPA, will coordinate ses-
sions on business management, credit,
office methods and techniques. In a
discussion of regional problems, Charles
Weckler will represent the west coast,
Rudolph Gottosch the midwest, and
W. W. Carrier, the midsouth.

West coast photo illustrators Jason
Hailey, Dale Healy, George de Gen-
naro, Tommy Mitchell and Glenn Em-
bree, and George Rappaport, Calkins &
Holden, (LA) AD, will present a day-
long program, It Takes More Than a
Camera. Charles Weckler will coor-
dinate demonstrations, discussions, ques-
tion and answer periods. Weckler will
also moderate a session on editorial
photography and marketing presented
by L.A. members of ASMP: Peter Gow-

Art Direction / The Magazine of Creative Advertising / July 1959

land, Bob Willoughby, Julius Shulman,
Jack B. Kemmerer, Erwin Lang and
Lou Jacobs, Jr.

W. W. Carrier will be in charge of
a program on general basic commercial
photography. James Laughead will cover
sports photography, Frank Lots Miller,
architectural, and Jerry Smolka, special
events. Authorities in lithography, letter-
press and platemaking will conduct a
program. Roundtable discussions will
be held on subjects requested by con-
ference attendees. Siegfried Gutterman
will speak on The Thinking Photog-
rapher’s Filter. Jerry Peterson will dis-
cuss photography of furniture.

Masters reception and awards banquet
will be Wednesday July 29. The con-
vention will include a Hawaiian section
meeting in the islands July 3l-Aug. 7.
Lawton E. Osborn, Dickinson, N.D.,
will conduct the commercial session
there. Details from PPA headquarters,
Milwaukee.

Six midwest ADs
conducted a panel
discussion on crea-
tive planning, at
a recent dinner meeting of the AD
Club of Indiana. Joseph Zemlick, stand-
ing, executive AD, Eli Lilly & Co.,
moderated the discussion of art prob-
lems and techniques, effect of motiva-
tion research on design and color de-
velopment. Representative samples of
each panelist’s work was displayed.
Seated, from left, Maurice Trauett,
executive AD, Natl. Cash Register Co.,

Indiana ADs hear
creative planning
discussion

Dayton; Philip R. Goyert, director of
design and merchandising, Farson, Huff
& Northlich, Cincinnati; Lorraine Byrne,
Chicago executive, Woman's Day maga-
zine; Laurence Brinkman, executive
AD, Kircher, Helton & Collett, Dayton;
Don Yoder, vp and AD, Howard Swink
Advertising, Marion; Stanley F. Ander-
son, president of Telepix-Anderson,

For the second
time the Goshen
(Ind.) News won
the Ayer Cup for excellence in typog-
raphy, make-up and printing. The news-
paper of about 8000 circulation, won
the honor also in 1957. Newspapers
were judged on March 17 issue, which
meant judges saw much green used on
front pages, either in type and illustra-
tion or stock. But use of front page
color on the whole was less than in
former years.

The Goshen paper, which uses Lino-
type Ionic No. 5, had five photos in
three separate two-column groupings,
and a two-column headline, which was
typical of the entries though some
papers used only one-column or the full
eight-column headline. Small trend
noticed last year—nine columns per
page—continued, with five papers.

Judges were illustrator Fritz Eichen-
berg, professor of art at Pratt; typog-
rapher William C. Stremic, president of
the National Typesetting Co., Philadel-
phia; and business consultant Arthur
W. Page, former editor of World’s Work.

Ayer Cup returns
to Goshen News

Pratt evening school

offers managerial seminars

Dr. Irving Taylor, assistant professor
of psychology at Pratt and Art Direction

columnist, will conduct a series of four
noncredit managerial seminars in visual
communication. Enrollment is limited
to 50 for each week-long seminar. The
sessions will be held 7-10 p.m. Sept.
28-Nov. 13.

In the Creative Visualization seminar,
Harry Prichett of Harry Prichett Asso-
ciates will demonstrate a range of tech-
niques including his recently developed
modular visualization used by IBM.
Industrial design consultant Seymour
Robins will conduct a class on trans-
actional perception, using the apparatus
he designed for Perception Demonstra-
tion Center at Princeton.

For information or registration, con-
tact Office of Special Programs, MA
2-2200, ext. 213.

New

Photographic technique For a News-
achieves artlike week cover

abstraction story on
“The Sci-

ence of Dreams,” cover director Ed
Wergeles used photographer Zvonko
Glyck’s dramatic illustration shot
through with rainbowlike whorls. Wer-
geles asked for eyes, other elements to
illustrate theme, chose Glyck’s design
and color combination. Glyck depends
solely on darkroom controls and photo-
graphic techniques for effects based on
converting halftone to line. He shoots
in b/w first, then visualizes the design
in color, prints on Watercote—method
which delivers through direct transfer-
ence four or five color proof without
going through regular printing proc-
esses.

Glyck’s technique retains faithfulness
of photography but permits creative
range of artwork. He can produce
scratchboard, cross hatch, stipple, wood

cut effects, any texture. The pieces can
be blown up from postage stamp to
poster size without losing legibility.
Pricewise, there are savings effected with
line plates. The method is also effective
in newsprint control and silk screen. A
showing of the wide range of design
applications was held recently at J.
Walter Thompson.

Graphic Arts Exposition Kurt Hin-
poster winners terman (1)
of Interna-
tional Business Machines, publishing
dept., holds his poster wihch won first
prize of $1000 in the competition spon-
sored by Seventh Educational Graphic
Arts Exposition. Free lance Tomi Ung-
erer holds his second place ($750) win-
ner. Judging, under auspices of AIGA,
was conducted by Joseph Blumenthal,
Mildred Constantine, Leo Lionni, Paul
Rand and James Johnson Sweeney. The
exposition will be Sept. 6-12 in the New
York Coliseum. Details from exposition
president A. E. Giegengack, 5728 Con-
necticut Ave., N.W., Washington 15.

yieces can
stamp to
legibility.
cted with
» effective
screen. A
of design

ly at J.

t Hin-
ian (1)
[nterna-
blishing
on first
n spon-
sraphic
ui Ung-
0) win-
AIGA,
enthal,
i, Paul
ey. The
1e New
Osition
8 Con-
15.

First in a
series an-
nouncing
Benson &
Hedges’ new filter is a 1500 line news
ad, as are all the ads in the set. This
one by focusing completely on the es-
sentials and playing them big in un-
deviating verticality, gives ad illusion
of being larger than the others. Series
for both newspapers and magazines.
AD, George Lois, DDB. Photographer,
Carl Fischer. Copywriter, William
Bernbach.

For strength,
provocativeness—a
sweeping downstroke

Marshall Lane, Atlanta’s Atlanta Ad-

vertising
Club’s 1959
Award for Distinguished Service in the
Field of Advertising has been awarded
to Marshall H. Lane, AD Coca-Cola Co.
and past president and one of the

Ad Man of Year

Art Direction / The Magazine of Creative Advertising

founders of the AD Club of Atlanta.
Citation and plaque were presented to
Lane at the AD Club’s Golden Anniver-
sary banquet held in connection with
Atlanta Advertising Institute. Lane was
cited specifically for developing young
artists and for his participation in civic
work. He is a member of the board of
Atlanta Art Institute, a faculty advisory
committeeman for the industrial design
dept., Georgia Tech, and holds mem-
bership in AIGA and STA.

Jane Trahey &
Associates cam-
paign for
Carlye Dress Corp. employs Gene Loyd’s
layouts, art and his Carlye sig. Flat brick
orange against black, type in white.

Essentials only
in fashion statement

CBS-TV makes new slides

in 10 minutes

An operation that used to take from
1% to 2 hours has been cut to 10
minutes by CBS-TV’s news staff. To
illustrate news items via slides or telops
the network relied on services which
took up to 2 hours to pickup, prepare
and deliver.

Ben Blank, CBS News AD, says slide
and telop costs have also been cut in
the process, with greater inside quality
control and more flexibility for emer-
gency news requirements.

Meeting 10-minute deadlines has been
made possible by the combination of
a stock file of outline maps, back-
grounds, Artype or Fototype figures and
letters, and the use of a Model 2 Stat-
master.

The Statmaster makes the production
of maps for rear-screen TV projection,
for example, a do-it-yourself-within-min-

/ July 1959

utes job. It is a copy camera and dark-
room taking up a 4’ x 6’ area in a
corner of the art department. Photo
graphs as well as line copy can be
handled with reproduction quality and
CBS often combines photos of per-
sonalities in the news with its maps.
The high-speed system can be used to
produce either positive slides or telops.
Sports scores, weather maps, and stock
market reports are handled in the same
way. A 15-minute news show uses an
average of 20 telops and slides, all made
at the last minute.

Artists Guild hears Junker
on value of advertising

Artist self-promotion, how-to-do-it, how
it pays off, was the theme of Bruno
Junker’s talk to the May meeting of
the Artists Guild of New York.

Mr. Junker’s talk was an analysis of
his own promotion campaign including
seven years of advertising in Art Direc-
tion as well as use of newspaper classi-
fied ads, direct mail drives with post
cards, blotters, photographs, litho-
graphed sheets showing samples of his
work and reminder gifts such as a desk
diary. ;

Mr. Junker analyzed costs of the
various promotions and their value. He
advocates free-lance artists spending up
to 4%, of gross income for self promo-
tion and advertising. A long and con-
sistant advertiser in Art Direction, he
gave the magazine a very big pat on
the back. Calls have come in from all
over the United States and from foreign
countries. Not only has his entire ad-
vertising program helped build the
volume of his business but it has moved
him into better paying budgets. Where
work formerly was in the $200-300 range,
accounts secured through advertising
upgrade the art to $300-400.

At the same Artists Guild meeting
illustrator Harry Fisk showed a series
of water colors, explained his methods
of working, tools and brushes used,
choice of items in his compositions and
their distribution in the painting. He
stressed the importance to the commer-
ical illustrator of what he called hobby
painting.

ADs being downgraded
in many agencies

The 1958 recession changed the agency
AD employment picture. The effects
are far from over. Creativity is being
preached more than practiced. A small
scale survey made by Art Direction of
some leading ad agencies uncovered
more than a coincidental number of
cases where higher salaried ADs ($18,000

and up) have either been dropped and
not replaced or replaced by $4400-$5500
art directors.

This check was run in New York
where AD salaries are the highest.
Youngsters right out of school, with no
previous experience, are given the title
of AD and put to work on accounts
...on big accounts in big agencies.

They are bright, learn fast, function
as part of a creative team. The few ex-
perienced ADs on staff can always be
called on (even if it’s not their account)
to pull chestnuts out of the fire.

On Madison Avenue “morale” is a
euphemism. The experienced AD still
on the job isn’t afraid of simply being
dropped when Pratt and the Art Center
School send their latest grads around.
But should he be dropped because of
account shifts, etc., he mightn’t find
another job at anywhere near the status
he’s been getting used to.

These aren’t “has beens” or men of
no talent who are being replaced. These
are real pros, loaded with good, fresh
ideas, creativity and the maturity to
tie-in creative art directing with selling.
The men who have been dropped, not
merely out a job but perhaps out this
business, are between 33-43 years old.

What are they doing now? Some are
trying to be studio reps. Some are “free
lancing.” While some make the grade,
many don’t. Free lancing, one soon dis-
covers, is neither the simple nor easy
out it may appear to be. One AD re-
cently opened a meat store in his home
town. A $25,000 a year man when he
was dropped, he had turned down a
$16,000 offer hoping for something
better. After six months and no more
offers, he turned butcher.

Some of the ADs, although bitter
about the situation, are aware of the
agency viewpoint. Clients, it seems, do
not spot art school layouts from those
by seasoned pros. Where the agency
has had to tighten up its operating
costs—and with salaries a big item, and
creativity easier to talk about than to
bill for—art departments are taking it
in the neck.

Is this true for copy? No. Top copy
men are at a premium. Generally, copy
personnel have not been affected as
severely by the belt-tightening because of
the law of supply and demand. Thanks
to the art schools there’s a plethora of
potential ADs toting portfolios from
L.A. to N.Y. and back. But copywriters
don’t grow in schools, are scarce and
in demand. The level of creative think-
ing in layouts is suffering of course, but
as long as the client can’t tell the
difference . . .

PO regulations to affect
direct mail design/gimmicks

Post Office Department’s detailing of
proposed changes in mail handling due
to coming automation will not only
adversely affect mail less than 234”x4”,
novel sizes and shapes, as reported in
May Art Direction’s News Notes. In-
stallation of new mail handling equip-
ment will mean a far reaching change
in design, production and budgets of
both Ist and 3rd class mail users.

The effects may be beginning soon
as adjustments are made in all busi-
nesses dependent on promotion, al-
though deadline is July 1, 1961. Out
and out banning of some sizes and
shapes, even colors, will be accompanied
by special charges for other gimmicky
mail requiring hand processing. Until
deadline, the Post Office will continue
a study of cost and problems involved
in the switch to automation. Mail users
will also have the opportunity to pre-
sent their arguments concerning the
proposed regulations.

Some of the proposed new rules: No
more letter mail less than 3” in one
diameter or 5” in the other. Higher
rates for envelopes more than 534” x
114%”. Unacceptability of all odd
shapes—triangles, octagons, etc. includ-
ing things like product cutouts. All
envelopes not rectangular, at least 34”
longer in one dimension than another,
will be banned. All envelopes will be
sealed, including third class, and self
mailers and double postcards must be
sealed at all corners.

Maximum thickness on first and third
class mail will be 4”. Color of stamps
and meter marks will determine choice
of color of envelope. Use of envelope
material other than paper will have to
be regulated. Paper specifications will
be given, based on paper properties as
affected by postal machinery. Even win-
dow locations will be specified.

It must be emphasized that much of
the above rules have not been finalized.
But they are good indications of how
the post office intends to regulate ma-
chine processed mail. There will also
be exceptions to the above to be allowed
for mail which the post office will hand
process at extra charges.

News Notes

At summer’s end the Alfred Politz
media study on Life, Look, Reader's
Digest and SEP will probably be made
public by the Digest and the Post, who
sponsored this much heralded new type
of study, ad page exposure. Politz is
measuring this time just exposure—not
readership or recall—and exposure to
average ad page, not magazine issue.

