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HE MAGAZINE OF CREATIVE ADVERTISING JANUARY, 1960 $1. 












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»w York-N. E. New Jerse 139. | South Bend (1 
oe ow boat ny ‘ 742,762 1 | 196. | Colorado Sprin 
83. Los Angeles-Long Beach Cal 454 642 vd 46 a) Pa 
28. | Chicago ‘Il 397.305 3 188. | Bristol-Johnso 
4) Detroit (Mich 258 926 4 Tenn.-Va 
106. | Philadelphia (Pa 222 .086 5 136. | Shreveport (La 
18. Boston (Mass 173.421 6 17 Richmond (Va.) 
130 San Francisco-Oakland Ca 147 873 7 140. | Spokane (Wash 
108 Pittsburgh (Pa 137.400 + 27. Chattanooga (Te 
Kil) Cleveland |‘ Ohic 128.972 9 279 Yakima (Wash 
124 St. Lou's (Mo 128 422 10 182 Benton Harbor-S 
92..| Minneapolis-St. Pau Ainn 110,957 W # Mich . 
157 Washington ‘D. ( 107.955 V4 71 Kalamazoo Mie 
21 Buffalo (N. Y 99,143 13 4) Charlotte (N. ( 
90. Miami (Fla 98 409 14 167 York (Pa 
72 Kansas City (M 96.393 15 207 Fargo (N.D 
64 Houston (Tex 91 489 16 45 EI Paso (Tex 
12.18 io Md 81 630 a 147 Tacoma (Wast 












MADE AT MONOGRAM 





JEROME MARTI 


This syncopated selling scene by ve 
Jerry Martin is Just one of many eff 
visual styles in the new idea-taled 
file...‘‘Made At aonaaill 





The first portfolio release mailed ty 
month also shows Jerry’s well-tung 
talents in other illustration techniques 
dramatic diversification that mak 

him practically a one-man-band of tp 
drawing board. Following Jerryw 
come a full visual orchestration oftf 
nation’s most complete graphic creativ 
showcasing...‘‘The Men of Monogram 


To strike up a band of imaginat@ 
ideas that can put your sales on 
upbeat, get in concert with 

“The Men of Monogram” performi 

in this portfolio ‘‘Made At Monogr 
You can get your free copy simply 
waving a baton at the Monogram st 
nearest you: Monogram Art Stu 

515 Madison Ave., New Y 
GO-Monogram, 1666 Penobscot Bi 
Detroit > Owen-Mastropaul (affilia 
114 Norma Rd., Syracy 
Mossman-Munschauer (affiliai 
337 St. Paul Place, Baltimoy 

































Chevrolet dealer record jacket /Campbell Ewald, Detroit/Wally Overhardt, AE/ John Reizian & Jim Bernardin, ADs/Monogram design, Frank Mayo. 






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logran 
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Art Direction / The Magazine-of Creative Advertising / Jonvary 1960 


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RT 


DIRECTION 


OFFICIAL PUBLICATION OF THE NATIONAL SOCIETY OF ART DIRECTORS 





is the agency abdicating control to the design studio? 


“...large and small business...are very much concerned 
with their overall company image. Some large corporations 
are successfully handling the problem not so much through 
their advertising agencies ... but by reaching over the head 
of the agencies directly to some of the country’s best free- 
lance designers or design organizations.” 

Charles Coiner reminded the audience at a Philadelphia 
ADC meeting on “The Changing Role of the Art Director” 
of this trend, noted that if agencies don’t act to control this 
work they are in effect encouraging their own clients to 
bypass them. The designer thus dictates format, first of 
collateral material, then of the advertising. The agency is 
reduced to a space buyer. The creative men in the agency 
lose their function. 

There’s nothing local about this trend. It happens in 
Chicago, New York and on the West Coast as well as in 
Philadelphia. 

This is a touchy dilemma for the AD. It isn’t his decision 
to let the design control go out of the agency. It isn’t within 
his power to change the trend. Yet his salary scale, his very 
job, is being undermined by the trend. 

It isn’t too soon for agency ADs to get together to con- 
sider how they can cope with the problem. As individuals, 
many are simply leaving the agency, freelancing, and trying 
to ride the trend. But it would seem to be in the interest 
of all to help the agency role as creative counsel grow 
rather than divide and diminish. 

Perhaps attacking this problem offers a challenging activ- 
ity for AD clubs and the NSAD. * 





Art Direction, published monthly by Advertising Trade Publications Inc., 19 W. 44 St., New 
York 36. N. Y. YUkon 6-4930. Subscription price $6.00 per year; $10.50 for two years; $7.00 a 
year for Canada and $10.00 for other countries. Back issues 85¢ 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. 


DIRECTIONS 
Aimed creativity 
An exploding America 
Doyle Dane Bernbach 


ART & DESIGN PACESETTERS 
Cincinnati 
St. Louis 


BUYERS GUIDE 
A classified directory to 255 products, 
services, talent sources 


AIMED DESIGN 
Sick and reflexive ads, 
Dr. Irving A. Taylor 


NEWS & VIEWS 
Business briefs 
Letters 
Coming events 
ls a court decision mandatory? 
What's new 
News 
What's best, critic's choice 
Vitality in editorial pages 
Studio billings 
In Philadelphia 
In Chicago 
West Coast 
Cover designer Arnold Varga 


TRADE TALK 


SERVICES 
Booknotes 
Bookshelf 
Index to advertisers 
Ready reference, classified 





Publisher: Don Barron ° Editor: Edward Gottschall 


Designer: Ken Saco e Asst. Editor: Ann Cohen 


Asst. Designer: Curt Lowey * Advertising: William Kennedy 
Circulation: Calla White ° Traffic: Yvonne Lusardi 


ASSOCIATE EDITORS: Atlanta, Harold Kjeldsen; Baltimore, Bruno 
Woernle; Beston, Mark Kelley; Chicago, Harry J. Smedley, Jr.; Cincin- 
nati, George Tassian; Cleveland, Carl Behl; Columbus, Gordon 
Odwarka; Dallas-Ft. Worth, Brooks Keller; Denver, Norman Zander 
Fried; Detroit, Tom Roberts; lowa, Wendell Mohr; Kansas City, 
Thomas R. Korchak; Les Angeles, Ed Mitchell; Memphis, Kathryn 
Huckaba; Miami, Peggy Strickland; Milwaukee, Wesley A. Corner; 
Minneapolis-St. Paul, Donald K. Skoro; Montreal, Edmund Laliberte; 
Nashville, Horold West; New York, Edward R. Wade; Omaha, John 
Andrews; Philadelphia, Lester La Bove; Pittsburgh, Walter Lofferty: 
Portland, Ore., Pat Shaylor; Richmond, Robt. R. Meacham; Rechester, 
Ric Rylands; $t. Louis, Louis Meyers; San Francisco, Cal Anderson; 
Seattle, Mayrus McDonald; Spokane, Hal Bacon; Toledo, John Richter; 
Toronto, Joan Chalmers; Washington, D. C., John R. Beveridge 


NSAD OFFICERS: Arthur Lougee, Detroit, President; Fred Cole, Son 
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. Y. 
Phone: LExington 2-1366. 











ER, STR SE F - is ee Dae ee oe ee Re 
Ve phe A Oh Bandages SSCA HES, asl aS 








SSececsseses 28> @ @ # i }§° 


INDUSTRIAL PHOTOGRAPHY... 
CESSPOOL OF THE 
ADVERTISING INDUSTRY 


75% of the ads in business publica- 
tions are a waste of time, space and 
dollars . . . and that’s because the 
photos in those ads run the gamut 
from mere adequacy to unbelievable 
mediocrity. No advertiser, no agency 
has the right to permit the main 
photo illustration in any ad to be 
static in its visualization, meaning- 
less in its message, sub-standard 
even in its mechanical aspects. 

Go through magazine after maga- 
zine in the vertical fields of industry 
and you will see photos of manufac- 
turing or performance scenes, where 
the focal point of attention is moot, 
the lighting flat or synchronized, the 
“housekeeping” filthy and the back- 
ground confusing. You will see em- 
ployees’ backsides, employees with 
white shirts, Hawaiian shirts, plaid 
shirts, employees with rags dangling 
from their hip pockets. 