The study thus will help take maga
zines off the spot somewhat when
power is measured, and put more q
the burden on agencies. After all, th
magazine offers exposure, it’s agen
team that’s supposed to be responsib
for ad effectiveness...

New York animation film produce
have formed Animation Producers As
with offices at 60 W. 42 St. Simon Sheikh
has been retained as counsel... Majo
trend in filmed commercials will be
combinations of live action and ani
mation, according to Robert L. La
rence, president of Robert L. Lawrence
Productions. His own $4 million pro
duction output this year will include
about 26 percent of “ani-live” com
pared to the 9 percent this category
totaled last year. His all-live action
commercials will constitute 63 percent,
all-animation, 11 percent...

Women continue in liquor adverti
ing, but subtly and usually in high
fashion mood. An exception is the full
color Early Times Kentucky Bourbon
magazine ad showing sports skirted and
casual bloused woman relaxing in a
garden chair. Though this moves the
woman out of the high income bracket
and down into the everyday, she still
does not have a glass in her hand, and
the copy does not mention her. She is
seen through a window, as background.
Foreground emphasizes masculine hand
holding a drink. For Brown-Forman, by
AD Richard Diehl, EWRR, photog
rapher Bernie Gray of Gommi Studios,
copywriter Gerald Miller...

Problem: 1) To boost sales of prod-
uct B by linking it to product A. 2) To
use multiple packaging that can’t be
split and that would not appreciably
increase packaging costs. Solution: Ale-
mite division of Stewart Warner Corp.
offered its “Tune-Up-Twins” (related
auto products Kleen Treet and CD-2)
cans packaged together in transparent,
seamless, cellulose band imprinted with
ad message. The band is by Tee-Pak,
Inc., Chicago film manufacturer. Be-
fore the twinning, Kleen Treet was
being outsold two to one by CD-2. Now
Alemite records a 38 percent sales in-
crease for the two products...

Increase of international trade will
mean trademark design will feature
more symbolic pictures, fewer words,
according to Gerald Frisch, vp in charge
of plans and marketing for Jim Nash
Associates ... Summer school sessions in
full swing. School of Visual Arts second
summer period runs June 29 to Aug
28. Offers both full time day and part-
time evening ... Art Students League of
New York has its fall catalog out no
for classes Sept. 16-May 28.

excitement

In an instant color can capture the reader’s mind and
generate a mood of great intensity. Joseph Low,
who for many years has exploited color stock in
graphic design, makes capital of color’s emotional
effectinthisinsert. He uses Impulse Cover to
kindle an emotion, intensifies it further with two col-
ored inks and black. In the end he has the effect of
five colors combined in subtle interplay to build a
mood of maximum intensity. / When used as an
integral design element, color stock can contribute
to the solution of numerous design problems. It 1s a
logical way to capture mood, a consistent setting,

unusual visual ef fects,a powerful image. All are good

reasons for considering color stock before the design

is finalized. / Color Council, E. I. du Pont de Nemours

& Co. (Inc.), N-2420-4, Wilmington 98, Delaware.

Better Things for Beiter Living
... through Chemistry

LAN

[T LOOKS BETTER
FROM THE
CHANDELIER

A rash of recent ads have illustrations
with the “chandelier look.” Seems to be
a move toward looking down onto prod-
ucts—and the higher the photographer,
the downer the angle, the better. Here
are some of the products lately seen from

.
oe
. i

~ * PREMUM

Reader looks down into (especially
right hand page) Nabisco’s four color
double spread for crackers-and. AD Bob
Pliskin, McCann-Erickson, had problem
of gaining high interest for a type of
food product which usually rates low
interest—women generally pay more at-
tention to products with more recipe
possibilities, for instance. This ad rated
71 percent noted by women, seen-asso-
ciated 64 percent, read most 15 percent,
though norms for the general food field
are 56 percent noted and 17 read most.
Though food field norms for men are
24 percent noted, 3 percent read most,

Art Direction / The Magazine of Creative Advertising

for this ad men totaled 33 percent noted,
28 percent seen-associated, 1 percent
read most.

Main photography by Marty Bauman,
small shots by Herbert Matter, copy by
Alice Moseley.

For the Ciba ad, Ciba AD James
Fogleman had to generate excitement
for Cibracon dyes, used Lionel Freed-
man’s red on red on red shot of red-
haired model Olga Nicholas. Fogleman
brought the carpet, first to be made with
Cibracon red, back from Europe ex-
pressly for this shot. Bridgelike scaffold-
ing and strobe contributed to photo's
impact. Center photo by Ray Jacobs.
Art and design by Brownjohn, Cher-
mayeff & Geismar. Head is Standard

Medium, body type DeVinne. Agency is .

Briggs & Varley.

/ July 1959

Get satisfying flavor .So friendly to your taste!

NO FLAT ° Piatt Mar. temscon Nenagh af Rone fetes
Pareto OUT reve om got the mane maine ah
eer nrone sce cont hte at caethiim, few
SMOKED OUT =
taste? - & — a
-— =
a

Not only photography but art, too,
seems to be falling into line, witness
the four color Pall Mall page. Product
and pack outlined by heavy blackline,
fruit and background detailing serve
“chandelier” double function—interest-
ing design and emphasized sell. AD, Joe
Tranchina, Sullivan, Stauffer, Colwell &
Bayles. Art, Don Almquist. Boy-girl
photo, Lewis Long. Lettering, Pete Dom.

“Chandelier” approach to the St.
Thomas four color page from NYTimes
magazine was suggested by problem of
illustrating Mother’s Day tray which
would emphasize small leather fashion
accessories. Shooting at eye level would
have precluded product show-off in this
set as well as gentle, nice design feel for
Mother’s Day mood. The ad is first in a
new color series to continue in the fall
through Christmas, and marks client's
first photographic series—a switch on the
current tip to art. AD: Ken Dusking,
Mervin and Jesse Levine, Inc. Photogra-
phy: Mel Sokolsky. Logo lettered by Eli

(continued on page 95)

WINDING
ROAD FARMS
AIR-CONDITIONE®

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Bat ‘PRUE AD ae”

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New Yorkers discover New York through The New York Times

WHAT'S NEW...WHAT’S BEST

Art Direction’s critic panel watches direct mail, displays, illustration, iain

packaging, newspaper ads, consumer and business magazine ads, posters, TV

ogra

, re

Rerencacence Cream: for your thirsting skin, the freshness of a lily at first
bloom, Moisturizes, smooths and protects. Cream or Liquid: 3 ta

"25 plus tas.

1) Let the illustration fit the theme

One picture is worth a thousand words
especially when you can construct the
picture out of a thousand words. This
b/w page from the New Yorker is first
in a series (others to run in color)
which marks a definite departure in
newspaper advertising—exactly what AD
Jack Steinau, BBDO, wanted for NY
Times. Tomi Ungerer does the series
in colored inks and flat color papers.
Copy, John Bergin.

2) A library of wall paints

Brilliant solution for displaying 130
colors in compact, effective manner.
Color strips on cylinders show every
paint in different degrees of light and
shade. Display base holds color har-
mony book, also shows color schemes.
AD, Morton Goldsholl. Designer, Mor-
ton Goldsholl Design Associates. For
Sherwin Williams Co.

3) Amusing, animated, illusional
Attention catcher for bar, counter or

The Magazine of Creative Advertising

Art Direction

window is made of cardboard, has plas-
tic insert to give illusion of full bottle
supported by a thin wire. Well designed
fish urges sportsman to purchase Ken-
tucky Tavern. Designed by Chicago
Show Printing Co. for Glenmore Dis-
tillers Co.

4) News ad reinforces gazine paig

The newspaper, too infrequently used
for institutional product advertising,
here does that job for Charles of the
Ritz and reinforces a very effective na-
tional magazine campaign. The lily,
beautifully photographed, is a good sym-
bol reflecting properties and effects of
product. Creative team: AD/designer,
Ched Vuckovic, Rockmore. Photog-
rapher, Don Briggs. Copy, Lillian Grey.
AE, Charles Lewin. Charles of the Ritz
advertising mgr., Natalie Breuere.

5) Bold use of color, design, perspective

Forced perspective conveys speed and
smooth movement. Colors — golden
brown highway, hot orange shoulders

/ July 1959

and the white Chevy Impala sharply
silhouetted—provides vivid contrast, give
impression of speed and smooth move-
ment to complement “Go Chevy” head.

AD George Guido, Campbell-Ewald,
wanted poster series to carry over Chevy's
newspaper theme—car performance on
road — but in simplest, postery terms.
Question: How much could be left out
of ‘the poster and still have it read as a
car on a desert road? Answer: Analo-
gous background color scheme, headline
color picks up from color in illustra-
tion, flat and simple rendering with not
too much brush work, short caption.
Artist, Jim Hansen. Lettering, Calvillo
Studio. Copy, Pete Booth.

6) Colorful eyecatcher

This one of a series of fine ads for
Gen Tel combines interest of main illus-
tration and provocative headline te
lead reader into text. Treatment of logo
with its giant linesman and new con-
struction is extremely well handled.
AD, Douglas B. Leigh, Jr., Kudner.
Photographed in Davenport, Fla. by
Maurice Bauman. Illustration, lower

left, Bob Peak. Headlines lettered by
Robert Arnold, Tony Stan. Body type,
Trade Gothic.

7) Dramatic way to show lipstick color

Strength of this color shot is its direct-
ness and simplicity coupled with tre-
mendous scale. One of four by Irving
Penn for “Make-up—to the life,” in
Vogue. AD, Priscilla Peck.

8) Action in type

Flyer for NY Times is all type. Type
style and design expresses action theme
as vividly as illustration might. Face is
a Bodoni Modern photographic letter-
ing. Black, on Old Sturbridge stock.
AD /designer, Louis Silverstein, NY
Times promotion dept. Copy, Milt
Franks. Hardsell type slogans that

agency might hear from client are on
each of four folds that lead to final—
and fifth—message, which is the com-
plete story. Flyer opens to 34” long by
22” wide, folds to 814” long by 514”
wide.

9) Midget mailer for MG

Tiny accordian folder—3” deep, 21”
wide fully opened—makes good use of
Robert Blechman’s childlike drawings
which incorporate a philosopher’s wit.
Each of the seven sides measures 3x3.
Designed by Ed Brodsky and Roy Kulh-
man at Ruder & Finn. For J. S. Inskip,
Inc.

10) Prewraps for gift giving
give product line emphasis

Exceedingly good looking liquor gift
packages that are fresh and new in

fully
Lior
Nits

1) .

“Mo
faste
day

aged
prod
sholl
and

12) |

Clari
carry
healt
trick
new

eehstiig?

“MK. PFISTER'S MOST IMPORTANT DUTY
-AS PRESIDENT OF PATER PHILIPPE-
is TO INSPECT 25 WATCHES A DAY”

on concept. The Didot letter goes beauti- Technique is a series of still art brought __ illustration and copy with a page apiece
l— fully with the ribbon bow. AD, Stephan before a motion picture camera. Illu- for each element. With much color ad-
ym- Lion, Stephan Lion, Inc. Designer, Erik sion of motion and movement is ac- vertising in the books, seldom does
by Nitsche. complished by moving the camera, b/w compete. This one does. First it
fo” dissolving, cutting; the use of close-ups shocks in terms of scale. The ad, which
11) Mundane items, proudly identified and zooms, etc. This clip is from one probably marks the first time a watch
in a series of l-min. films (A Message was advertised without some _illustra-
“Monarch” boxes of paper clips, brass for Americans) appearing at end of Pru-_ tion of its face, uses the New Yorker
fasteners, steel pins and other every- dential’s 20th Century programs on_ editorial approach to emphasize crafts-
1" day office items are handsomely pack- (CBS. Created by Werner Michel, vp for manship. For Patek Philippe. AD:
of aged for distinctive identification of ty, Reach, McClinton. Film AD, Al Robert H. Blend, executive AD Mogul
igs product line. Designed by Morton Gold- Kouzel. Art, Seymour Chwast. Music, Lewin Williams & Saylor. Photographer:
it. sholl and his staff members John Weber philip Sheib. Filmed by Terrytoons, Len Siegler. Copy: Seth D. Tobias,
x3. and Fred Nomiya for Vail Mfg. Co. Inc. Copy, Herman Raucher. agency senior vp and chairman of the
lh- plans board. Typeface: Caslon #540;
ip, 12) Not tricky, clever or cute head Monotype, body, Linotype. *
—but fine tv 13) A first in watch ads

Clarity of the art, very fine drawings, Layout gives full importance to pro-

carry Prudential’s message of mental vocative photograph which arouses an

health. Film skips hokum, animation, immediate question, what's going on?

ift trick effects to instead bring something Left hand type page answers. Another

in new to public service commercials. example in trend for full treatment of
53

The Magazine of Creative Advertising / July 1959

Art Direction /

Set

Sereterm eee Bete eice

Ergebnis eines Wortbewerbs der Ford-Werke AG. Koln

Avsstetiung vor 3.- 28. ber 1938 in Karisruhe Land rb Neubou
Keri. Friedrichety. 17 fingang Mebeistrasse tiglich 11- 13h und 15- 19h Eineritt frei

THE EXHIBITION
POSTER

by Kim Taylor, Assistant Editor, Graphis

In the annual awards for the best Swiss posters, a high proportion are invariably for
exhibitions of one kind or another. In 1958 more than a third came under this heading,
and one suspects that more might have done so if quality was the only consideration.

To announce an exhibition is a task welcomed by designers if only because it allows
freedom from conflicts of more commercial work. Professor Guyatt of the Royal College
of Art pointed out the different approaches of painters, designers and craftsmen, and
went on to say that the publicity designer was ‘in a queer position’. As a designer he
delights in form, the search for harmony and proportion; as a designer he also deals
with function, in this case, selling. But unlike the industrial designer he has as well to
deal with content (the painter’s field). Because of this, often through no fault of his
own, ‘he comes a cropper, for the content of his work owes to someone else and is usually
cheap and vulgar’. What, asks Professor Guyatt, does the sensitive, serious artist in
advertising do? ‘He has to be a bit of an acrobat, doing the splits, with one foot in the
esthetic camp and one in the publicity camp. Sometimes, given the right condition, he
can draw the two together.’

on OMe

PRIS

RULE bala Vora
—

41957

4 rae |

“¢
Oma!