Any decision-making advertising 
man who lends himself to this pas- 
siveness, to this willingness to accept 
adequacy instead of optimum, who 
knowingly takes the admittedly 
easier, less troublesome, we’ve-got- 
other-problems approach, when he is 
involved with a relatively low cost 
campaign (for that’s what trade 
paper advertising is) is guilty of a 
disservice to the profession in gen- 
eral, to the sale of the product in 
particular. 

No-one is questioning the fact that 
the agency working for the indus- 
trial advertiser has to be extremely 
realistic about the photographic 
budget. Obviously an ad for space 
costing $425 to $1000 per magazine 


scheduled, can’t digest a charge of 
$200 to $400 for photography. But, 
the agency ... and the ad... are in 
trouble when it goes to the other ex- 
treme, and: 


a. accepts a mechanically proficient, 
but static picture provided by the 
client 

. accepts a company salesman’s ver- 
sion of what constitutes a good 
picture (some ads even use Polar- 
oid reproductions) 

. accepts an ordinary-looking photo- 
graph provided by a professional 
photographer 

. accepts a photograph that neces- 
sitates anything more than a mini- 
mum amount of retouching, re- 
gardless of how the picture was 
obtained. 


The need for photography in adver- 
tising requires no defense. With 8 
out of 10 ads featuring a picture, 
serious consideration has to be given 
to the method in which the photos 
are obtained and how much should 
be spent for them. We say, we’re 
ready to prove that the INTER- 
STATE way is the only feasible 
practical way to get photographic 
illustrations or user-benefit case- 
history reporting on a national scale. 

INTERSTATE is stand-alone in 
the field of industrial photography 
and/or case-history reporting. We 
are not, nor do we want to be placed 
in the category of other photo ser- 
vices. The quality of our product 
simply cannot be beat (except by the 
illustrator in the $500 - $1000 per 
day bracket). We are perfectionists, 


and no-one practices that any more; 
we insist on at least striving for the 
ideal and too many cameramen chafe 
under that insistence. We have no 
other function in life except to serve 
the advertiser and its agency ... we 
are not a news agency maintaining a 
by-product commercial department; 
we are not agents for the 2400 local- 
level photographers who serve our 
interests (they create photos our way 
or not at all, at our price scheduling, 
not theirs). 

We use 50 of our own staff people, 
plus 2400 local-level photographers, 
1100 cinematographers, 600 indus- 
trial reporters (all screened and di- 
rected from one central office) to 
handle over 11,000 assignments an- 
nually for more than 200 active 
clients. That’s more than one assign- 
ment every 47 minutes of every 24 
hour working day, every day of the 
year. Our rates are realistic and 
standardized ... you pay the same 
price (no travel time, no inter-city 
travel costs, etc.) for an assignment 
in Seattle as you do for one in Miami, 
Tucson, or Mesquite (Nevada). And 
you always know in advance what 
your total cost will be. 

We need one show-case assign- 
ment from you. You haven’t a thing 
to lose, for if you're displeased with 
the end results, return the material 
and there will be no charge (any 
ethical company would do this any- 
way). 

For quotations or further infor- 
mation, call collect to our executive 
offices in New York — Murray Hill 
8-1880. 


INTERSTATE 


4 


a 


DIVISION 


INTERSTATE INDUSTRIAL REPORTING SERVICE, INC. 


EXECUTIVE OFFICES: 675 FIFTH AVE... NEW YORK 22. N.Y... MURRAY HILL 8-1880 
MIDWEST REGIONAL OFFICE: 469 EAST OHIO ST.. CHICAGO II. ILL.. MICHIGAN 2-0080 
WEST COAST REGIONAL OFFICE: 700 MONTGOMERY ST.. SAN FRANCISCO 11. CAL.. GARFIELD 1-1987 
DISTRICT OFFICES: PARK AVENUE BLDG... N. W. COR. PARK & ADAMS AVES.. DETROIT 26. MICH.. WOODWARD 1-6900 
B. F. JONES BLOG. ANNEX. 311 ROSS ST.. PITTSBURGH 19, PA.. COURT 1-2980 
3839 WILSHIRE BLVD. LOS ANGELES 5. CAL.. DUNKIRK 5-7161 


ALEXANDER ROBERTS: PRESIDENT ano GENERAL MANAGER 








NOBODY, BUT NOBODY GETS TESTIMONIALS LIKE 


INTERSTATE 


EARL C. EDGAR, Creative Supervisor 
Cunningham & Walsh, Inc., New York 


ee INTERSTATE is fast, consistently dependable, ‘take-charge’ 

in operation. For American Cyanamid's 48-state agricultural 
campaign, they create for us believable illustrations, 

and come up with detailed, documented reporting data written 
in the language of the farmer. INTERSTATE’s contribution 


makes the campaign a better one. ee 











WILLIAM A. BRAMLAGE. 
Fo hc- batt} bole Me tele Mtciol (sms: ion- Manager 
Littleford Br c., Cincinnati 


@@ INTERSTATE has provided us with a higher percentage 
ai ro) MET rote) MoCoR A sarc stele Mot (eM lol liolslod MB e)slolloreidese)h amet tel 
case history material than any other previous source 

in the 76-year history of our company. ee 


M. GEORGE SNYDER, Public Relations and Advertising Director 
Mobay Chemical Co., Pittsburgh 


tl . & ee INTERSTATE’S work is terrific! While the technical quality 
“ug of the photos (clarity, sharpness, creativity) is excellent. we 
a" never cease to be impressed with their consistency, which in 
et : 5 itself is quite a commentary since these jobs are always handled 
fa. ; i on location, in non-captive areas, and under working 
° conditions that certainly cannot be conducive to a top-flight effort. ee 






DAVID AUSTIN 

N. W. Ayer & Son, Inc., Philadelphia, Penna 

bad @wWe have found INTERSTATE to be fast, efficient, thorough, 

ia reasonably priced. They keep us informed of the 

shittesi lols Melttetele Mts (-MBo) de) ( loi MMeti(eMeloMembrilocetsttila-s1mh le) ome! 

follow-up and delivery. Not only do they understand 

basic advertising photographic requirements such as 

composition, color, function of equipment, etc.... 

but they have an impressive comprehension of 
merchandising and purpose. Sy by) 


a 





INTERSTATE 


DIVISION 





INTERSTATE INDUSTRIAL REPORTING SERVICE, INC. 


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 
DISTRICT OFFICES: PARK AVENUE BLOG..N. W. COR. PARK & ADAMS AVES.. DETROIT 26. MICH.. WOODWARD 1-6900 
8 Ff. JONES BLOG. ANNEX. 31! ROSS ST.. PITTSBURGH 19. PA. COURT 1-2980 
3639 WILSHIRE BLVD. LOS ANGELES 5. CAL.. DUNKIRK 5-7161 


ALEXANDER ROBERTS: PRESIDENT anwo GENERAL MANAGER 














; NOBODY, BUT NOBODY GETS TESTIMONIALS LIKE 


INTERSTATE 


THEODORE “TED” LOZIER, Art Director 
G. M. Basford Company, Cleveland, Ohio 


ee What I like about INTERSTATE is the complete photographic 
and reporting package they offer. Maybe that seems strange 
coming from an art director, but most of us do recognize 
that we have to be concerned with the effective blending 
of the visual and copy aspects of an ad. By the integrated 
nature of the service they render, INTERSTATE is a must 
source to go to. I like their service ...the speed of that service... 
the good photography, the depth of the stories ... and 
the fact that all of this is done on a simple, matter-of-minutes, 
‘long-distance’ handling. ber) 


AL SNEDEN, Art I 
BBDO, Pittsburgh 
@® Our confidence in INTERSTATE is complete. Because they 
‘ have taken the time to learn our problems, we seldom 
have a slip-up. Even when I can't supervise the job 
myself, I can leave it to them to cover virtually any 
photographic assignment for our clients. I don’t have 
to nursemaid the jobs, we get frequent progress 
reports, deliveries are made when promised, and their 
quality of work, whether black and white or color, is high. @® 


LO 





MISS ESTHER M. HARRIS, Art Director 
Doyle, Kitchen & McCormick, Inc., New York City 











ee The competency, the professionalism, the excellent quality 
of the finished product are all elements identifying INTERSTATE 
that I have come to take for granted. What does impress 
me most is the friendly, cheerful personal attention each of my 
assignments receives. Nothing has ever been too much 
ae trouble, no request has ever been regarded as unreasonable in 
all the years of my relationship with them. ee 












































PHILLIP DEMME, Vice-Pr 


¥ 


ee INTERSTATE is now an integral part in the thinking 
~ * planning and execution of our campaigns ...a status they 
have earned for themselves on the basis of surprisingly 
consistent, illustrative photography coupled with an 
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4 business briefs 


’60 looks terrific 
but some foresee 
recession in ’61 


Was ‘59 just a prologue to ‘60? Those booming 
studio billings, upped salaries for young 
artists and pasteup men, big ad budgets 
added to a record high year for many in 
ad art. Will the rising line continue 
through 1960? Taper off? Fall? 