> 2

Dansk Nutidskunst-Danish Modern Art
27.Juli~25.August-Chariottenborg-1047

Hans Fabigan. For an industrial fair. (Austria)

Armin Hofmann. Exhibition of art work for churches. (Switzerland)

Werner Weissbrodt. Automobile exhibition, ‘The Car of Tomorrow’. (Germany)
Morgens Zieler. Summer exhibition of work of modern Danish artists. (Denmark)
Eugen Funk. Exhibition of work of students of Stuttgart Academy. (Germany)
Dick Elfers. Exhibition of Art and Crafts. (Holland)

Hans Erni. Exhibition of the artist’s own work. (Switzerland)

H. Tomaszewski. Exhibition of film posters. (Poland)

Ernst Keller. For a Zurich museum of oriental and primitive art. (Switzerland)

WYSTAWA
POLSKIFGO PLAKATI
PUMOW EGO
6 - 28 HOHE

POTNAN PEAT prep GENET TEE NIM

Ra tin ow Be

AIGA picks representative contempora
rather than precious, forerunner design

AIGA’s combined show, 50 Ads of the
Year and Design and Printing for Com-
merce, exhibits 250 pieces picked in
Ora accordance with the specific charge to

the juries: “AIGA’s ultimate objectives
is to record both technical and esthetic
progress .. . The chosen . . . American
and Canadian work (must) be repre-

sentative of what is being produced for
today’s markets. To restrict selection of
work to a small, precious group of pieces,
which are forerunners only, is not the
purpose of the exhibition.”

50 Ads of the Year: 1 Designer: Herbert Matter, Client: Knoll
Assoc., Agency: Zlowe Co. 2 AD: Onofrio Paccione, Designer
Onofrio Paccione, Artist: Harvey Schmidt, Client: Esquire. 3 AD:
Charlotte Gordon, Photographer Becker-Horowitz, Client: Triangle
Publications. 4 AD: Ralph E. Eckerstrom, Designer: Carl Regehr,
Client: Container Corp. of America. 5 AD: Harry Ward, Designer:
Harry Ward, Client: Mergenthaler Linotype Co., Agency: Hazard
Advertising Co. 6 AD: Robert Fabian, Artist: Andy Warhol, Client:
|. Miller. 7 AD: Walter Reinsel, Artist: Milton Glaser, Designer:
Milton Glaser, Client: Container Corp. of America, Agency: N. W.
Ayer & Son. 8 AD: Arnod Varga, Designer/artist: Arnold Varga,
Client: Cox's.

Dir. Jeb is) oe tte tron patios

Bacrgeriny vias eubarger the phere of human praers, that chee: mas te can de what
fe chntng he he cud wns tay be eabvathle ote tart tot Yaa >

ONS CARPORT Se eC Ly

Art Direction / The Magazine of Creative Advertising / July 1959

The show, now traveling, was held
at Time Inc.’s Rockefeller Plaza gallery.
George Nelson was chairman of the com-
bined juries, George Tscherny vice
chairman, and William P. Gleason
liaison director. 50 Ads jurors were
Herbert Matter, Charles A. Walz, and
stand-in juror Tscherny. PforC was
judged by Dean Albert Christ-Janner of
Pratt, Gene Federico, Leo Lionni, Noel
Martin. @

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Design and Printing for Commerce: 1 Program for Natl. Health
Council; AD: Arnold Saks, Photographer: Fairchild Aerial Survey.
2 Stationery; Designer: Robert Brownjohn, Client: Nancy Surmain
Travel Consultant. 3 Printer’s promotion; Designer: Coletta Martin,
Client: Young & Klein, Cincinnati. 4 Program cover; AD: George
Tscherny, Client: Dunetz & Lovett Publishers. § Magazine Cover;
Client: Upjohn Co., AD: Rudi Wolff, Artists: Fred Kantor, Rudi Wolff,
Agency: William Douglas McAdams. 6 Record cover; AD: Reid
Miles, Artist: Reid Miles, Photographer: Melvin Sokolsky, Client:
Cadence Records. 7 Book Jacket; AD: Tony Palladino, Client:
Simon & Schuster. 8 Portfolio; Designer: Brownjohn, Chermayeft
& Geismar, Client: Radel Leather Mfg. Co. 9 Medical booklet;
Designer: Norman Gorbaty, Artist: Norman Gorbaty, Client: Parke,
Davis & Co., Agency: L. W. Frohlich & Co. 10 Moving announce-
ment; AD: R. O. Blechman.

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Art Direction / The Magazine of Creative Advertising / July 1959

“a need more than an accomplishmen

that’s how Bill Tara sees the much
used word “creativity” ...there’s
still too much imitation, he advises

Detroit’s Student Design Conference

Inspecting ... Arthur Lougee, NSAD President, and Cincinnati con-
sultant/designer/artist Charles Harper ex e w
chure entry.

g student bro-

Rall

—

Panelists ...Doug MacIntosh (Y&R), moderator, Jim Hastings (Campbell-
Ewald), Tully Rector (Group Productions), Len Kotowski (Grant Adver-
tising), Bill Johnson (Johnson & Shirk) and Allan Kass (Art Group, Inc.).

Los Angeles ad consultant William Tara
principal speaker at Detroit’s Third
Annual Student Design Conference
warned his audience of the pitfalls await
ing the creative man in commerce. Thq
tendency to imitate, to fail to separaty
one product from another in the pub
lic’s mind, is all too prevalent becaus¢
there is more talk of creativity thay
there is accomplishment.

“While most advertising agencies claim
the right to the use of the word ‘creative
to describe their contribution to the
communications of business, they
happily along clipping out other peo
ples’ ads, changing the logotypes, and
selling them. It might be said that the
use their scissors very creatively . . .

“If the manufacturers were mor
imaginative and creative the advertising
wouldn’t have to be. The wonderful
unique and desirable product has im
ination built in . .. Unique and imagin
tive product does not require mug
advertising, just some ordinary, und
standable, well circulated common sen
and not much creativity — because ¢
product has it . . . In a world of mere
good products, the advertising of yo
particular good product had better
great .. . The less the product is im
inative, unique and attractive, the mo
the advertising must be—that’s advert
ing creativity.”

How can the creative man get ahe
in commerce? Tara advised protecti
coloring—“‘he’ll arouse less suspicion
gain more acceptance if he looks
the others.” Unable to list “positive
foolproof rules which will guarantee s
cess,” Tara offered instead “rules
failure, that may be of some help”:

Always place the burden of und
standing your work upon the man whe
you hope will buy it. Speak always
a language calculated to bewilder
confuse. Cultivate a beard (women a
dress and make-up in bizarre fashic
Have your sample portfolio larger
you can handle successfully. Before
interview stimulate yourself with at le
one glass of beer. During the inte
adopt an imperious attitude. Clearly
dicate that while commercial art is
neath you, you would be willing
prostitute your art at some sacrifice i
order to bring beauty to the world.

m Tara
; Third
ference
ls await
‘ce. The
ne
e€ pub
=a the 11th annual

ty tha

= exhibition of

= Michigan advertising art & design

> mor

ertising
derful Sponsorship: The Art Directors Club of

Detroit. Awards Criteria: Imagination
and skill in the use of art and design in

is im
magin
> mueé
und
nm sen
use
mere
of ya
‘tter
s im
e ma

advertising, with special attention to ex-
amples exploring new directions. Awards
Jury: Art Directors (picture above: Henry
Wolf), Lester Beall, Nelson Gruppo.
Awards: 12 Gold Medals, 29 Silver Medals.
Detroit ran a two-part show this year. In
one awards were presented to art direc-
tors, artists and photographers. In the
new “Umbrella Awards” outstanding
advertisements were recognized for their
excellence as a whole, being judged for
the effectiveness with which copy and art
worked together to put across an idea.
Umbrella Award winners are shown on
pages 67-70. For Detroit’s thinking be-
hind this exhibition innovation, see
Charles Dickinson’s comments on page 4.

1 Magazine, color photography — Art Director:
Jeane Bice, Photographer: Warren Winstanley,
Agency: McCann-Erickson, Inc., Advertiser: GMC
Truck & Coach.

Detroit 1959 / part 1

4 able tall of UT harmghbres

From smsemmaliniy 1° 9 comeven por ory
feign 0 hamrn vuomenst shhasenatoen
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at nadie, je Ve mee:

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Saat pare amd Gomer eee ge kage ihe (Me prwwer! om! pamme we n pent Meth ane
te end motermne and moth are made ave: shie over, where by GENERAL MOTORS

and the United Motors System Om the ammo of the (INRA L
MOTORS GOL LIS SETLASTONT, we ot U M8 ame prowl te be x part of the curperation
hat provides greater serves te mare im mre place, We are erm, te of war
pant acheewements but hee We futore of coon giester servwe Thets var prema

WATIONAL BANK
Sn peat abatns
GENERAL

morors

and thy buy it by the case

ry i
saster
follows no
timetable

2 nee Me iene ame every ay ome Be Nee oe

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Art Direction / The Magazine of Creative Advertising / July 1959

THE CAR:BUICK 59

sof the 59 Buick running a whopping H2% higher bere

SEE ROTOR AT OE MOTrORAMA

SIMCA

WORID'S RECORDS

Breathtaking fdetty wth tour colors on (gf paper

LSS —p>

2 Magazine, color photography—Art Director: Russ Funk-
houser, Photographer: Todd Walker, Agency: Campbell-
Ewald Company, Advertiser: Chevrolet Div., G.M. 3 Maga-
zine, design of complete unit—Art Director: C. Roger Mader
& Sy Lachivsa, Photographer: John Rawlings Studio,
Agency: Young & Rubicam, Inc. & Fuller, Smith & Ross,
Advertiser: Chrysler Corp. & Alcoa Aluminum. 4 Trade
magazine, design of complete unit—Art Director: Arthur
Obrosey, Artist: Arthur Obrosey, Agency: MacManus, John
& Adams, Inc., Advertiser: Dow Chemical of Canada.
5 Newspaper, design of complete unit—Art Director: Jay
Houtz, Artist: Harry Litoff, Agency: Campbell-Ewald Co.,
Advertiser: National Bank of Detroit. @ Newspaper, B&W
drawing or painting—Art Director: George Guido, Artist:
Dan Romano, Agency: Campbell-Ewald Co., Advertiser:
Chevrolet Div., G.M. 7 Trade magazine, small ads—Ari
Director: Dick Clark, Artist: Anita Rosenow, Agency:
LaDriere, Inc., Advertiser: LaDriere, Inc. 8 Newspaper,
design of complete unit—Art Director: Amil Gargano, Al
Schroeder, Artist: John Davenport, Agency: Campbell-
Ewald Co., Advertiser: United Motors Service. 9 Point of
Sale, design of complete unit—Art Director: George Lenox,
Artist: Ellen Raskin, Agency: University of Michigan Press,
Advertiser: University of Michigan Press. 10 Magazine,
design of complete unit—Art Director: Martin M. Krein,
Photographer: Stephen Heiser, Agency: Foote, Cone &
Belding, Advertiser: Hiram Walker. 11 Magazine, design
of complete unit—Art Director: Al Schroeder, Artist: William
Steig, Agency: Campbell-Ewald Company, Advertiser:

Delco Battery, U.M.S. 12 Trade magazine, color photog-
raphy~—Art Director: T. H. Roberts, Photographer: Bob Flem-

ming, Agency: MacManus, John & Adams, Inc., Advertiser:

Dow Chemical Co. 13 Newspaper, design of complete

unit—Art Director: Robert Shepperly, Artist: Dennis Gripen-

trog, Agency: McCann-Erickson, Inc., Advertiser: United

Foundation, Detroit. 14 Newspaper, small ads—Art Direc-

tor: George Guido, Artist: Dan Romano, Agency: Campbell-

Ewald Co., Advertiser: Chevrolet Div., G.M. 15 News-
paper, design of complete unit—Art Director: Tom Heck,
Artist: Mark Shaw, Agency: McCann-Erickson, Inc., Adver-
tiser: Buick Div., G.M. 16 Poster, design of complete unit
—Art Director: Ted Gyn, Artist: Nicolas Sidjakov, Agency:
Richard N. Meltzer Adv., Inc., Advertiser: Simca, Chrysler
Corp.

Detroit 1959 / part 1

ETROIT HORSE SHOW

June 24" thru
all day. A
id Hills, Mich. E. Long Lake Road off Woodward

Heture you & the * ~ wetuall: thee
ey

COL e antl BNETNOOE ye Ohare F ing Mitel Sosteny oe Ui inthetey
Sark abate Coates ae tle @ ew heneetion A frame
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*MERICAN WOMEN IN #40'O ANO TELEVISION, IHe
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-:: efllicational
<1: Lelevision today

$+4¢444

17 Two awards: Poster, drawing; Poster, design of complete unit—Art Di-
rector: Robert Shepperly, Artist: Carlos Lopez, Agency: McCann-Erickson,
Inc., Advertiser: Detroit Horse Show. 18 Direct mail, B&W photography—
Art Director: Fella-LeBeau, Photographer: Frank Werle, Agency: LeBeau
Studios, Advertiser: LeBeau Studios. 19 Newspaper, B&W drawing or
painting—Art Director: Jonis Gold, Artist: Jonis Gold, Agency: McCann-
Erickson, Inc., Advertiser: United Foundation, Detroit. 20 Catalogs, color
photography—Art Director: Charles Maricak, Photographer: Boulevard
Photographic, Agency: Kenyon & Eckhardt, Inc., Advertiser: Mercury Div.,
Ford Motor Co. 21 Catalogs, color photography—Art Director: Robert
Shepperly, Photographer: E. E. McGuire, Agency: McCann-Erickson, Inc.,
Advertiser: Buick Div., G.M. 22 Newspaper, small ads—Art Director:
C. Roger Mader, Artist: Bud Simpson, Agency: Young & Rubicam, Inc.,
Advertiser: Chrysler Corp. 23 Product illustration, color photography—
Art Director: Dick Yocum, Photographer: Phil Davis, Agency: Kenyon &
Eckhardt, Inc., Advertiser: M.E.L., Div., Ford Motor Co. 24 Product illus-
tration color drawing—Art Director: Jonis Geld, Artist: Jose Cavillo,
Agency: McCann-Erickson, Inc., Advertiser: Buick Div., G.M. 25 Direct
mail, design of complete unit — Art Director: Dick Clark, Artist: Anita
Rosenow, Agency: LaDriere, Inc., Advertiser: Michigan Typesetting Co.
26 Direct mail, design of complete unit—Art Director: Robert G. Andrus,
Artist: Allied Artists, Advertiser: American Women in Radio and Television.
27 Catalogs, color photography—Art Director: Charles Maricak, Photog-
rapher: L. Willenger, Agency: Kenyon & Eckhardt, Inc., Advertiser: Mer-
cury Div., Ford Motor Co. 28 Institutional, design of complete unit—
Art Director: George Lenox, Designer: George Lenox, Agency: University
of Michigan, Advertiser: University of Michigan. 29 Editorial, design of
complete unit—Art Director: Don Weeks, Photographer: Bob Smalliman,
Agency: Ceco Publishing Co., Advertiser: Chevrolet Div., G.M.

Art Direction / The Magazine of Creative Advertising / July 1959

Detroit 1959 / part 1

2
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30 Edit
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31 Insti
Designe:
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34 Tele
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Walter T
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30 Editorial color photography — Art Director: Don
Weeks, Photographer: Bob Smallman, Agency: Ceco
Publishing Co., Advertiser: Chevrolet Div., ..G.M.
31 Institutional, design of complete unit—Art Director /
Designer: Bill Johnson, Agency: Johnson & Shirk, Inc.,
Advertiser: Johnson & Shirk, Inc. 32 Trade magazine,
design of complete unit, Art Director: James |. Ber-
nardin, Artist: Allied Artists, Agency: Campbell-Ewald
Co., Advertiser: Chevrolet Div., G.M. 33 Television,
live action—Art Director: Edmund Birnbryer & Henry
Caroselli, Writer: Edmund Birnbryer & Phil Young,
Producer: Van-Praag Productions, Agency: Campbell-
Ewald Co., Advertiser: Delco, United Motors Service.
34 Television, live stop motion—TV Creative Director:
Horry Treleavens, Producer: Transfilm, Agency: J.
Walter Thompson Co., Advertiser: Ford Div., Ford Motor
Co. 35 Television, live action puppets—Artist: James
Henson, Producer: M. Belmont Ver Standig, Inc.,
Agency: W. B. Doner and Co., Advertiser: Faygo
Beverage Co. 36 Television, animated—TV Creative
Director: Harry Treleavens, Producer: Playhouse Pro-
ductions, Agency: J. Walter Thompson Co., Advertiser:
Ford Div., Ford Motor Co. 37 Television, animated—
Producer: Storyboard, Inc., Agency: W. B. Doner and
Co., Advertiser: Faygo Beverage Co. 38 Television,
animated—Art Director: Garth Hintz & William Boggess,
Writer: Kenneth Raught, Producer: Warner Bros.,
Agency: Campbell-Ewald Co., Advertiser: Delco Bat-
tery, United Motor Service. 39 Direct mail, design of
complete unit—Art Director: Dick Hess, Artist: Dick Hess,
Agency: Grant Advertising, Advertiser: Dodge Div.,
Chrysler Corp. 40 Catalog, design of complete unit—
Art Director: Dick Yocum, Agency: Kenyon & Eckhardt,
Inc., Advertiser: M.E.L. Division, Ford Motor Co.

Art Direction / The Magazine of Creative Advertising /

July 1959

The 1959 Umbrella Awards — Sponsor-
ship: The Art Directors Club of Detroit
and The Detroit Copy Club. Awards
Criteria: Excellence of the advertisement
viewed totally—as idea, as copy, as art—
with special regard to its objectives within
a marketing scheme. Awards Jury: Adver-
tising agency executives (picture above:
Walter Weir, William Bernbach, William
Tyler). Awards: 25 Umbrella Award
certificates.

Detroit 1959 / part 2

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13
1 A 4-color brochure—Art Director: James Bernardin, Copy Writer: Sam Gaylord,
Agency: Campbell-Ewald Company, Advertiser: Chevrolet Motor Division.
2 A catalog of Lincoln & Continental cars—Art Director: Dick Yocum, Copy
Writer: Burt Oelker, Agency: Kenyon & Eckhardt, Advertiser: Ford Motor Company.
3 A 4-color advertisement in general consumer magazines—Art Director: John
Cook and Art Bloomquist, Copy Writer: Art Richmond, Agency: J. Walter Thomp-
son Company, Advertiser: Ford Div. of Ford Motor Company. 4 A B&W adver-
tisement in general consumer magazines—Art Director: Tom Heck, Copy Writer:
Tom Thompson, Agency: McCann-Erickson, Inc., Advertiser: Buick Motor (Opel).
aqage” sharon 5 A 3-column newspaper advertisement for Corvette—Art Director: G. M. Guido,
ii on a ok Copy Writer: A. B. Clark, Agency: Campbell-Ewald Company, Advertiser:
pit ere] Chevrolet Motor Division. 6 A B&W advertisement in photo trade magazines—

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Art Director: C. R. Streb, Copy Writer: J. G. Darrow, Agency: Young & Rubicam,

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Seismess = Inc., Advertiser: Argus Cameras. 7 A 4-color advertisement in general consumer
SSS magazines—Art Director: William Tara, Copy Writer: W. B. Booth, Agency:
eee ceed Campbell-Ewald Company, Advertiser; Chevrolet Motor Division. 8 A 4-color
Paco teraarene) Se - i : hur T. Lougee, Agency: Ford Publications
PR " ” SVS SSS external house organ—Art Director: Art gee, Agency
OFITABLE “DEPRESSION Sa2s2,Sn.. ba Se a Office, Advertiser: Ford Div., Ford Motor Company. 9 A B&W advertisement in

HITS AEROSOLS

a football program—Art Director: Robert Freeman & Amil Gargano, Copy Writer:
Richard Candor, Agency: Campbell-Ewald Company, Advertiser: Campbell-Ewald
Company. 10 A vertical newspaper ad with sideways layout—Art Director: Dick
Hirn & Seroun Kesh, Copy Writer: Dave Kludt, Agency: Kesh-Hirn-Kludt, Adver-
tiser: Englander Furniture Stores. 11 A B&W, 2-page trade advertisement in
aviation magazines—Art Director: Irving Seiden, Copy Writer: Dean Prichard,
Agency: J. Walter Thompson, Advertiser: Champion Spark Plug Company. 12 An
instruction booklet for camera dealers—Art Director: C. R. Streb, Copy Writer:
J. G. Darrow, Agency: Young & Rubicam, Inc., Advertiser: Argus Cameras.
13 A Mercury direct mail comparison booklet—Art Director: Norman Pletz, Copy
Writer: Carl Yager & George May, Agency: Kenyon & Eckhardt, Advertiser: Ford
Motor Company. 14 A 4-color, 16-page advertisement in a woman's magazine—
Art Director: Flo Johnson & Charles Dickinson, Copy Writer: Mary Spaulding
& Elizabeth Maertens, Agency: MacManus, John & Adams, Inc., Advertiser:
15 ‘Scotch’’ Tapes and Sasheen Ribbons, And Wraps—Minnesota Mining & Manu-
facturing Co. 1§ A 2-color, 2-page advertisement in a chemical trade magazine—
Art Director: Craig Bowen, Copy Writer: Robert Lenski, Agency: MacManus,
John & Adams, Inc., Advertiser: Dow Chemical Company.

Art Direction / The Magazine of Creative Advertising / July 1959 69

Detroit 1959 / part 2

"Dre gnity of ap

16 A B&W advertisement in auto-irade magazines—Art Director:
James McGuire, Copy Writer: Robert Marker, Agency: MacManus,
John & Adams, Inc., Advertiser: Pontiac Motor Division. 17 A B&EW
advertisement in general consumer magazines—Art Director: Fred
Simper, Copy Writer: Charles Adams, Agency: McManus, John &
Adams, Inc., Advertiser: Pfizer Chemical Company. 18 A 7-column
newspaper advertisement — Art Director: William E. Dye, Copy
Writer: Richard L. Simmons, Agency: Ross Roy, Inc., Advertiser:
Michigan Blue Cross—Blue Shield. 19 A B&W, 2-page trade ad-
vertisement in an auto-trade magazine—Art Director: Leroy Hadley,
Copy Writer: Bob Bayer, Agency: Kenyon & Eckhardt, Advertiser:
Ford Motor Company. 20 A 4-color brochure advertising class-
room furniture—Art Director: Dick Reins, Copy Writer: Jim Killins,
Agency: Brooke, Smith, French & Dorrance, Advertiser: American
Seating Company. 21 Television commercial featuring Kubuki
dancers—Art Director: John Coleman & Willard Hanes, Copy
Writer: John Coleman, Agency: Campbell-Ewald Company, Adver-
tiser: Chevrolet Motor Division. 22 A 10-second, live action TV
spot—Art Director: James Henson of M. Belmont Ver Standig, Inc.,
Copy Writer: James Young of M. Belmont Ver Standig, Inc.,
Agency: W. B. Doner & Company, Advertiser: Faygo Beverage
Company. 23 A 10-second, live action TV spot—Art Director: James
Henson of M. Belmont Ver Standig, Inc., Copy Writer: James
Young of M. Belmont Ver Standig, Inc., Agency: W. B. Doner &
Company, Advertiser: Faygo Beverage Company. 24A 10-second,
live action TV spot—Art Director: James Henson of M. Belmont Ver
Standig, Inc., Copy Writer: James Young of M. Belmont Ver
Standig, Inc., Agency: W. B. Doner & Company, Advertiser: Faygo
Beverage Company. 25 A radio commercial done in lyric form
(not shown)—Producer: Andrew Doyle, Copy Writer: Frederick
Lounsberry, Agency: Campbell-Ewald Company, Advertiser: Chev-
rolet Motor Division.

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IS CHANGE...

this is the season when ADs all over the country
look back on their shows and their year’s work to
rediscover where they came from, where they
are going

Looking at the Washington, D. C. show, club President Frank Huseman
reports, “In the business of art-for-commerce-and-industry the only
constant is change...a show like this one is judged on bases other
than pure esthetic values. In some categories the well-drawn will play
second fiddle to the well-thought. The element of newness will demand
attention.”

A look at the Brame Medal winners in the Denver exhibition reveal
a completely contemporary approach. Not one of the 11 top winners
features a static much less a classic layout. Every one shows uninhibited
but not freakish handling of illustration, design and typographic ele-
ments. Todayness seems the keynote.

In Baltimore more concern was voiced with the communications and
sales problem of the client, but taste and freshness were not overlooked.
Raymond Ballinger, show judge, said “This was not an ‘art for art’s sake’
jury. We were looking for art and design which we sincerely felt did
a proper and conscientious job for the client.” Club President George
Fondersmith viewed the judges’ selections, found pieces which “displayed
a fresh creative approach to graphic selling rather than a reuse of
proven techniques, however successful they may be. It is hoped that
the exhibit gave inspiration and courage to those designers and adver-
tisers who share the opinion that good art makes better advertising,
and good advertising makes for increased sales.”

Design and illustration dominated the winning selections in the
Minneapolis-St. Paul exhibition. The Twin Cities followed the practice
of many other AD clubs in having its show judged by members of
another club, with Omaha ADs judging the advertising art and the
Denver club the design and layout material.

If the problem of what to judge, art, sales effectiveness, or both,
plagued these clubs, Detroit faced up to this eternal challenge of the
AD show in an unique way. Detroit ran two shows side-by-side, one
in which esthetics and creativity were primary criteria and the other
in which art and copy and successful carrying out of message objective
were all considered. How this was done, how it worked out, is described
in the editorial on page 5 of this issue.

Perhaps it is true that our only constant is change. Change, not only
in our art and design but in how we judge our work and how we tell
the world about it.

Art Direction / The Magazine of Creative Advertising / July 1959

Washington, D.C.

Judges:

Henry Wolf
Aaron Burns
Robert Gage
Robert Fawcett
Allen F. Hurlburt

Minneapolis-St. Paul

Judyed by teams from
Omaha and Denver
AD clubs.

Denver

Judged by
the Seattle
AD club.

Baltimere

Judges:

Edward Cottingham
Charles Thill
Raymond Ballinger
Nate Berman
Alfred Cascino

Washington, D.C.

Jlyauime cunmku hotoKoppecnonscHTos

Prem ter ond Row cnet of ihe eticient evertenng gency

Double
Take

AD: Tom Huestis
Photo: John Burwell
Client: Nation’s Business

Design: Mona Bennett

AD: Joseph Taney

Photo: Margaret Bourke-White/Roman Vishniac
Client: America Illustrated (USIA)

AD: Allen Hurlburt

Photo: Fred Maroon

Client: Look Magazine

“

4) Design/art: Jack MacLeod

Client: Dawson MacLeod & Stivers
5) AD/art: Cliff Prine

Client: U.S. Information Agency
6) Design: Irving Miller

Photo: Irving Elkin

Client: Washington Post, Broadcast Div.
7) AD/photo: Fred Maroon

Client: Players Inc.
8) Design: Irving Miller

Art: Tomi Ungerer

Client: WTOP Radio
9) Design/art: Paul M. Dunbar
Photo: Lee Salsbery
Design: John Wedda
AD: Stuart I. Freeman
Photo: Graham Associates Inc.
Client: Arabian American Oil Co.
11) AD/art: Jack B. Willis

Client: National Stationery & Office Equipment

Ass'n.

i
S

Art Direction / The Magazine of Creative Advertising / July 1959

Minneapolis - St.Paul

Lavoptik

Eve coTrion”

Denver

AD/design: George Rumsey

Art: Bob Gadbois

Agency: Campbell-Mithun, Inc.

Advertiser: St. Paul Fire & Marine
Insurance Co.