Consensus of opinion is that art buying and 
selling volume will continue at its high 
1959 pace, perhaps climb a little as total 
ad expenditures in 1960 surpass 1959's 
record high. 

. 
Hard data is now available for studio billings 
in '59’s first 34s. After running an almost 
| steady 31%, ahead of 1958's pace for the 
' year’s first six months, studio billings 
| dropped a little in July, shot up in August 
} and September. In August they ran 38%, 
over the 1957 base period, 48 points 
ahead of August ’58. This September 
billings ran 53% over ’57 and ’58. 

* 
Some economists are now recession minded, 
but for 1961. The steel strike is blamed, 
or credited, with delaying but intensify- 
ing the next recession. A post-strike busi- 
| ness boom will prevent a ’60 recession. 
* 
Inflation again. Sources that hopefully predicted 
| a year of rising productivity and fairly 
level cost of living now see both retail 
and wholesale price levels creeping up. 
» Metal prices will rise as will the cost of 
everything made with metal. Food is ex- 
| pected to cost more too. 
* 

Ancther spot in the economy causing concern 

' is instalment credit. It’s at an all-time 
| tecord. Although consumer use of credit 
reflects confidence it is also evidence of 
) vulnerability in the event of any reces- 
sion. Should a recession bring any un- 
employment, a lot of folks may find them- 
selves over-extended, retail buying will 
face sharp cutbacks. In the past reces- 
' sion, however, retail buying held up quite 
| well and helped pull us out. 


* 
If you have any clients among carpet, 
chinaware, typewriter, office machine 
and electronics manufacturers, look for 
many changes. Worldwide imports sud- 
| denly flooding U.S. markets. The Fed- 
eral Government is doing what it can by 
| getting the same countries to lower their 
barriers against our products. o 





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letters 


Mojave not Madison Ave... . 


It is indeed a privilege to renew my 
subscription to your publication. I have 
thoroughly enjoyed following the differ- 
ent theories based upon the premise 
that any thing can and is being sold at 
any time, at any price level providing 
the right copy: accompanies the right 
picture on the right package in the right 
colors. According to Cartésian theory, 
everything can be proved. So I am con- 
stantly applying the many new ideas of 
advertising in as many ways as stand at 
my disposal, direct mail, fine art, post- 
ers, etc.; for my own use and others. 

One fact stood out severely at the very 
start: If a husband, wife, and six chil- 
dren enter your place of business, it 
does not matter if you use primary 
colors or pastel shades, Interlock or 
Cavenaugh Ornate, as even the smallest 
children are trained to announce in no 
uncertain terms: we are just looking 
today. 

So as the first corollary, I established 
that the Mojave desert needs something 
different in sales appeal than Madison 
Ave. and 57th St. One recent editorial 
admonished readers not to think of the 
mass market as having a 12 year old 
mentality and taste level and to use 
more abstract expressionist art in adver- 
tising. I have sincere doubts that one 
could successfully stimulate a definite 
buying trend that way. I suggest you 
try it on: Hamburgers, 6 for $1.00. 
There never has been any research on 
the ratio of disappointed Museum visi- 
tors, who came ‘to enjoy art and were 
given to understand that they were of 
the mass of the unrefined because they 
did not appreciate such momentous 
questions as negative space or hieratic 
values. In direct contrast MR concerns 
itself with impact, legibility, visibility, 
memorability, and other devices to bring 
about a clear message: This is what we 
sell. Fine art students could with ad- 
vantage concern themselves more with 
advertising art, because if your art is 
worth anything at all as art, it will part 
people from their dollars. This latter 
function seems to be highly esteemed 
in civilized circles. No artist would need 
to wait for a benefactor to subsidize 
him with the expectation that some time 
in the future the investment will pay 
off. The addition ef some subliminal 
may prevent the inglorious end that 
awaits so much of this present day art. 

As a summary may I submit that the 
illustrated and pictorial ad is a give- 
away project in itself, in that it conveys 
a pleasurable thought, at no cost to the 

(continued on page 16) 





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letters 


reader, who is not under obligation to 
send in so many box tops, plus $1.00, 
to obtain 3 empty feed bags free for 
dress material. A pictorial message gives 
the public something which may be 
kept or discarded at will. While there 
were still unexplored areas on this globe 
it was customary from ages past to hand 
out objects of little value to inhabitants 
of foreign parts, in order to make 
friends. You point out how extensive 
these effects may become, as one firm’s 
elaborate advertising will help to sell 
someone else’s merchandise, just because 
the contact has been made and new 
friends won. 

Color theory, type design, psychiatry, 
aimed design and what have you are 
wonderful for the student to contem- 
plate. But to make this visual give-away 
a success and keep it interesting a species 
of arbiter elegantiarum rather than of 
Melpomene has evolved, who would not 
be happy without ulcers: The art 
director. 

So pile it on him, boys and girls, just 
take a course somewhere and then wheel 
it in to him. He is used to it. 


Henry R. Mockel, 
Calico Ghost Town, 
Box 82, Yermo, Cal. 


Prescribed: mellowing 
In your capacity of disseminators of 
opinion relating to the graphic arts, I 
can understand your motives in showing 
to the world the predilections of Edwin 
H. White (“Up to Our Ears with Clev- 
erness”, September, 1959). He has always 
crusaded for the most easily compre- 
hended drawings of smiling gas-station 
attendants in his role of “image-maker 
for all mankind”. His integrity in cleav- 
ing to the ideals for which he stands is 
unquestioned. Since these now have 
been detailed in your pages, may I sug- 
gest a lapse of a decade or so to give 
them time to mellow? 

Paul Ruiz, 

Philadelphia 


Art school curriculum upheld . . . 
I am a commercial art major in my sopho- 
more year at Youngstown University. I 
was very much interested in the article 
titled “Which Art Schools Are Serving 
You Best?” (Art Direction, September 
1959). The October 1959 issue also con- 
tained some thoughts on this subject by 
Stephen Baker in his feature article, 
“Directions”. 

(continued on page 22) 








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letters 
(continued from page 16) 


A look at the curriculum for the BS 
degree in Business Administration with 
a major in commercial art at Youngstown 
shows courses in advertising, economics, 
psychology, accounting, salesmanship, 
etc., courses that are cited as lacking in 
the curricula of many of the art schools. 
Youngstown is not a specialized art school 
but its curriculum does include many of 
the subjects which many art schools lack. 

Raymond M. Vanatsky 


(Editor's note: This is a business school 
curriculum. Despite NSAD’s criticism of 
art schools for not having such courses, 
many art schools feel it’s all they can do 
in four years to develop art talents much 
less produce combination businessmen, 
psychologists, economists, etc.) 


Cleveland show erratum... 
We wish to inform you that the entry 
listed (No. 14) from the Cleveland Art 
Directors Show in the November issue, 
page 68, erroneously listed Al Kiefer as 
Art Director for the Westinghouse first 
award winning b/w trade ad. Bob Inch 
of Fuller & Smith & Ross of Pittsburgh 
was the Art Director on that particular 
award winner. 