AD: George Karn

Art/Design: George Karn, Don Bajus

Agency: Olmstead & Foley

Advertiser: Lavoptic

(TV film commercial)

AD/design/art: Robert Nelson

Design: Nelson-Westburgh

Advertiser: Modern Medicine

ADs: Cy DeCosse, Pete Bastianson

Design: Cy DeCosse

Art: Roger Bradfield

Agency: Campbell-Mithun, Inc.

Advertiser: The Pillsbury Co.

AD/design: George Rumsey

Art: Eugene Larkin

Agency: Campbell-Mithun, Inc.

Advertiser: Minneapolis Symphony
Orchestra

AD/design: George Rumsey

Art: Bob Gadbois

Agency: Campbell-Mithun, Inc.

Advertiser: St. Paul Fire & Marine

Insurance Co. Gifford-Hill

+ om om rey

Art Direction / The Magazine of Creative Advertising / July 1959

amic new dirmensions in insurance office design

10)

12)

(Typographical Award)

AD/Art: Fred Baker

Photographer: Strohmeyer

Client: Rocky Mtn. Metal Products Co.

(Best in show)

AD/Artist/ Photographer: Walter Ender

Client: Dallas Home for Jewish Aged Fund

Agency: Marvin Wiss

AD: Bill Caldwell

Art/photography: Bill Caldwell

Client: The Grifford-Hill Companies

Agency: Brooks Keller Advertising

AD: Roderick J. Morse

Artist: Ray Slaidens

Client: Guarantee Mutual Life Co.

Agency: Allen & Reynolds

AD/Art: Bill Moomey

Client: Adolph Coors Co.

Agency: Revill J. Fox & Co.

AD/Art: Walter Ender

Client: Neiman Marcus

Agency: John Lemmon

AD: Jim Bolles

Art/photography: Abe Marksam/Bruce Harlow,
Stan Zamonski

Client: The First National Bank of Denver

Agency: Mark Schreiber Advertising, Inc.

Cover of Denver's soon to be published
8rd Annual

AD: Ted Hawkins

Art: Bill Nye

Client: Phillips Petroleum Co.

Art: Herbert Gilbert

Agency: Hoffman-F ried & Co.

AD/Art: Walter Ender

Client: Dallas Civic Opera Co.

AD: Jim Bolles

Art/photography: Abe Marksam
Bruce Harlow

Client: The First National Bank of Denver

Agency: Mark Schreiber Advertising Inc.

Baltimore

INDIVIDUAL. PACK AGING/com sm

Pr ns

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Bon cee awn vee

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petter

Art Direction / The Magazine of Creative Advertising / July 1959

“The used key is always bright.”

eee ee

Whether it ie as proasie an
onetrument asa front doer bey
oe (he fmancal key that open
doors to bestnem success — both
Rave one point in commun

Neperted ame bnghtens woh

Koltmore busunemarnen bs 6

CAPITAL FUNDS IM EECEOS OF 610,000,000
Ce eed cee

AD: Tom Parlette
Art: Lionhill Studio, Shirley Hobbs
Agency/client: Emery Advertising

AD: Margaret Rigg

Art: Robert Wirth

Client: Meth. Pub. House

AD/art: Jack Thompson

Agency: I. A. Goldman Adv.

Client: Men’s Hats Inc., Baltimore

AD: Irv Yaniger

Art: Connie Rosenthal

Agency: A. L. & G.

Client: Grand Rapids Furniture

AD: Kern Devin

Art: Marion Warren, Kern Devin

Agency: The Barton-Gillet Co.

Client: St. Johns College

(Gray Dodson Memorial Award for best
finished art)

AD: Bob Ramsey

Art: Teason

Agency: VanSant, Dugdale & Co.

Client: Fidelity-Baltimore

AD/art: Fred Worthington

Agency: The Barton-Gillet Co.

Client: Loyola College

AD/art: Ed Gold

Agency: The Barton-Gillet Co.

Client: Hood College

AD/art: Ed Gold

Agency: The Barton-Gillet Co.

Client: Architects’ Report

AD: Ed Rogers

Art: Blakesiee-Lane, Inc.

Agency: VanSant, Dugdale & Co.

Client: National Lumber Mfg. Ass'n.

Abs:
of g

Eli |
ills,

raph
line
prov
togrz
grou

Art Di

Abstract impression In direct mail
of gourmet touch campaign to

physicians, for
Eli Lilly Co.’s Bilron which treats gastric
ills, AD J. F. Zemlick favored photog-
raphy for abstract impression for head-
line theme, “When culinary skills
provoke abdominal ills.” Chicago pho-
tographer Straus-Hoffmann muted back-
ground, double exposed cooking utensils.

Art Direction / The Magazine of Creative Advertising

plaques at recent Emmy ceremony. Fred
Niles was named best creator /producer
of tv commercials, live or film. Lloyd Chicago photographers

Bethune, senior producer/director, won exhibit at Sun-Times

his plaque for best director. Animation Prize winning industrial, portrait and
AD Manny Paull was named best AD. commercial photography in b/w and
Best film editor plaque went to Richard color were on exhibit at the Chicago
Hertel, supervising editor. Sun-Times. The show was co-sponsored

Fred Niles Productions Other nominees were Howard Sie-

wins four Emmys mon, for best cameraman; Orville Hurt,

for best visualizer; and Ruth Ratny, for

Out of seven Niles nominees, four won :
bese writer.

GIVE YOUR ADS A TOP VP" RATING

Ads and printed pieces appeal almost
exclusively to the eyes and what better
way to assure that appeal than a set-
ting by SERVICE Typographers. Care
and craftsmanship go into every as-
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July 1959 79

by PPA. Masters of Photography whose
work was included: Wesley Bowman;
Herbert Copeland of Commercial Illus-
trators; W. E. Ebert; Edward Fox; Max
Green; Harold Guthman; Don Hoskins
of Eastman Kodak; Stephen Lewellyn;
Del Long of Kaufmann & Fabry; Irwin
L. Merry of Liquid Carbonic Div., Gen-
eral Dynamics Corp.; Richard Napar of
Edward Fox Studio; Giovanni Suter of
Hedrich-Blessing Co.; Howard M. Web-
ster; William W. C. Wilke, Jr. of Crane
Co.; William J. Wolk.

Other exhibitors’ were B. J. Burns of
Bernie Studio; William E. Goodnow
and Rudolph Gottosch of Krantzen
Studios; John Howell; Orlin R. Kahli;
Richard D. Montgomery; Eugene L.
Ray; Miles A. Snyder; Ray Willis.

Chicago galleries participate
in Festival of Americas

As part of the cultural interAmerican
activities to take place in Chicago this
August in connection with III Pan
American Games, Chicago galleries will
show Pan American paintings, draw-

ings, lithographs and sculpture. Also,
contemporary and preColumbian art,
and Eskimo sculpture.

Participating galleries and their pro-
grams: Mary Gehr’s paintings and litho-
graphs of Guatemala, at Frank Ryan;
contemporary American art, at J. Olhl-
schlager; Eskimo stone sculptures, at
the Main Street; weaving by Latin
American women and exhibition of
pottery and paintings by Mexican chil-
dren, at the Benedict Art Gallery, Hull
House; Latin American landscapes, at
the Julian Frank; preColumbian sculp-
ture and contemporary Mexican paint-
ings, at Harry A. Lund; collectors show
of Canadian and Latin American art,
47 E. Pearson; members’ work and
local Pan American artists, at American
Jewish Arts Club; award winning archi-
tectural designs, at American Institute
of Architects; works of Matta and other
well known Latin American artists, at
Allan Frumkin.

North Shore Art League of Winnetka,
the Musarts and other organizations
also plan exhibits. Victor Perlmutter is
festival director.

Art Directors

Studio Owners

Ad Managers

the real point is

The Artists Guild of Chicago

Employment Service is your

most reliable service for ob-

taining capable art talent

selected for your specific

job needs. To save yourself

time and trouble, contact our

specialized art employment

service (SU 7/3017) the next

time you have need of an

advertising artist. licensed by the Stote of illinois

Whitaker Guernsey’s Some 17,000sq.
new home ft. of work

space for illus-
tration, graphic design, packaging, mail
order catalogs, lettering and photog-
raphy is afforded in new building of
Whitaker Guernsey Studio, 250 E.
Illinois-St. Designed by William Cooley
& Associates, the building has north
light for all the artists, a simple glazed
brick facade, is roofed with laminated
beams, and is air conditioned.

Chicago notes

George Llewellyn, formerly with FC&B,
has been appointed an AE at Kling
Studios . . . Leonard Advertising has
changed its name to Leonard Primer
Advertising, added Delta-f and Auto
quip accounts—the first manufactures
electronic components; the second, Chi-
cago builders and designers of hydraulic
life equipment . . . Wilding Picture
Productions, Inc. is now to be known as
Wilding Inc. . . . Southern Illinois Uni-
versity Graduate School, department of
design, now has a program leading to
M.Sc. degree. Curriculum integrates
study and research in visual and prod-
uct-shelter design. Details from chair-
man of the Department of design, SIU,
Carbondale, Ill.

the Gortotose for precise work
the NORedge for close work -- ont ini
—

steel drawing beard edges

for data check with your dealer or write
chicage,1!

SELL YOURSELF LOCALLY...

Place an ad in
Art Direction’s
local news pages

pel
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wil
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000 sq.
work
r illus-
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north
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FC&B,
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Vous

Gray & Rogers’
2nd Annual winners

In an exhibit
limited to
G&R’s own
personnel, judges’ and the public's
choices were far apart. Judges’ award
winners (1) were agency partner Frank-
lin P. Jones, seated, left, who holds the

Ta
Philadelphia

V clamps and blocks which won first
prize in the crafts category; managing
AD Vincent Benedict, seated center,
with watercolor of a blossom, profes-
sional painting winner; AD Charles
Wilkinson, seated right, with photo-
graph of a lighthouse, professional divi-

sion winner; copywriter John R. Rezni-
chek, standing, displays his photograph
of Korean children, winner in the ama-
teur class. Young lady standee is Carol
Ann Yanessa, a visitor. Agency partner
Albert R. Bochroch won in the amateur
painting category.

People’s choice (2) was AD W. Fred-
eric Clark, center, for watercolor of a
Maine woods scene. AD Anthony Cala-
brese, right, placed second with his
Conte crayon rendering of a_ head.
Looking on at far left, Jerome B. Gray,
senior partner.

Judges were photographer Harry
Saltzman; Nathan Berman of Berman-
Steinhardt Studios; Don A. Brennan,
community relations bureau, Curtis
Publishing Co.; and Al J. Reagen, AD
of Farm Journal.

*George Faraghan Studios « 1934 Arch St., Phila. 3, Pa. « Lo 4-5711-12 © represented by Judy Wagner « John Robinson

Iyency
Client: Abbott Dair
if? Director: Mar
Photographer: George

Putman award to
FH&N and Alvey-Ferguson
A Cincinnati manufacturing firm and
its agency, Farson, Huff & Northlich,
were named winners of the 1959 Put-
man Award. The competition is spon-
sored annually by The Poor Richard
Club in cooperation with the Putman
Publishing Co., and awards are made
on basis of outstanding advertising
performance. The Cincinnati companies
were chosen for their campaign which
helped push sales of one product line
up 160 percent in one year.

Creative supervisor Stewart S. Max-
well represented his agency at the
award ceremony.

Mel Richman appoints

two executive directors

Rudy Garcia has been appointed ex-
ecutive director of the Pennsylvania
division of Mel Richman, Inc. He will
direct the division’s art, photography
and film studios. With the firm since
1950, he is a member of the executive
board and chairman of the administra-
tion board.

Antonio Granados has been named
executive director of Mel Richman De-
sign Associates, Inc., packaging and in-
dustrial design affiliate. Granados, vp
and past secretary of the National Asso-
ciation of Art Services, had been director
of the New York division of Mel Rich-
man, Inc.

Stillmun Art Service

acquires Hood Photographic

The Stillmun Photo Service is new
operating name for Stillmun Art Serv-
ice’s new operation, formerly the Harry
S. Hood Photographic Studio. Harry S.
Hood will supervise the new Stillmun
division at 12 S. 12th St.

Philadelphia Art Supply Ce.

Philodelphia’s most complete stock of
art and drawing materials.
* Bourges sheets * Croftint
* Kemort moterials * Zipotone
* all graphic art supplies

Send for ovr 200-page catclog
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25 S. Eighth St. * Philadelphia 6, Penna.
MArket 7-6655 * Prompt delivery service

iene

GEORGE L. CONNELLY

1422 Chestnut Street
Philadelphia, Pa.

LOcust 8-5096
REALISTIC ILLUSTRATIONS
Institutional Fiction
INSTITUTIONAL FICTION

on the

west coast

$75,000 suit over credits
filed against Warner Bros. Records

Consultant AD Charles Winfield Meggs
has filed suit in Superior Court of Cali-
fornia for $50,000 and punitive damages
of $25,000 against Warner Bros. Records,
Inc., its president James B. Conkling
and David Rose, WBR AD. Meggs
claims that his work for WBR was
wrongfully displayed under Rose’s name
in AD shows in Los Angeles and New
York. Meggs’ suit notes that he had
entered into an agreement with WBR
which involved his exclusive services as
AD in the record field.

The work Meggs claims was wrong-
fully displayed under Rose’s name has
won medal awards, has been exploited
by the defendants on tv and trade pub-
lications. One of the album covers
Meggs claims should have his AD credit
has been nominated by the National
Academy of Recording Arts & Sciences
as one of the five best of year. Meggs
plans to subpoena artists he employed
on WBR work and former WBR em-
ployes.

Before opening his own advertising
art service in Hollywood Meggs had
been on the art staff of Warner Bros.
Pictures (1932), worked for Paramount
Pictures, Buchanan & Co., New York,
and J. Walter Thompson, Los Angeles.

California studios fight
retroactive sales tax assessments

A new interpretation by the California
State Board of Equalization on its Rul-
ing No. 2 involving art services has the
Los Angeles Association of Art Services
up in arms. Certain phrasing of the
ruling has been misinterpreted, accord-
ing to a statement issued by the state
sales tax administrator. His new inter-
pretation of the ruling has resulted in
new assessments against artists for work
previously thought tax exempt. Test
cases before the board involve assess-
ment against artists for uncollected

taxes on services previously held tax
exempt. The LAAAS states it is seeking
“a realistic ruling... Any law that is
so indefinite and results in such a multi-
plicity of contradictory interpretations
is basically inequitable and leaves con-
siderable doubt as to its constitu-
tionality.”

The new interpretation states that
the tax does not apply to receipts from
roughs, comprehensives or visualizations
prepared solely to illustrate an idea
and produced prior to contracting with
client for finished art. The tax does
apply to the entire charge for finished
art inclusive of any amount charged
for roughs, comprehensives or visuali-
zations.

The tax does not apply to receipts
from retouching a photograph, drawing,
painting or assembly belonging to the
client. Tax does apply to entire charge
made for a photograph, drawing, paint-
ing or assembly inclusive of any amount
charged for retouching. Tax does not
apply to charges for production super-
vision, consultations or research except
when performed in order to fulfill a
contract for finished art entered into
prior to these services.

(continued on page 90)

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vaieeill Loe _Rewest, B. ARONSTEIN & CO. Flushing, WY. (continued on page 97) ! sienams ta loun camo en tceiotip aie te teeta “4

Art Direction / The Magazine of Creative Advertising / July 1959

trade talk

ART DIRECTORS 4! SUQUERQUE:
Jack E. Stoller is AD

and a principal of new agency Willmarth,
McCaffrey & Co. He and president Philip R.
Willmarth and vp Fred F. McCaffrey were
with Ward Hicks Advertising . . . ATLANTA:
Faculty Design Book of Atlanta Art Institute
is hardbound collection of pieces by William
G. Slattery, Joel Reeves, Walton Martin, Arne
Wolf, Perli Pelzig. Townsend Wolfe. Each
man designed three plates, one expressing
the theme of Jonah and the fish, the other
two plates being designs of his own choice.
Each design, full double spread bleed, is in
color printed on colored stock which is in-
tegral part of design. Details from Bill Slat-
tery, Atlanta Art Institute, 1236 Peachtree St.
N.E., Atlanta 9 . . . CHICAGO: Don Roth
has been appointed AD at Reach, McClinton
& Pershall. He’s been with Pershall since
1957 . . . Doris Gregg. asst. AD with Waldie
& Briggs, now AD with Clinton E. Frank .. .
Fred B. Livingston moved up from AD to
creative director at Marsteller, Rickard, Geb-
hardt & Reed . . . FT. WORTH: Dally Adver-
tising, operated: by Del Dally. former head
AD of Compton, Chicago, added the Roberts
Mfg. Co. and Cobell Industries accounts...
MILWAUKEE: Edward J. Bott. former mgr.
publications services, Olsen Publishing, now
president of Creative Communications, new

company. Sylvester H. Schmid. who had been
in charge of copy and layout at Olsen, is vp
of CC ... NEWARK: New AD at Paul
Klemtner & Co., pharmaceutical advertising,
is Robert Buechert .. . NEW YORK: JWT vp
Wallace W. Elton was named chairman of
eastern region 4As . . . Nick Pappas donned
white coat for drugstore clerking duties as
another in current “man from C&W” series
. . . Charles V. Morris now director of sales
and advertising at Marquardt & Co. Had
been with Reinhold-Gould . . . Evaluating
Advertising Effectiveness is last volume in
the guidebook series by ANA. Set sells
$150, for non-members . . . Harry Steinfeld.
new exec vp in charge of creative services
at H. Allen Lightman, is a founder and for-
mer vp, AD Club of Montreal. He had been
exec AD of Harold F. Stanfield Ltd., Mon-
treal, and a vp at Mann-Ellis, NYC...
Budd Hemmich was named exec AD, K6E,
and Philip Earnest, art and studio mgr... .
Bob Desmond, formerly of Burke, Dowling &
Adams, also Wm. Esty, and JWT, now AD
and creative head for Chaite Studios ...
New AD at Norman A. Graber Art Asso-
ciates is Allen Shupin, formerly with S. A.
Levyne Advertising, Baltimore ... Allen
Smith moved from art supervisor to special
products ad mgr. at Bulova Watch Co....
Henry R. Loomis was elected a vp and direc-
tor, Edward W. Robotham ... Irving Trabich,
senior AD at Raymond Spector, now director
of product and package design for Hazel

Bishop . . . Amil Gargano from Campbell.
Ewald, Detroit, to NY office . . . Robert E.
Shaw on trip abroad after resigning from
Doherty, Clifford, Steers & Shenfield where
he was AD and vp... Ona Virgin Islands
vacation Ken Saco, Art Direction’s designer,
met Cecil “Baumie” Baumgarten. who has
held a number of posts with both NYAD
club and NSAD. “Baumie,” in the islands
since ‘53, sends all his friends best wishes
. . . PHILADELPHIA: Guido R. di Giuseppe,
formerly with Maxwell Associates, Philco,
and Hoedt Studios, now assoc. AD with
Reed/Warren . . . PLAYA DEL REY, CALIF.:
Hal Crippen, named AD of Road & Track
Magazine, had been AD of Audience (SF)
and Guest Informant (LA) . . . SAN FRAN.
CISCO: Don Lesher left BBDO for AD post at
Boland Associates . . . Gig Gonella left FC&B
for Dancer-Fitzgerald-Sample . . . SUMMIT,
N. J.: John D. Hough, now administrative
asst. to the design director, Ciba, had been
with Fortune and IBM . . . TORONTO: Ray
Cattell has been promoted from AD to vp
and creative director of Pemberton, Free-
man, Bennett & Milne Ltd... .

ART & DESIGN ATLANTA: First

prize winner in the
Fifth Annual Painting of the Year competi-
tion sponsored by Mead-Atlanta Paper Co.
is George Beattie, dean of the evening
school, Atlanta Art Assn. Jurors were Agnes
Mongan, acting director, Fogg Museum; New

POMS PRS ae a eae

coal

-Riek none” 2. fF . eo e .

yar

mphbell-
bert E.
g from
where
Islands
signer,
ho has
NYAD
islands
wishes
useppe,
Philco,
D with
CALF:
: Track
ce (SF)
FRAN-
post at
ft FC&B
UMMIT,
strative
id been
O: Ray
) to vp
1, Free

First
r in the
>ompeti-
per Co.
evening
> Agnes
m; New

York artist Joseph de Martini: actor/art col-
lector/critic Vincent Price . . BOSTON:
William P. Balser, with S. Gunnar Myrbeck
& Co. (Quincy) as photographer and lab
technician, has been appointed photo lab
supervisor . . . CHICAGO: Charles Bruning
Co. local branch has moved to Congres-
Franklin-Wacker Bldg. . . . HOLLYWOOD:
Y&R moves to First Federal Bldg. Aug. 1.
Downtown office remains at Wilshire Blvd.
and Grand Ave., LA . . . LOS ANGELES:
AD Glen Kittelson of Gumpertz, Bentley &
Dolan, worked with real lion (Samba) and
model Eileen Brantman for ad in Land Title
Insurance Co. campaign ... New H. G.
Daniels artists’ supply store, moved recently
from downtown to Wilshire area, won ap-
proval of its interior design from Charles F.
Porter. vp FC&B, LA, and Morgan Henninger
. . . NEW YORK: Rockmore Co. is making
available results of its Second Annual Satur-
day Free Lance Talent Search. Copies of
interview forms which describe work of most
promising artists can be had from Phyllis
Greene, Rockmore, 575 Lex. . . . Mrs. Sophia
Polland has been named exec vp in charge
of sales and planning for Statmaster Corp.,
NYC and Miami manufacturers of “statmas-
ter”... New service of typesetting and silk-
screening for presentations, brochures, charts,
posters, package tests, etc. is Type’nScreen,
Inc.. 216 E. 49, EL 5-2741. Headed by Frank
Di Matteo, formerly with Beacon Studios,
and Frank Bianco, formerly with The Chart-

makers . . . Lore Noto, who reps Bob Abbett,
Bill Hofmann, Sandy Kossin, Ron Wing. Ray
Keane and Warren Baumgariner, is now at
Shelton Towers, rm. 501, 527 Lex. . . . Royer
& Roger elected William Wilbur and Milton
Miller vps. Both have been firm's AEs. Wil-
bur becomes creative director, Miller acct.
supervisor . . . Joseph Ferruzzi Associates
has been formed at 60 E. 42 St., offers art
and design service .. . Annual Art Award
of the National Art Materials Trade Assn.
has been presented to Maurice R. Robinson,
publisher of Scholastic Magazines. Jack K.
Lewis the Detroit artists’ materials dealer is
association president . . . Walt Messmer now
at 48 E. 29 St., LE 2-1975 . . . Grand Central
Art Galleries now at the Biltmore...
Frank H. Koste now at 65 E. 55, the pent-
house. Phone remains PL 1-1706

Nekoosa-Edwards Paper Co. NYC sales office
moved to Seagram Bldg., 375 Park Ave....
Lorraine & Gerry Gersten are now at 51
Mallard Rise, Irvington, N. Y. . . . Hoyt
Howard and Mitch Havemeyer, for several
years owners of Hoyt Howard Inc., consult-
ing ADs, now have four-story building at
210 E. 39 St., have named it The Persuasive
Arts Center. Associates at the PAC are pho-
tographer Hugh A. McKevitt. writer Don Sam-
son ... Creative letterer Dave Davison now
at 145 E. 52 St., PL 1-4116 . . . Robert Zeid-
man Associates have added Theodore Black
and Raymond Avery. formerly with Donald
Deskey, and Raymond Story. who was head

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nonaluasive A. LANGNICKEL, INC.
MIRACLE ERASER 115 W. 31st St., New York 1, N.Y

of graphic and package design at Hodgman-
Bourke . . . Designer Lawrence H. Singer
now at 605 Fifth Ave... . Hy Klebanow of
Kleb Studio has become jury director of The
Gallery Ten, new painting and sculpture
gallery in Mt. Vernon . . . Outdoor Adver-
tising Inc. has new offices at 360 Lex....
George Tscherny designed Ford Foundation's
pictorial booklet on Pakistan. For cover de-
sign, he used the word “Pakistan” in Urdu,
black on white, and for inside covers, deep
yellow stock, red crescent and star symbol
in red in overall design . . . Korey-Hall Asso-
clates now at 53 E. 54 St., MU 8-1016...
Fletcher D. Richards, Inc. consolidated with
Calkins & Holden, becomes Fletcher Richards,
Calkins & Holden, Inc. . . . Harold V. Bell &
Associates, 305 Madison Ave., has launched
a new package research service to lab test
label visibility and legibility with “psycho-
physical device”; also field research ...
Most recent of the exhibitions at The Library
of Ideas, Mead Papers’ graphic arts library
at 230 Park Ave., was a showing of 6000
different house magazines from 3850 com-
panies . . . Institute of International Educa-
tion will bring young creative arts pros to
U. S. for six months’ study. Arts Division
will be headed by Mateo Lettunich, former
cultural affairs adviser for music, theater
and the fine arts to U. S. Military Govern-
ment and State Dept. in Berlin. Other art
members of IIE advisory committee include
Edgar Kaufmann, Jr., consultant in industrial
design; Stewart Klonis, director of Art Stu-
dents League; Robert Richman, director of
Institute of Contemporary Arts . . . PHILA-
DELPHIA: Water Color Club’s 10 man show
at Art Alliance continues through Aug. 12
. . . Also at the Alliance, through Sept. 24:
Group and General Exhibitions, and Fan-
tastic Art... Connelly Building, 2400 Walnut
St., was dedicated recently in occasion mark-
ing the firm's fifth expansion. Firm has a
staff of 105, is a charter member of the new
Business Mail Foundation . . . ROCHESTER,
N. Y.: Jose Ruiz, AD with Eagle Pencil's new
product division, was one of the judges of the
Suburban Art Group Exhibition. Other judges
were local artists John Wenrick and Herman
Wild . .. SAN FRANCISCO: AD Fred Glaus-
ner and Victor Lee of Honig-Cooper, Harring-
ton & Stone, designed new fingertip packs
for Leslie Salt Co. The cartons are red, have
a plastic closure which sifts, pours or shakes
with a click of the dial top. Double-faced
label is red foil, sprinkled with white stars
around lower half. Product name in white
letters . . . UTICA: 22nd Annual Exhibition
of Artists of Central New York, held at Mun-
son-Williams-Proctor Institute here, awarded
popular prize to Edward Christiana, of
Whitesboro. Prize is donated each year by
Utica division of Rumrill Co. .. . WARREN,
MICH.: At Harley Earl Associates, Frederick
W. Hertzler and Robert Plantholt have been
appointed design associates. Hertzler is one
of Harley Earl's original staffers. Plantholt,

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and
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deep
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with
Bell &
ached
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ycho-
brary
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6000
com-
duca-
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rision
>rmer

vern-
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clude
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TILA-
show
3. 12
. 24:
Fan-
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new
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new
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man
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acks
nave
akes
aced
stars
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Mun-
rded

one
holt,

with firm since 1948, was a designer with
Argus Camera Div., Sylvania Electric Prod-

uc's.

DEATHS Clark M. Agnew. 53, president

of the New York tv consulting
and producing company bearing his name.
He suffered a stroke shortly after joining
John L. Douglas & Associates, Bradenton, Fla.,
as tv and radio director. He had been an
illustrator, authored with Neil O’Brien “Tele-
vision Advertising,” published in 1958, and
had been radio/tv director for Donahue &
Co. With Lennen & Newell as executive pro-
ducer, he had developed the Old Gold danc-
ing packages, and the Muriel cigar commer-
cials. He had served as treasurer of Society
of Illustrators . . . Alfred F. Moffatt. 41, pro-
motion manager and package designer,
foods division, American Home Products Co.
He had been in charge of promotion for Chef
Boyardee and other accounts.