Al Kiefer, FS&R, Pittsburgh 


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PARSONS BOOKLET of its courses was de- 
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dept. of graphic design and advertising, 
and uses photographs by Eugene Russo 
of Ralph Tornberg, Inc. From Parsons 
School of Design, 410 E. 54 St., NYC 
22. A companion catalog edited by 
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HOW TO ILLUMINATE color matching, grad- 
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PORTABLE ALUMINUM SALES AID is the 
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Art Direction / The Magazine of Creative Advertising / January 1960 





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HAPPY 
LOOK 
BEFORE 


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and more for looking 
than 1960. Looking, that ts, in 
the sense of looking careful: 
lv inte all vour advertising 





and design needs to meet the 
sales challenge that faces 
vou. Advertising ts better 
than it used to be and so ts 
advertising design, The past 
few vears have been alive 
with clever, successful think- 
ing that has given new life 
to this specialized area. 
Look into SH& L, the Design 
and Art Division of Sudler & 
Hennessey inc. before you 
move a muscle. This name 
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It has won record sales, too, 
for the many companies and 
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Advertising, Marketing and 
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ADC of Chicago, at Main St. Galleries. 
Jan. 4-15 .. . NYADC 38th national traveling 
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Jan. 4-15 . . . NYADC local traveling exhibi- 
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Jan. 4-28 . . . School of Visual Arts gallery, 
illustrations by Robert Andrew Parker. 
Jan. 11 . . . NY Artists Guild, at 8, Salma- 


gundi Club, 47 Fifth Ave. Speaker: Harold 
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Jan. 15 . . . Deadline for AIGA 50 Ads of 
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opens in May. January show, Paperbacks 
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June, Packaging. 


Jan. 15-Feb. 7 . . . Private Press Printing— 
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Sponsored by Patrons of the Private Press. 
Jan. 18-21 . . . 18th Exhibition of Printing, 
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Jan. 19-Feb. 29 . . . Illustrators ‘60. Society 
of Illustrators galleries, New York. Awards 
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jacket design competition, sponsored by 
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Feb. 8 through March . . . Creativity Series. 
Sponsored by ADC of Chicago, Art Institute, 
University of Chicago. 

February . . . 15th-annual Western Exhibi- 
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April 11 . . . NYADC show previews, Astor 
gallery. Opens to public April 12. Awards 
luncheon, April 12, Waldorf. 


April 28-May 15 . . . ADC of Milwaukee, An- 
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Awards dinner, exhibit preview, April 27, 
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Arts Club of Chicago . . . through Jan. 14, 
Drawings and Sculpture by Henry Moore. 

















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Address changes can be made only if we 
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Art Direction, Circulation Office, 19 West 
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is a court decision 
mandatory in 
order that the 
new york state 
tax commission 
regard artists as 


professionals ? 


(Editor’s note: Artist Saul White adds 
his battle for professional status to past 
reports presented to Art Direction 
readers. Here, in a letter, Mr. White 
explains his attitudes toward the State 
Tax Commission and the background 
to his appeal. He also suggests that hts 
case could benefit all artists but that 
financial contributions are needed. In- 
terested artists can contact Mr. White 
at 420 East 64th Street, New York 21. 


Following Mr. White’s comments is his 
brief, submitted by attorneys Rubin & 
Rubin. The proceeding was heard Sep- 
tember 25 before the Supreme Court 
in Albany, was transferred to the Ap- 
pellate Division, where hearing and 
decision are being awaited.) 


I know Art Direction has been inter- 
ested in the various cases adjudicated 
before the State Tax Commission con- 
cerhing the Unincorporated Business 
Tax. I wish to notify you of the follow- 
ing facts that pertain to my case. 

My appeal was determined before 
the State Tax Commission on May 
28th, 1959 as follows: “That the tax- 
payer’s activities, which consisted en- 
tirely of the execution of drawings or 
illustrations for business or commercial 
advertising purposes, constituted the 
carrying on of a taxable unincorpor- 
ated business rather than the nontax- 
able practice of a profession within 
the meaning of Section 386 of the Tax 
Law and that no part of the activities 
involved consisted of the execution of 
work for noncommercial purposes or 
any other work which would constitute 
the practice of an exempt profession.” 


(continued on page 34) 





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court decision 








(continued from page 30) 


I then had 90 days to appeal. Hav- 
ing spoken to many in the field as 
well as attorneys and accountants re- 
presenting artists, I decided my case 
had the validity to carry my appeal 
through. I know there has been contro- 
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could get favorable decisions from the 
State Tax Commission. And some | 
have, because their work did not con- 
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poses. There also has been a rather 
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Commission, and an assumption that a 
court fight was not necessary. I cannot 
believe that the Commission will main- 
tain these exemptions. After having 
been given exemptions in 1950 and 
1951, some artists were later informed 
that subsequent to these years they had 
to pay the tax. I feel the Commission’s 
only concern is to collect taxes, and 
that no exemption will be held valid, 
unless a court ruling makes it manda- 
tory. I also feel that the Commission 
itself wants such a decision. It is in- 
conceivable to me that the latest rul- 
ing, distinguishing between an artist 
who does work for editorial or pictorial 





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purposes and one who does work for 
advertising purposes, states they are two 
different individuals, or that a piece of 
art work, whether for editorial or ad- 
vertising purposes, makes an artist a pro- 
fessional man or not a professional man. 
The entire decision, in my opinion, is 
ridiculous. 

In the last-3 months I have solicited 
funds from several artists to whom I 
am indebted for their interest in this 
fight. This has made it possible to take 
action under article #78 of the Civil 
Practice Act to vacate the assessment 
against me for taxes as an operator of an 
Unincorporated Business. To answer 
the question of many artists, “Will 
this be a blanket decision?”, I can 
say that the courts in 90% of cases 
have laid down blanket decisions. To 
check this, I called Walter D. Teague. 
In his decision the courts followed this 
dictate. I also believe that there is 
strong opposition now against the 
State Unincorporated Tax in many 
quarters. There is much pressure to do 
away with the tax, as noted in a 
front page article in The New York 
Times, September 10th, 1959, “Power- 
ful Legislators Expected to Tell Rock- 
efeller Unincorporated Business Levy 
Also Must End or Be Cut.” This 
strengthens my opinion that the time 


(continued on page 38) 




















field as 

ants re- 

ny case 

appeal 

contro- 

wisdom 

at they 

rom the 

1 some 

10t con- 

ng pur- 

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ite Tax 

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cannot 

ll main- 

having 

50 and 

iformed 

hey had 

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1 valid, ‘ hala gee 
manda- ae ” ie ? 

mission eS “ ee 

t is in- ee 4 x Re cicies ear | 

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1 artist ML HERE ARE fe i z emcee 
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ork for . @ registered Trade Mark of General Foods Corporation ‘ Se eee 
are two 2 te ae yo PAS Re SRS a 
niece of 

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court decision 
(continued from page 34) 


is ripe. I cannot conceive of artists 
taking a complacent attitude when 
their standing as professionals is be- 
ing determined by the State Tax Com- 
mission. The following is my brief 
given before the Commission. 


In the matter of the application of 
SAUL WHITE for revision or refund of 
unincorporated business taxes under 
Article 16-A of the Tax Law for the 
years 1950 and 1951. 


MEMORANDUM ON BEHALF OF TAXPAYER 
the facts 


The taxpayer is a commercial artist, 
also known as a commercial illustrator. 
He makes this application for revision 
of unincorporated business taxes on the 
ground that he is engaged in a profes- 
sion and not a business, and, therefore, 
is entitled to exemption under Section 
886 of the Tax Law. 


argument 


Apparently, the leading case in this 
State on this subject is Voorhees v 
Bates, 308 N.Y. 184. It is respectfully 
submitted that under the determina- 
tions in this case, it must be held tha: 
the taxpayer is a professional man. 
The Court held that: 


“To become entitled to an ex- 
emption, the petitioner is required 
to show that he was practicing his 
profession and derived more than 
80 per cent of his gross income 
from personal services, and that 
capital was not a material income- 
producing factor.” 


There can be no question but that 
the taxpayer's case falls squarely within 
this definition. 


It is unfortunate that, apparently, 
no case such as this has as yet been 
determined. The Court stated: 


“It will be noted that we have not 
yet had a case under this statute, 
involving one of ‘the arts’—paint- 
ing, sculpture, music, drama, dane 
ing, writing, etc. However, in 
People etc. v Kelly (255 N. Y. 396) 
a zoning law case, we observed (p. 
400): 

“The teaching of singing or of 
music is a profession and is not 
a business, trade, or industry as 
these words are used in the law, 
zoning regulation or common par- 
lance. 


(continued on page 142) 








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what's new 


VACUUM FORMED THERMOPLASTIC: Illus- 
trated brochure, showing fabrication of 
displays, packaging items, etc. takes 
product from idea through molding and 
assembly of finished piece. Free copy 
from Cha.zal Plastics Corp., 63-20 Austin 
St., Rego Park 74, N. Y. 


CUTTING TYPE BILLS is subject of new book- 
let from Typographic Service Inc. 21 
hints are listed in tabbed pages designed 
by Nicholas Tridemas of Mel Richman 
Inc., with art and photography by that 
studio. Typo services are detailed. From 
Typographic Service Inc., 1027 Arch, 
Philadelphia. 


DECAL INFORMATION is contained in Let’s 
Talk Decals, booklet from Certified De- 
cal Manufacturers of the Screen Process 
Printing Assn. International. Free from 
SPPAI, 549 W. Randolph St., Chicago 6. 


BOOK OF OMS is Shiva Artists Colors’ 
award winning package, Painting with 
Oils. Twelve studio size tubes of Shiva 
Signature Oils, one 1x6” tube zinc white, 
three premium grade brushes, two mix- 
ing cups, turpentine, medium, palette, 
and palette knife come in a book pack- 


age. 


2 MILES OF MARKING are available in 
Miracle Marker, instant drying, smear- 
proof, waterproof, indelible. A range of 
eight colors plus four shades of gray. 
From “H” Co., 1133 Broadway, New 
York 10. 


PLASTIC BINDING systems are described in 
booklet, New Dimensions in Modern 
Plastic Binding. The illustrated fact 
book is free from Advertising Mgr., Gen- 
eral Binding Corp., 1101 Skokie High- 
way, Northbrook, IIl. 


FREE FILMS POCKET GUIDE lists 350 films 
available on free loan to professional, 
technical and other groups. All are 
16mm sound, vary from 15 to 30 min- 
utes. Subjects range from summer and 
winter sports to electronic and tech- 
nological advancements, kitchen tech- 
niques and psychological dramas to US 
history and economics. Modern Talking 
Picture Service, Inc., 3 E. 54 St., New 
York 22. 


VISUAL SALES PRESENTATION package is 
Sell-O-Vue, a full color film strip on 
heavy duty mount that slides into a 


44 


folding viewer with glass lens and built 
in focusing arrangement. An envelope- 
wallet combination has pocket for the 
viewer and film strip and can hold a 
brochure of up to 10 pages. Entire unit, 
834 x 37%”, can be a self-mailer. Manu- 
factured and produced by Taylor-Mer- 
chant Corp., 48 W. 48 St., New York 36. 


BROCHURE ON Marathon Long Line and 
Wide Line ruling pens describes, illus- 
trates in three colors the pens which 
are made in six widths. From Keuffel 
& Esser Co., Adams & Third Sts., 
Hoboken, N. J. 


TRANSPARENT LABEL HOLDERS: Hol-Dex is 
self-adhering, comes in 2-in. wide face as 
well as 3%”, 4”, 34”, and 1”. Also avail- 
able in lengths of 3 feet or more on 
special order. Easily adaptable for chart, 
display, etc. use. Free sample and details 
from J. P. Sullivan, Cel-U-Dex Corp., 
P. O. Box 1127, Newburgh, N. Y. 


SLIDE SORTER: Blue lighting unit transmits 
white light through light diffusing trans- 
lucent top. Result: improved lighting 
and light ray diffusion for better sorting 
of photographic slides. This is the Geist 
Slide-Sorter which has 12x1414” top, can 
view 40 slides at once. Portable. H. E. 
Geist Co., 2168 W. 25 St., Cleveland 13, 
Ohio. 


SCREEN TINT GUIDE: Helps visualize results 
when using Ben Day tints. Shows tone 
values from 10 to 80 percent, with over- 
prints and reverses. Same screen values 
are shown on offset stock and on coated 
paper in black, yellow, red and blue. 64 
pp. From Seymour Udell, Advertisers 
Offset Corp., 155 Sixth Ave., New York 
13. 


CAST POLYETHYLENE FILM: New overwrap 
material offers clarity equal to best 
transparent films, along with traditional 
strength and economy of polyethylene. 
Soft flexibility, and it doesn’t crackle. 
Made by U.S.I. Petrothene resins from 
U.S. Industrial Chemicals Co., Div., of 
National Distillers & Chemical Corp., 99 
Park Ave., New York 16. 


ELECTRONIC PHOTOGRAPHIC SYSTEMS, Log- 
Etronics and LogEtration, are described 
in eight-page brochure, free from Log- 
Etronics, Inc., 500 E. Monroe Ave., 


Alexandria, Va. Ask for “Contrast Con- 





trol Brings Cost Control Through Log- 
Etronics.” 


PHOTOGRAPHIC SERVICES PRICE LIST from 
Modernage, 319 E. 44 St., New York 17 
describes its system of developing, con- 
tact printing, projection printing, etc. 


DRAWING LEAD/STEEL BLADE tool is the #83 
Dual Purpose from Griffin Mfg. Co., 
1656 Ridge Rd. E., Webster, N. Y. One 
end holds retractable and replaceable 
tool steel blade. The other holds 1% 
length of drawing lead. $1.25. 


DRAFTING TABLE made in France with pre- 
cision engineered floating board action 
is the Stacor Unic. Counterweight me- 
chanism operated by foot pedals bal- 
ances it. Multi-disc friction device locks 
and unlocks the Unic board to make 
height and slope simultaneously ad- 
justable. Bulletin from Stacor Equip- 
ment Co., 295 Emmet St., Newark 5, 
Mm. J. 


DISPLAY TURNTABLE can be made out of 
stationary displays of bulky or heavy 
goods with Vue-More Corp.'s Series 194 
turntable. It fits on a pole around which 
merchandise is stacked, then mechanism 
rotates a two to eight sided plain or illu- 
minated sign that can deliver two or 
more ads. Space for illuminated sign’s 
electrical connections is in revolving 
turntable mechanism. Descriptive cata- 
log from Vue-More Corp., 625 W. 26 
St., New York 1. 


5” DIAMETER MAGNIFIER, the See-Ez, slips 
over any standard fluorescent drawing 
board light shade, fastens securely. Pre- 
cision ground and polished. Glan Prod- 
ucts, 8316 Seventh Ave., Brooklyn 9, 
N. Y. 


COLOR PRINTED PLASTIC: multi-color 
printed samples of clear plastic avail- 
able from Crystal Mark, 101 W. Fores 
Ave., Englewood, N. J. j 


EXHIBITS BROCHURE describing and _ illus- 
trating 14 exhibits, each a solution to a 
different problem, is- available from 
Gardner, Robinson, Stierheim & Weis, 
5875 Centre Ave., Pittsburgh 6. 


WHITE MUCILAGE in a squeeze bottle is 
“Chic.” It’s a smooth cream and tacky 
before it dries clear. From Wilhold Prod- 
ucts, Div. Acorn Adhesives Co., L.A. or 
Chicago. 











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Designers’ Color Sets with large 
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24 colors... .$4.95 

12 colors.... 2.50 

6 colors.... 1.40 


Tubes—%" x 4’—45¢ 
Refill cakes—25¢ 
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Art Direction / The Magazine of Creative Advertising / January 1960 





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what's new 


TRANSISTORIZED MOVIE CAMERA that’s port- 
able is the Auricon Cine Voice II by 
Television Specialty Co., Inc., 350 W. 
$1 St., New York 1. Weighs less than 16 
pounds, has a built-in transistor ampli- 
fier, VU meter, monitoring jack and 
microphone input. Details from TSC. 