PHOTOGRAPHY (ewis Studios. East
Orange, N. J. add

offset printing to their photography service
.. . Arnold Sorvari now with George Lazar-
nick, Inc., 227 E. 56 St., NY ... . Colorprint
Center, 135 E. 39 St., NY, offers color print
duplication by Type C, Type R, Printon and
dye transfer. Samples up to 16”x20” avail-
able on request. Managing director is Tom
Noble . . . April issue of Infinity has William
Houseman’s story of Andre Kertesz, an eight-
page collection of Kertesz photos, from a

1915 portrait of a soldier to present work...
LA photog C. A. “Pete” Peterson returned
after an eight months’ trip from Lapland to
Ankara, only to leave again for Stockholm.
He and Trigve Svendsen, creative director of
SAS, will do French-based campaign. Peter-
son plans to remain in Europe the rest of the
year. Can be reached c/o American Express,
Stockholm.

TYPOGRAPHY Axthony Perrusi, vp

of Advertising Agen-
cies Service Co. and vp of Advertising Typog-
raphers of America, has been elected presi-
dent of the Printers League Section, NYEPA...
Harry D. France joins Alvin J. Bart Varitypers
as a partner . .. George V. Jackson. formerly
of George Jackson, Inc., has joined Typo-
graphic Service Div. . . . Hortense Mendel.
promotion director for The Composing Room,
and her husband, Ismar David. graphic de-
signer and instructor of lettering and callig-
raphy at Cooper Union, are on two months’
trip abroad. Miss Mendel will collect data
on short graphic arts films and exhibit mate-
rial for Composing Room's new Gallery 303
. . . Type Directors Club adds Kurt Hinter-
mann of IBM, Joseph S. Armellino of BBDO,
and Klaus F. Schmidt of Mogul, Lewin, Wil-
liams & Saylor. Also sustaining member
William Patrick Co., Newark . . . Ludlow
Typographic Co. has named Frank Ferrari
its NY manager. He succeeds James A.
Westhaver who is now with the Pittsburgh

White Metal Co. Ferrari has been with Lud-

low since 1947.

Richard Griffith, curator of Museum

of Modern Art Film Library, was guest
speaker at “Education's Oscars” presentation
ceremony. Sponsored by Scholastic Teacher
Magazine, the 10th Annual National Film and
Filmstrip awards went to 59 films and film-
strips ... . Theatre-screen Advertising Bureau
appointed John Freese the American jury
member and U. S. delegate at Sixth Interna-
tional Advertising Film Festival. He is mgr.,
radio/tv production Y&R New York .
Allan J. Henderson has been named vp crea-
tive development of Wilding Inc. He will
maintain headquarters in Detroit where has
been vp of creative services of Wilding-
Henderson, Inc., 13535 Livernois St. . . . Mel
London, former exec producer with On Film
Inc., Princeton, N. J., has joined Transfilm
Inc. as producer for industrial films. He is
a charter member of the Screen Directors
International Guild . . . Peachtree Production
Associates, Inc., Atlanta, acquired Strickland
Films as first step in expansion program.
PPA also plans to do video-tape production,
syndication of tv film series. New staffers
include Richard R. Krepela, operations mgr.;
Betty L. Merritt. promotion and pr mgr.; Louis
C. Ingram, Jr., sales mgr.; Norman Whitman,
production mgr. . . . Larry Semon, who had
been with Marschalk & Pratt Div. McCann-
Erickson, now with Kenyon & Eckhardt as tv
producer. oa

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Art Direction / The Magazine of Creative Advertising / July 1959

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(continued from page 84)

Hy Farber teams Two west coast
with J. Chris Smith design organiza-

tions combined
to offer company identification, pack-
aging, product styling, color engineer-
ing and advertising design. H. Farber,
seated, and J. Chris Smith, both of
whom have won national and local
honors and have had their work repro-
duced in Graphis, will maintain the J.
Chris Smith Design Associates name and
address, 1512 N. Las Palmas, Hollywood.

Saul Bass moves,
adds general mgr.

Morris Marsh, who for the past 10
years has supervised printed reproduc-
tions of Bass designs, has been ap-
pointed general manager of the Bass
studio. Marsh, formerly sales manager
of Anderson, Ritchie & Simon, had been
associated with Jeffries Banknote Co.
and Koltun Brothers. He is a past presi-
dent of the California Color Society
and a charter member of the LA Print-
ing Sales Club. A native New Yorker,
he graduated from Pratt.

The firm is now housed in a two-
story building at 7758 Sunset Blvd.

Coast notes

Former McCann-Erickson AD G. D.
Smith (S.F.) opened his own art studio
at 802 Montgomery St. ...Cunningham
& Walsh’s new LA offices are at 3425
Wilshire Blvd. ... The Madden Co. was
organized by Steve Madden, who had
been for the past eight years a partner
in Madden/Shipman. The new firm,
which will design and produce for all
media including exhibitions and films,
is at 3242 W. 8th St., LA... Burton &
Safyan Medical Advertising has been
formed by Safyan-Wales at 1047 N.
Havenhurst Dr., L.A. It will be headed
by Bernard Safyan of S-W, and B. L.
Burton, formerly of Stone/Burton Asso-
ciates. e

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Art D

~— 88 Sune inaa”

Cut
PER
ETS

ORS
TER

lif.

editorial

(continued from page 4)

public relations effort by AD organiza-
tions. The clubs, particularly the vigor-
ous New York group (38 consecutive
shows!) are justifiably proud that the
entire advertising industry covets AD
medals. The “shabby little art direc-
tor”, as Jim Hastings describes our
pre-1921 ancestor, has profited much
from this intensified interest in his
product.

But powerful, incessant publicity
over the years can backfire. Assume
that Advertiser A and Advertiser B
both win AD medals for handsome
advertisements. Advertiser A says to
himself: “Of course, mine is a great
piece of strategy and copy, and my
ad naturally deserves a medal for art!
But that crazy thing hanging next to
my beauty...!!!" Advertiser A hasn’t
really read the prospectus. He doesn’t
really understand why his piece won.
He doesn’t know that though the art
jurors probably recognized the tactical
and literary merits of his ad, they really
have honored it for its art alone. All
he knows for sure is that Advertiser B
won with an ad that Starched zero, and
which evidently sells nothing but art.
Perhaps, disillusioned, hé soon becomes
the client who scorns AD awards, who
bounces any layout that has the
“designy” earmarks of an art show win-
ner—and, consequently, his advertising
begins to suffer. He loses faith in the
value of artistic presentation of any
idea.

What of Advertiser B? His art direc-
tor has submitted and won with an ad
that has a graceful shape but a clumsy
gait. Assuming that this advertiser, too,
misunderstands the exhibition, does
the award do anything but befog the
basic issue further in his mind? Does
he really know that the plaudit is for
good art in spite of awkward copy?

We need a bench mark. One way to
clarify what an advertising art award
is is to show, also, what it is not—to set
the general alongside the specific. We
believe our “Umbrella Awards” will
have such an effect. And they serve
another, more important end: They
show our clients and our agency col-
leagues that art directors can transcend
their individual art, even as they main-
tain its beau ideal.

Cyclops, thy days are numbered!
— Charles Dickinson

President, Art Directors
Club of Detroit

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(continued from page 41)

John F. Becker, research director of
Opinion Research Corp., underlined
the importance of corporate image and
ability of research techniques and sur-
vey methods to accurately measure that
image. Network audiences are now split
three ways with the emergence of ABC
as competition to NBC and CBS, stated
Philip L. McHugh, vp of tv and radio
for Campbell-Ewald, Detroit.

Kay Corinth, merchandising director
for Seventeen, called young people per-
haps the last merchandising frontier.
This market makes up 10 percent of
the total population, she said. Fred-
erick B. Manchee, former executive vp
BBDO and author of Hucksters’ Re-
venge, urged those in every branch of
advertising to develop their under-
standing of all advertising and business
operations.

Though European advertising is
booming and taking cues from Ameri-
can advertising, many successful Ameri-
can methods would fail in certain
European markets if the American
methods were handled without appre-
ciation of the differences of each nation
and ethnic group. So stated Bernard
Musnik, president of Publicis Corp.

Other speakers included: Howard
McIntyre, vp and secretary, Henderson
Advertising Agency, and E. Herbert
Kittredge, Jr. executive vp, Texize
Chemicals, who gave a case history of
Texize advertising. Also: Paul Gerhold,
vp media and research, FCB Roger E.
Bell, vp George Fry Associates.

chapter clips

Baltimore: New members are Howard H.
Brady, artist, Linotype Composition Co.;
Myron D. Goldfarb, P.M., Newhoff-
Blumberg Advertising; Max Strickland,
artist, Maran Printing Co.; Carl W.
Soine, P.M., Eastern Products Corp.;
Harry P. Sprow, Roman Advertising . ..
Bob Wirth, Bill Schneider and Aaron
Canter are committeemen planning Fa-
mous Artists Course Scholarship award
... Recent speaker was Jim Henson, who
with associate Jane Nebel produces

or of
lined
> and
| sur-
. that
split
ABC
tated
radio

ector
} per:
ntier.
nt of
Fred-
je vp
| Re-
ch of
nder-
siness

meri-
meri-
rtain
rican
ppre-
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rnard

yward
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rbert
‘exize
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1 Co.;
vhoft-
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,Orp.;

\aron
g Fa-
ward
, who
duces

Muppets Show...Club’s recent ad of
the month award went to consumer
magazine ad by and for Emery Adver-
tising, “individual packaging.” By AD
Thomas E. Parlette, and Gordon Lowen-
berg of Lionhill Studios who did lay-
out and type direction. Photograph by
Sherley Hobbs of Walters Art Gallery.
Copy by Emery vp Mary E. Busch.

Chicago: Robert Pliskin, senior AD and
creative plans group member at McCann-
Erickson, New York, told recent meet-
ing about McCann’s plan to stimulate
creativity. His agency encourages ADs
in variety of AD-planned and executed
projects, such as: McCann gallery shows,
an issue of SEP mounted on reader-
ship study graphs so that entire issue
can be appraised at a glance, display
boxes on subjects ranging from Inter-
national Geophysical Year to new mar-
kets developed by American business,
a cinema group which reviews produc-
tions for idea values and presents its
selections frequently in agency’s audi-
torium...Club members recently at-
tended exhibit of contemporary Italian
design, presented by Institute of Design
at IIT. Participants in a seminar held
in conjunction were, from the institute,
Richard Barringer, associate professor;
designer and institute director Jay
Doblin; and Italian designer Massimo
Vignelli who is visiting professor.

Memphis: Bud Hisky of Brunner Printing
takes over editorship of The Rush Job,
club’s newsletter, from Kathryn Huck-
aba. His staffers: assistant editor Charles
Cantrell, ad mgr. Fred Price, production
dept.—Mary Ann Jones, Gus Beatty,
Malcolm Presgrove and Jay Parker.

Montreal: Dr. F. Elkin, asst. professor of
psychology at McGill, spoke on A
Sociologist Looks at Advertising. This
was for club’s 78th general meeting.

Philadelphia: New members are Bernie
Brownstein, Al Furber, Walt Mazurak,
Bob McBride, John McCullough, Vince
Miller, Tony Russo and Casey Rzucidlo
..-Club will build scholarship aid fund
to be distributed annually to profes-
sional art schools in the area... Plans
are to organize a continuing program
of activities such as seminars, exhibits,
presentation of a yearly award to an
outstanding Philadelphian, a workshop
program in the graphic arts.

St. Lovis: Felix Coste, president of Out-
door Advertising Inc., addressed joint
luncheon meeting of AD club and the
Ad club. 100 Best Outdoor Posters were
displayed. Coste is a native St. Louisan
and a former member of the Ad club’s
board of governors. e

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Art Direction / The Magazine of Creative Advertising / July 1959

11th Edition Catalog—$2.50

ILLUSTRATION STUDIOS, INC.

646 N. Michigan Ave., Chicago 11
DElaware 7-1711

bookshelf

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

NEW BOOKS

190. New Horizons in Color. Faber Birren.

Again available, the 1955 book which
examines all known systems of color and color
harmony. Over 150 illustrations, 6 in full color,
and 2 pages of color chips. For over 25 years
the author has been an authority on color and
how it affects vision, emotion, psychology. $10.

191. The New Graphic Art. Gerstner and

Kutter. Thoughful, interpretive visual
review of graphic design the world over.
Emphasis on period from early 1920s to today.
More than 400 illustrations. Not merely story
of design origins, but reveals current status
and future directions. $15.

192. The Status Seekers. Vance Packard.

Exploration of class society in America,
and a more carefully documented less popu-
larized treatment than Hidden Persuaders. A
good job of pulling together and interpreting
readably the serious work in this field. For all
in the business of communicating. It adds to
our understanding of the people who are the
target of our headlines, illustrations, designs
and symbols. $4.50.

193.. Advertising Layout and Art Direction.

Stephen Baker. Thoroughly professional
and up to the minute commentary on art
direction as a business. Author, known to Art
Direction readers for his monthly articles,
Directions, has written more than 100 articles
for this and other ad magazines, is senior AD
and group head, Cunningham & Walsh, and
member of the executive committee of the Art
Directors Club of New York. This is not oa
how-to book, but rather a how-it-was-done
book—outstanding contemporary advertise-
ments, promotions and campaigns are case-
historied to illustrate author's points About
1000 illustrations. 342 pages. $13.50.

ANNUALS

176. Penrose Annual 1958. Edited by Allan

Delafons. Designed by Arthur Spence.
Highest quality material on the graphic arts in
Europe and the United States, a review of the
best in all fields, excellently designed and repro-
duced. Thoughtful articles by authorities in all
the fields of graphic arts, both of general and
technical nature. 138 pages plus 25 sections of
illustrations. $12.

182. 37th Art Directors Annual, 1958. Edited by
Paul Lawler, designed by Herb Lubalin
and George Lois. This book illustrates the 467
pieces hung in the 1958 New York Art Directors
show, contains articles on: The creativity confer-
ence, by Paul Smith. The exhibit, by Victor Tra-
soff. Design of promotion for the conference and
the show, by Herb Lubalin. The NSAD, by Robert
West. The New York club, by Bert Littmann. Cross
indexes are also helpful. $12.50. (Also available,
the 36th Annual, order number 165, at $12.50.
The 35th Annual, order number 146, at $12.50.)