FROM GRAFLEX: Graphic 35 Electric is self- 
contained electric motor driven 35mm 
camera. Motor contained in film take-up 
spool winds film, cocks shutter, and al- 
lows sequence or single exposures. No 
attachments, cords or power packs. De- 
tails from Dept. 111. The Gra-flash M 
Fan-Fold flash unit is a miniature fold- 
away flash gun, less than the size of a 
pack of cigarets. Details from Dept. 115. 
The Century 35NE is 35mm camera with 
built-in coupled exposure meter. Move- 
ment of a single dial aligns indicators in 
the exposure meter, automatically set- 
ting a variety of correct exposures into 
the shutter. Details from Dept. 113. 
Graflex Title Slides can be used with any 
35mm projector. Titles can be drawn 
directly on the glass slides in pencil, 
crayon or water color. Erasable. For in- 
formation on all the above, write the 
Dept. number given, Graflex, Inc., Gen- 
eral Precision Equipment Corp., 3750 
Monroé Ave., Rochester 3, N. Y. 


AUDIO-VISUAL TOOLS and materials are in 
the Beseler Starter Kit for users of Vu- 
Graph Overhead Projectors. Message can 
be traced, drawn, lettered or typed in 
b/w or color. Comes in heavy duty 
leatherette covered case with hinged 
drop-front. Details from Charles Beseler 
Co., 219 W. 18th St., E. Orange, N. J. 


TECHNICAL FOUNTAIN PEN for drawing, rul- 
ing, lettering has seven interchangeable 
point sections providing seven different 
line widths, 00, 0, 1, 2, 21%, 3 and 4. 
Each point section has its own refillable 
translucent plastic ink cartridge. Model 
No. 3065 Rapidograph, Koh-I-Noor Pen- 
cil Co., Bloomsbury, N. J. 


PRODUCTS AND SERVICES of American 
Type Founders Co. are illustrated and 
described in 16-page booklet. Free 
copies from ATF, 200 Elmora Ave., 
Elizabeth, N. J. 


SLIDE RULE TIE CLASP and cuff links are 
fully calibrated with A, C and D scales. 
Tiny moving glass magnifies etched 
numbers on 2” miniature rule, cuff links 
are nonoperating. In sterling silver. 
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INITIATIVE... 











to become a leading typographic service 
in little more than a decade. Today our 
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proof press department (7 proof presses). 
That’s the story of... 


the complete typographic service so many 
agencies, publishers and advertisers turn 
to for dependable quality and efficiency. 


Once again, in keeping with its policy of 
serving its clients’ interests more effec- 
tively on the most modern equipment 
available, skilset typographers takes the 
initiative with the introduction of... 


. 
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skiiset 1@| mrisntype 
A major advance in the graphic arts indus- 
try, skilset/brightype is a revolutionary 
new process that permits — for the first 
time — the conversion of any combination 
of printing metal directly into photographic 
images on both film and paper for use by 
any printing process. As a result, skilset 
customers can now realize the time and 
money economies of type-perfect transfer 
from type or plates to offset or gravure 
printing; accurate one-step reproduction 
of type proofs and printed matter; and 
sharp, no-smear proofs of such clarity and 
quality, they set a new standard of proof- 
perfection. Please call for more informa- 
tion on this amazing new process and 
how it can be adapted to your needs. 


250 West 54th Street, New York 19,N.Y. + Plaza 7-2421 
Day and Night Shifts. Pickup and Delivery “pronto” Service 


Art Direction { The Magazine of Creative Advertising | January 1960 





for presentations that score... 


Here at Rapid Art Service we have assembled 
a team of artists and craftsmen who are truly ‘‘pros."’ 
And we've equipped them with most complete 
production facilities to be found anywhere. 
® If your sales problem requires a presentation or 
Ra pl d Art Service filmstrip — slide or flip chart — box easel 
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sat’s new 


cc LOR IN PAPER: Color authority Faber 
B cren discusses color in booklet from 
N :tional Aniline Div., Allied Chemical, 
4( Rector St., New York 6. The booklet 
is printed in four colors on four differ- 
ent colored and white Whiteford Im- 
pact papers. Comments also by printer 
Norman §S. Githens, president of 
Githens-Sohl Corp. Illustrated. 


ELECTRICAL ROLLON ADHESIVE is the Lectro 
stik. A dry bar applied with electric 
coater that lays down nonsticky coating 
an inch wide. Holds to nearly any sur- 
face including film for which it is es- 
pecially useful, being translucent. Manu- 
factured by Halber Corp., 4151 Mont- 
rose Ave., Chicago 41. 


DESIGN AS IT AFFECTS marketing, mer- 
chandising, package and product plan- 
ning, research and store planning is 
discussed in illustrated booklet, Design 
#15, from Lippincott & Margulies, 430 
Park Ave., New York 22. 


MATTE. SURFACE TAPES in 15 colors can be 
written on with pen, pencil, any marker. 
Available in 7 sizes from 1/32” to 1”. 
From ACS Tapes, Inc. (formerly Ameri- 
can Chart Service, Inc.), 217 California 
St., Newton 58, Mass. Free samples. 


GRAPHIC SQUARING GAUGE is a time saver 
in checking lineup of etch proofs, lay- 
outs, typeforms, etc. A Vinylite sheet, 
12x18”, with vertical and_ horizontal 
machine-scribed lines 14” apart. Graphic 
Calculator Co., 633 Plymouth Ct., Chi- 
cago 5. 


PENCIL CATALOG lists, describes, illus- 
trates full Eberhard Faber line of black 
and colored lead pencils, ball pens, 
pastels, markers, crayons, erasers and 
rubber bands. Indexed. Sections sepa- 
rated by page size tabs. From the com- 
pany, Crestwood, Wilkes-Barre, Pa. 


RETRACTABLE KNIFE looks and works like a 
ballpoint pen. With plastic case, extra 
refill blade. American Wood Type Mfg. 
Co., Long Island City. 


AUDIO SALES MESSAGE is delivered by 
Talking Ad-Scale. It’s used as a free 
service in supermarkets, delivers com- 
mercial while weighing customer. Can 
handle 10 six-second tapes, plus a thank 
you from store. Talking Ad-Scale Co., 
St. Louis. 





art director: MARTIN STEVENS 
agency: BATTEN, BARTON, 
DURSTINE & OSBORN, INC. 
photographer: WILLIAM HELBURN 
dye transfer retouching: ARCHER AMES ASSOCIATES 


“ Tc \ INTERCONTINENTAL 





type **C”’ ektacolor print 
dye transfer 


black & white 


& flexichrome 


retouching 


involving the use of bleaches, 
dyes, electronics’, chemistry 
and abrasives for the sole purpose 
of insuring the most faithful 
reproduction of your photography 
is truly an art as produced by 


ARCHER AMES ASSOCIATES 
16 East 52 Street, New York 22, MU 8-3240 


*demonstration on request contact: ARCHER AMES/ LEON APPEL 


51 


Art Direction / The Magazine of Creative Advertising | January 1960 








So much is said 


When a picture 
says it all 


TO TELL its selling story, Chevrolet uses a modern medium—color 
photography by the Kodak Ektacolor System. From a single nega- 
tive, a choice of print, transparency, or black-and-white, all of 
which reproduce beautifully. From the same negative, too, R.O.P. 
separations, when, as and if they are needed. 

What flexibility for a system which so enhances the stature 
of illustration! 


EASTMAN KODAK COMPANY « Rochester 4, N.Y. 











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what's new 


GUILLOTINE PAPER CUTTER in a table top 
model weighs 56 pounds, takes 300 
sheets up to 1414 inches wide. Has 
safety and efficiency features. Model 14, 
from Douglas Homs Co., 326 Jackson 
St., San Francisco 11. 


CLEANER-TRANSPARENTIZER is CTS liquid, 
said to be especially suitable for trans- 
parentizing copy, typeset matter and art- 
work, or opaque paper stocks for use as 
masters in making offset printing plates, 
diazo and silver emulsion reproductions. 
Removes pencil lines and smudges from 
paper or linen. Ozalid Div., General 
Aniline & Film Corp., 42 Exchange St., 
Johnson City, N. Y. 


PHOTO-COPY EQUIPMENT which copies orig- 
inals up to 12” in width and length and 
has preset exposures is the Royal Scot line 
by Hunter Photo-Copyist, 566 Spencer 
St., Syracuse 4. Features the Laird, a com- 
plete photo-copying unit, and the High- 
lander, a separate multi-copy processor. 
Laird has a 70” per minute exposure 
speed and 56” per minute development 
speed. 


TECHNICAL ILLUSTRATION GUIDE: American 
Standards Assn. has prepared a guide for 
preparing graphs, line drawings, tabular 
illustrations for technical publications 
and slide projection. 16 pp-, illustrated. 
System uses standardized draft form, il- 
lustrated in the booklet. At $2 per city 
from American Standards Assn., 70 E. 
45 St., New York 17, or from publisher, 
American Society of Mechanical Engi- 
neers, 29 W. 39 St., New York 18. 


FLUORESCENT THERMOPLASTIC: Tenak Velva- 
Glo is a daylight fluorescent thermoplas- 
tic film said to retain color brightness 
for about two years’ outdoor use. Comes 
sandwiched between two _ protective 
layers of paper, may be cut to size and 
shape with die cutters or razor blade. 
Surface may be printed, brushed or 
screened. Adheres to nearly all smooth 
clean surfaces. Comes in six colors. 
Samples and instructions from Radiant 
Color Co., 830 Isabella St., Oakland 7, 
Calif. 





BALL POINT ADHESIVE: Dot Gum Pen re- 
leases one dot of rubber cement when- 
ever ball point is depressed. One pen 
filling dispenses about 5,000 dots. Can be 
refilled. Adhesive may be removed with- 
out permanent residue or stain. Illus- 
trated brochure from Devon Tape Corp., 
110 Hartford Ave., Mt. Vernon, N. Y. 









54 


booknotes 


PHILIPPE HALSMAN’S JUMP BOOK. Simon & 
Schuster. $3.75. 


Not satisfied with fascinating photo 
studies of 178 famous names in politics, 
industry, science and entertainment, all 
with their hair down and their feet up, 
Halsman has added text—amusing—and 
a philosophy—jumpology—serious? 


ASMP PICTURE. Adolph Suehsdorf, editor in 
chief. Ridge Press. $1.50. 


Annual of the American Society of Mag- 
azine Photographers has the year’s best 
pictures as chosen by ASMP, plus notes 
on each subject by the photographer. 
Includes work by the late Lisa Larsen 
and Dan Weiner. A provocative collec- 
tion of photographs. AD, Albert A. 
Squillace. 192 pp. 


A PICTORIAL HISTORY OF TELEVISION. Daniel 
Blum. Chilton. $10. 


278 pages of b/w clips from 22 tv cate- 
gories. Text, limited to dates and names, 
runs about one paragraph per spread. 
Indexed. 


AMERICAN HERITAGE. Vol. X, No. 5. Bruce 
Catton, editor. American Heritage Publishing 
Co. $2.95. 


Portfolios in this issue include historical 
illustrations of prison camps of the Civil 
War; photographs of the famous private 
Pullman cars—a portfolio assembled by 
Lucius Beebe; Paul Kane’s record of 
northwestern Indian life; historical illus- 
trations of both the early American 
architecture based on Greek and Roman 
forms and the originals. 







































FINE ARTS LIST: 


From Doubleday: Rubens’ Drawings, Julius 
S. Held. 2-vol. boxed, first critical study 
in English of Rubens as draftsman. 170 
plates, 6 in full color, and 61 text illus- 
trations. $25. A Handbook of Greek Art, 
Risella Richter. From 1100 to 100 B. C. 
500 illustrations, 4 ™@ color. $7.95. Paint. 
ing in 18th Century Venice, Michael Levey. 
Rococo period. 115 illustrations, 8 in 
color. $6.50. The Lamp of Beauty, John 
Ruskin on painting, sculpture, and 
architecture. Edited by Joan Evans. 64 
illustrations, 4 in full color. $6.95. 
Leonardo Da Vinci: Paintings and Draw- 
ings. Ludwig Goldscheider. 114 plates, 
41 in full color, also biography by 
Vasari, bibliography, notes on the plates. 
$9.50. Arts Year Book 3: Paris/New York. 
Art Digest’s study of 12 artists, plus a 
full color section of works by 24 leading 
contemporaries, guide to galleries, 
French art criticism. $4.95. 





From Viking: The Four Gospels and The 
Acts of The Apostles. Sponsored by Samuel 
H. Kress Foundation. 44 hand tipped 
color gravure plates of master paintings. 
Complete text is King James Version. 
Many of the plates never before repro- 
duced in color. Deckle-edge laid rag 
paper. Gilded top. Comes in 3 piece 
binding and slip case. $27.50. Primitive 
Art, Erwin O. Christensen. Survey of 400 
centuries of sculpture, painting and 
crafts. 400 + illustrations, 32 in color. 
$15. Man and Art, C. A. Burland. Presen- 
tation and illustration of recurrent sig- 
nificent themes, such as mother and 
child, dominant male, etc. 96 pages of 
plates, 8 in color, $9.50. Masterpieces of 
Figure Painting, edited by I. E. Relouge. 
100 full page illustrations in color, hand 
tipped on antique paper, and a selec- 
tion in monochrome. From ancient 
Egypt to 20th century. $18.75 to Dec. 15, 
$22.50 thereafter. 

















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THE ART OF LAKE SENTANI. S. Kooijman. Uni- 
versity Publishers. $3.50. 


Art of tke region, a recent show at Mu- 
seum of Primitive Art, is considered 
important for its combination of power- 
ful form and sensitive symmetrical ab- 
stract design. Dr. Kooijman, an authority 
on New Guinea art styles, has included 
117 b/w _ halftone illustrations and 
bibliography. Designed by Douglas New- 
ton and Susan Draper, the book’s 64 
814x111 coated paper pages show the art 
large enough for easy examination of 
detail. This is the first monograph issued 
by the museum. 


HORIZON. Vol. 2, No. 1. Editor, Joseph J. 
Thorndike, Jr. American Horizon. $3.95. 


Here are: A 16-page gravure portfolio 
of photographs by Leonard Von Matt 
of the Aegina marbles, regarded as some 
of the best temple sculptures of an- 
tiquity. A portfolio of buildings by 
Frank Lloyd Wright, Mies van der Rohe, 
Antoni Gaudi, etc. A portfolio of color 
and b/w art from the period of Peter 
the Great. A sheaf of Swiss cartoonist 
Paul Flora’s Three Undertakers series. 
Larry Rivers’ explanation of his work 
to writer Frank O’Hara—with this are 
six full color reproductions of his paint- 
ings and a Hans Namuth photograph of 
Rivers in his studio. Seven color photo- 
graphs of the'dancers of Ceylon by 
Marilyn Silverstone. The inimitable 
Robert Blechman cartoons for The 
Greatest of Courtly Lovers, story of a 
knight of the Middle Ages. Examples of 
lettering by Wolf Von Eckhardt and a 
portfolio of historic manuscript. 


1960 APPOINTMENT CALENDAR, MUSEUM OF 
MODERN ART. Doubleday. $2.50. 


Museum Menagerie is the theme and 27 
prints on the subject, many in color, 
illustrate the 84-page spiral bound cal- 
endar. Designed by- George Tscherny, 
the book follows the format of the 1959 
calendar which won an AIGA award. 
Cover is royal blue board, with words 
“nineteen sixty” written in black. End 
papers and mailing envelope are bright 
red. Book is 8x8. There is a separate 
dated page for each week. 


ART IN AMERICA. Vol. 47, No. 3. Jean Lipman, 
editor. Vision, | ¢. $2.95. 


Four articles on Pan American Painting, 
Walter Chappell’s study of photographer 
Francis Bruguiere, Sam Hunter’s survey 
of European art today, and three views 
of American art abroad (in Russia, 
France,and England). Plenty of b/w and 
some color plates for these and other 
pieces. AD: John Begg. 


Art Direction | The Magazine of Creative Advertising | January 1960 





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AMERICAN HERITAGE. Vol. X, No. 6. Bruce 
Catton, editor. $2.95. 