186. International Photography Year Book

1959. Edited by Norman Hall & Basil Burton.
Includes a short photo essay on the Seine, by
Henri Cartier-Bresson; nine ‘‘starred'' photog-
raphers—short biographies and several examples
by each; work by 157 photographers. A section of
technical data and notes. $6.95.

188. Pictures That Talk ... U. S. Camera 1959.

Edited by Tom Maloney. 24 ful! color pages
in the 300 pages which include portfolios by
Weston, Yila, Bryson, Szasz, Gill, Mclaughlin,
Basch and Horst. Also, a New York documentary,
with work by 70 photographers. Special features:
American Daguerrotypes, Photography in Adver-
tising Art, Second Festival of Film Artists, The
Space Age. $8.95.

189. International Poster Annual 1958/59.
Edited by .Arthur Niggli. 502 selections
from the world's best, including 54 American
designs by 20 artists. Paul Rand, Saul Bass and
Erik Nitsche lead the American group in number
of pieces chosen. Ladislav Sutnar, Lilli Tschumi
and Georg Olden follow closely. Editor Niggli
draws special attention to the Polish theatre and
cinema posters—‘‘among the best that have been
created in this field for a long time.'’ $12.

ART

155. Art Directing. Nothaniel Pousette-Dart,

editor-in-chief. A project of the Art Directors
Club of New York, the volume contains 13 sections
on various phases of art directing, each section
comprising several short articles by authorities
on specific subjects. Each section was designed
by a different AD. Agency and company execu-
tives, copywriters, as well as art directors are
included in the 70 contributors. Over 400 pictures
are included in the book's 240 pages. Of aid: a
glossary of AD and advertising terms, a bibliogra-
phy and an index. $15.

ART DIRECTION
19 W. 44th Street, New York 36, N. Y.

146 155180 si“ («CGS
186 187 —s«188—s—(ité«éis«C
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164. Rendering Techniques for Commercial Art

and Advertising. Charles R. Kinghan.
Author, in the field over 37 years and now with
BBDO, New York, includes demonstrations, visual
helps, professional samples, information on ren-
dering in all media, comprehensives shown in all
the stages of development. $13.50.

PRODUCTION
187. Color by Overprinting. Donald E. Cooke.

Now available, an economy edition of the
original $25 volume. More than 10,000 exact color
samples and combinations, providing visualiza-
tions of various basic combinations of 11 key
transparent inks. Also, 44 pages of pictorial
application of the medium, by leading artists.
250 pages, $15.

TELEVISION

173. Television Production, the TV Handbook

and Dictionary. Harry Wayne McMahan.
Working tool explaining 16 basic operations in
tv, and language of the field. More than 2000
terms defined. Chapters included on live ty,
film, lighting, camera, art, titles and scenery,
animation, film and processing, optical effects
and special effects, etc. $7.50.

GENERAL

160. Motivation in Advertising: Motives that

Make People Buy. Pierre Martineau. A
thorough analysis of the consumer as a human
being: how he behaves, why he buys, what fac-
tors in advertising actually influence him. How
emotions overrule logic, how to appeal to emo-
tions, the role of semantics and symbolism in
influencing purchases. $5.50.

174. Photomechanics and Printing. J. S. Mertle

and Gordon L. Monsen. Definitive work on
the printing processes by two of the country's
greatest authorities in plate-making and printing.
Fully illustrated 400-plus pages. Up to the minute
data on original copy for reproduction, photo-
graphic materials and equipment, color reproduc-
tion, all processes. Fully indexed. $15.

175. Color...How to See and Use It. Fred

Bond. Spiral bound, hard cover technical
study in simple language of the principles of color
relationships and associations. Basic procedures
in solving color problems, for photographers,
artists, industrial designers, teachers and stu-
dents. Author has been a photographer, color
consultant, author and lecturer on the subject
for more than 30 years. Includes 19 pages of color
plates, 53 b/w, envelope of hue selector masks.
$8.75, plastic bound $9.75 in case.

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

Amt. Encl. $.
173 174 175 176 182 183
191 192 193

All orders shipped postpaid. No C.O.D.'s. Add 3% sales tax with orders for
New York City delivery. Payment must be made with order. Add 5% per title
for delivery outside USA, except APOs.

Zone State

if you want a book not listed, send your order and we will try to get it for you.

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183

s for
title

chandelier

(continued from page 49)

Silverman. Copy: Carmel Friedman.

Typeface: 10 pt. light line Gothic.

Genete! Motors announces o modern concept in educated sermce

(Guardian

Maintenance

(suardian =

Generar morors :
— ) Vaintenance

MAY-JUNE |
ase we SAFETY SERWICE SPECALS

GM, in announcing its Guardian
Maintenance plan through newspapers
and magazines, is using series of “chan-
delier” shots. AD Robert A. McLaren,
D. B. Brother, Detroit, said: “It’s a strik-
ing way to illustrate our problem.”
Photographer, Johnson-Shirk, Inc. Copy,
Ed Rushton. The magazine schedule,
by the way, follows another trend—the
left hand page a big pic, the right hand
page all type.

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Calgon Co. had to show how well
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“This meant quality photography, yet
simply executed,” said AD Elmer F.
Yochum, Ketchum, MacLeod & Grove,
Pittsburgh. Photographer, Don Briggs.
Copy, Irma Koval. @

Art Direction / The Magazine of Creative Advertising / July 1959

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75 W. 45th St., NYC 36 Cl 5-6781
National Studios

Hot Press, Slides, Telops, Animatics, Flips, etc.

42 W. 48th St., NY 36, NY JUdson 2-1926

TYPOGRAPHY

The Composing Room, Inc.
Advertising Typographers

130 W. 46 St., N. Y JUdson 2-0100

Linocraft Typographers
333 West 52nd Street

New York 1, N. Y. PL 7-8295

CLASSIFIED

COLOR PRINT LAB needs first class man capable
of making top quality dye transfer prints. Must
be thoroughly experienced. Must take up resi-
dence in Detroit. Oakland Color Prints, Inc., 2867
East Grand Boulevard, Detroit 2, Michigan.

ART DIRECTOR FOR Mid-Ohio Agency. An out-
standing opportunity with a future for a young,
but experienced working art director. Must have
well rounded background in all phases of adver-
tising art with emphasis on creative layout. Ability
to assume full departmental responsibilities essen-
tial. Send complete resume and salary require-
ments to Box A-4, Art Direction, 19 West 44th St.,
New York City 36.

TOP COLOR RETOUCHER, Flexichrome, B/W let-
tering. Now on national accounts. Desires space
arrangement with guarantee. Gl 7-7390. Box 3004,
Art Direction, 19 West 44th Street, New York

HIGHER

“HIRE

through

ALLAN KANE

PLACEMENT AGENCY

6 E 46 ST. Yukon 6-9585

art personnel

SAVE TIME...SAVE MONEY

for ART * PRINTING * PHOTO ©
LITHO © SILK SCREEN © ENGI-
NEERING
Send for Catalog B
LACEY-LUCI PRODUCTS C0.
31 Central Ave. * Newark 2, W. J.
| $485 and up. DEALERS: Cheice Territories Open

(continued from page 85)

Correia Color, Inc.
Craftint Mfg. Co. .................
Crandall Associates, Robert ...

du Pont de Nemours & Co., Inc., E. I.

Edstan Studios

Fairgate Rule Co. ......................

Famous Artists Schools, Inc. ..

Faraghan Studio, George

Flezo-Lettering of New York .

Floquil nites tadenenlaias

Fri Artists S lies, A. I.

Friedrich-Frisbie & Coz, Inc.

Friedrichs Co., E. H. & A. C. .......

Glaubach, Stanley see

Graber Art Associates, Norman

Group Productions

Grumbacher, Inc. M. ....................

Guy Studios, Durwood

Haberule Co., The

Headliners, Inc., The ..............

Higgins Ink Co.

Hudson Photographic Industries, Inc.

Hunt Pen Company, C. Howard

Interstate Photographers, a Division of Inter-
state Industrial Reporting Service, Inc.

Johnson & Shirk, Inc. .

Johnstone & Cushing ...

Kane Agency, Allen

Kennedy Associates . anid

Koh-I-Noor Pencil Company, IUD, incssnivrectibaaaine

Kurshan & Lang

Lacey-Luci Products Co.

La Driere Studios .......

Langnickel, Inc. A.

EE IIE cxccesssennscsssssinnsctsneessete

Lewis Artist Supply Co. -

Lezi-Craft Typographers Co. ...................

Michael Lopert .. sinlidansncitesintal

Lucygraf Manufacturing Co. abesbiceeonelaas

Mailers, Inc. ......... lenis

Marks Color Labs, Ralph . =

John G. Marshall Mfg. Co. ..

Mask-O-Neg

Mayshark & Keyes, Inc. .

Meinzinger Illustrations, Inc.

Messmer, Walt (Graphicmark)

Miller Advertising Production, Wm.

Minnotte Studios

Monogram Art Studios, Inc. .

Morilla Company, The .

McNamara Brothers ........

National Card, Mat & Board Co. :

National Studios ....

Near-North Guild

Neely Associates

New York State Employment Service ..

Nu-Film Products

Permo White Company ..

Peterson Color Labs ...

Philadelphia Art Supply

III, FIN cscsiscsccecosscseusassasesecseesess

Photo-Library, Inc. ........

Picture File, The ........

Printing Arts Research ‘Laboratories -

Prints In Color

Rapid Art Service, Ine. .....................

Roberts, H. Armstrong ...

Samerjan, George

Saral Paper Company .......

School of Visual Arts .. ve

Service Typographers, ‘Ine. =

Shaefer, Rudolph aemecaieaaeteall

Shiva Artist's Color ..............c.cccccceecseees

Skilset Typographers

Statmaster Corp. . nei

Stephens-Biondi- De Ciceo = ae

BEB Gig TR oinsiscescsescesstsscscccssviccnssesseses

Talens & Son, Ine. ........

Tech Photo Labs sneieasiaciel

Trace-Rite Sales Corp. . .

Underwood & Underwood Ilus. selidendchibehedhaaasibied

Winstanley, Inc., Warren . ;

Weco Studios

Wildner, George ............. : a

Winsor & Newton, Ine. ............

Witt, Bill

IS MII os oa cssacsetcoumnanaes

York Typesetters

Art Direction / The Magazine of Creative Advertising / July 1959

A PLACEMENT SERVICE
FOR COMMERCIAL ARTISTS

MUrray Hill 8-0540

PROFESSIONAL PLACEMENT CENTER
NEW YORK STATE EMPLOYMENT SERVICE
MADISON
AVENUE

NEW YORK 22

‘
For Artists’ Needs

PHONE

E. H. & A. C. FRIEDRICHS CO.
Artists Materials Since 1868

40 EAST 43rd STREET
Murray Hill 2-2820

140 WEST 57th ST Rest
Circle 7-6608

363 LEXINGTON AVE.
Lexington 2-0300

H. Taws, Inc.
1527 Walnut Street

In
Philadelphi
Wledelphia | i senhouse 68742

typography

WA 5-3364

York Typesetting Co., 480 Canal St., N. Y.C.

layout & design, TV art
painting. life drawing
illustration, fashion
cartouning, lettering
technical illustration
typography, paste up
day & evening, co-ed

school of
S VISUAL_ ARTS

245 East 23 St., N.Y. 10
MU 3-8397 catalog D

TRANSPARENCY RETOUCHING
ASSEMBLIES

a monthly feature

, &/ BIRECTIONS

. £
ei) (5N

*
by Stephen Baker —

Understatement, believability help Coca-Cola
ads score with both mass and class markets

‘BE REALLY REFRESHED. ..WITH ICE COLD COKE

In the last issue of this magazine we
had a few words to say about the current
Pepsi-Cola campaign which features ele-
gant people painted in a sort of Grand-
ma Moses style. We made a guess that
Pepsi-Cola was out to impress the low-
brows with high-brow pictures and if
that was their aim they did not succeed
too well. The type of paintings used in
their advertising did not, it seemed to
us, upgrade their product.

Shown here is an ad culled from the
recent advertising campaign of another
soft drink maker, the giant in the field,
the Coca-Cola Company.

It is obvious that the Coca-Cola peo
ple, unlike their opposite numbers in
the Pepsi-Cola offices, have no intention
of impressing the high-brow segment of
the American population. Rather, they
aim to conquer the masses—the so-called
“man on the street.”

In its advertising, Coca-Cola makes no
pretense of claiming there is anything
special about a bottle of Coke other than
that it is a darned refreshing drink. For
a while, the agency resorted to high-
style art work, reminiscent of the tech-
nique used in old tapestries and always
executed beautifully, but this interlude
with the offbeat was abandoned, and
now we have just nice, clean photo-
graphs of boys and girls having a good
time.

* * *

There are many who lament the pass-
ing of the decorative art work that
appeared in Coca-Cola advertising, the
writer of this column being one of them.
The present campaign certainly offers

no earthshaking innovation in its form
of presentation. Be that as it may, we
must admit that this kind of advertising,
unpretentious as it is, must be doing a
lot of good for the client.

The ads are done in excellent taste,
every one of them. It has long been the
policy of Coca-Cola to understate its case
and, consequently, the ad shown here
reeks of honesty. The photograph here
could easily have been overstated—both
the hero and heroine could have been
sipping Cokes, for example—but wisely
the agency picked a more believable sit-
uation. The logotype is small, the typog-
raphy subdued.

The advertisement does for Coca-Cola
exactly what we imagine the company
always wanted. The illustration features
young people, the most important con-
sumers of non-alcoholic beverages. T
scene is a sailboat. Now, sailboats ha
appeared in advertising photography
fore, that’s true, but one can forgive t
oversight here. Coca-Cola has always
prided itself as being part of Americana,
like baseball and the-jukebox, and ads
like these help this image along.

In its own quiet fashion, this ad sur-
passes the recent Pepsi ads in good taste.
We daresay pictures like these, executed
in this manner, hit home not only with
low-brows and middle-brows, but with
high-brows as well, even though the boy
is wearing a wrinkled T shirt and the
girl is slightly uncombed, and there is no
penthouse in sight. This ad could be put
either in the Saturday Evening Post ot
the New Yorker—and it would be equally
at home in either publication. +

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Full text of "Art Direction 1959-07: Vol 11 Iss 4"

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