11 page portfolio of contemporary paint- 
ings in full color for Laurence Stallings’ 
The War To End War; group of full 
color lithos and prints of New York 
ferryboats; a portfolio of unusual pho- 
tographs of Edison: Last Days of the 
Wizard; portraits of Puritan and Pilgrim 
leaders to accompany Part IV of A. L. 
Rowse’s continuing series for American 
Heritage; contemporary woodcuts of In- 
dian life in Canada during the 17th 
century; a selection of “patriotic envel- 
opes” from the Civil War. 


CAMERA. Herbert D. Kastle. Simon & Schuster. 
$4.50. 


This novel may turn out to be the fore- 
runner of a trend away from imaging 
overworked, oversexed, overglamorized 
ad agency men to similar treatment for 
professionals in allied fields. (Is a novel 
about ADs next?) This, about advertis- 
ing photographers, follows the formula 
—lots of characters, who have lots of 
problems, chiefly models, divorce, dope 
and race. 


PLANNING FOR BETTER IMPOSITION. H. Wayne 
Warner. Judd & Detweiler. $10. 

How to save money and time when plan- 
ning booklets, folders, inserts, etc. is 
explained and illustrated. Tips for 
folders, imposition tricks, establishing 
margins, and a section of printed sheet 
lays for any production problem. 


THE IMPORTANCE OF WEARING CLOTHES. 
Lawrence Langner. Hastings. $7.50. 


Men’s and women’s fashions through 
the ages and around the world. Signific- 
ance of styles as projecting culture im- 
ages. The 300 b/w illustrations are good 
reference for art pros. 


CREATIVITY AND ITS CULTIVATION. Harold H. 
Anderson, Editor. Harper. $5. 


Fifteen writers discuss creativity from 
the viewpoint of their fields, how it can 
be encouraged. Articles by leading per- 
sonalities in architecture, education, psy- 
choanalysis, psychology, law and politi- 
cal science, ethnology, psychiatry, science. 


WHAT THE LITHOGRAPHER SHOULD KNOW 
ABOUT PAPER. Lithographic Technical Founda- 
tion. $1.50 LTF members, $5 nonmembers. 


Covers paper handling, printability, re- 
lationships between paper properties 
ad print quality. Though aimed at 
pressmen, there is good information 
for the printing buyer. 





ruce 


int- 
igs’ 
full 
ork 
ho- 


the 
rim 


can 


7th 
vel- 


re- 
ing 
zed 
for 
vel 
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wow Wow 
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Art Direction { The Magazine of Creative Advertising { January 1960 


ona 





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57 











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rem 


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The 20th recipi- 
ent of the Award 

of Distinctive 
Merit presented by the New York club 
since its inception, is artists’ agent 


NYADC award to 
Gilbert Tompkins 


Gilbert Tompkins. The honor is given 
in recognition of a member's service 
over the years and is usually given to 
a member, seldom an officer, not other- 
wise honored for his contribution to 
the club. Tompkins has been a mem- 
ber since 1941. 





eon 


Ernest Scarfone 


Gene Federico 


NY club appoints Garrett 
show chairmen, committees P. Orr, 

eastern 
AD Outdoor Advertising Inc. and club 
president named Ernest G. Scarfone 
chairman of the 39th show and Gene 
Federico design chairman. 

Scarfone is executive AD Photog- 
raphy Publishing Corp., a designer of 
magazines and books, and a consultant 
for various publications. 





Art Direction | The Magazine of Creative Advertising | January 1960 


A/RT a(tibencin 


AS/MONTHLY JOURNA OF THE 


Federico, now AD at Benton & 
Bowles, has been AD of Douglas D. 
Simon, Doyle Dane Bernbach, Grey, 
and Abbott Kimball. 

Exhibition committee heads include 
David Davidian, Fletcher, Richards, 
Calkins & Holden, cochairman; Franc 
Ritter, Eastman Kodak, and William 
Brockmeier, Eastman Chemical Prod- 
ucts, display and hanging; Michael 
Wollman, Grey, finance; Louis Silver- 
stein, NY Times, publicity; William 
Duffy, McCann-Erickson, TV. 

Exhibition committeemen are Sal- 
vatore Lodico, Monroe F. Dreher; 
Gerald Charm, Smith/Greenland; Lee 
Savage, JWT; designer George Giusti; 
Gregory Bruno, Reach McClinton; 
Harold Sosnow, Harold Sosnow & As- 
sociates. Executive board representa- 
tives are, for design, Louis Dorfsman, 
CBS Radio; exhibition, Stephen Baker, 
Cunningham & Walsh; ex officio mem- 
bers, president Garrett P. Orr and 
treasurer Mahlon Cline. 

The exhibition opens with a mem- 
bers’ preview Monday, April 11, at 
the Waldorf-Astoria. 





Boston has Outdoor Day Admiring 

national 
award winning posters are actress June 
Havoc and Lee LeBlanc, president of 
the Boston club and AD, Arnold & 
Co. Scene, Outdoor Day at the Boston 
Advertising Club. 


LA’s 15th Annual 
Awards dinner Feb. 6 


Presentation of awards in 26 categories, 


ACTIVITIES OF THE 383 


CLUBS 










including lettering, promotions, pre- 
sentations, and motion picture films, as 
well as the usual show units in print 
and tv will be made at the Los Angeles 
club’s awards dinner-dance Feb. 6 at 
the Statler hotel. Reservations for in- 
dividual places or tables seating 10 can 
be made with ADC of Los Angeles, 
4315 W. Second St., LA 4. Exhibition 
committee chairman is E. W. Poyser; 
asst. chairman, James Berry; secretary, 
Dale Puckett; finance, Jack Eipper; pro- 
motion design, James Cross, Keith 
Bright; design of exhibition, Vance 
Jonson; hanging, Peter Sales; awards 
dinner, James Merville; publicity, Jack 
McFarland; preview, F. Don Foth. 





Atlanta names New president of 
Robert W. Bragg the ADC is vp of 
Burke, Dowling, 
Adams, Robert W. Bragg. Other elected 
officers are first vp Chester L. Sailor, 
second vp Floyd Snoderly, secretary 
Ray Ketcham, treasurer Willard Wal- 
lace. Directors for the current year are 
Forrest Cox and Larry G. Kern. 


Toronto show 
opens March 15 


The 1960 exhibition will be at the 
Sculpture Court of the Art Gallery of 
(continued on page 66) 


59 














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A/D NEWS 


Have you seen this? It’s an oil by 
Birney Lettick 


which was stolen from the office of his 
rep, Frank Lavaty. Lavaty is offering “a 
very handsome reward” for its return. 
He said the face value of the trompe 
l'oeil piece is about $2000 though its 
worth to him is more like $20-25,000. As 
a sample, it brought Lettick about $30,000 
in commissions. 


Rhode Island School of Design 
$2.5 million buildings dedicated 


Author/critic/philosopher Lewis Mum- 
ford, Atlantic Monthly editor Edward 
A. Weeks, and Edward F. D’Arms, asso- 
ciate program director of the Ford 
Foundation’s Humanities and Arts 
Project spoke at ceremonies held at 
Providence to dedicate R. I. School of 
Design’s new dormitories and dining 
hall. 


Mumford discussed The Education of 
the Artist and Designer. D’Arms ex- 
plained the Ford Foundation’s Project 
and how it applies to the visual arts. A 
faculty-student exhibition was held at 
the school’s museum. 

The new buildings were designed by 
Robinson, Green and Beretta, Provi- 
dence. Pietro Belluschi, dean of the 
School of Architecture, MIT, was con- 
sulting architect. Landscape architect 
was Hideo Sasaki and Associates, Cam- 
bridge. The buildings won Progressive 
Architecture Magazine’s educational de- 
sign award. 





ef gion 


Pen and ink 
knits and purls 


A series of stopper 
newspaper ads by 
Macy’s features: one 
big picture by Eric Mulvany, layout by 
creative director M. L. Rosenbloom and 
Mulvany, Chelthenham Condensed type. 
Copy by Mildred Harris. 


illustrators ‘59 
displays a wealth of talent 
Society of Illustrators’ first publication, 


Art Direction { The Magazine of Creative Advertising / January 1960 


the first annual of American illustration, 
contains 350 selections of established 
names and newcomers. It is a record of 
the group’s first annual exhibition, plus 
critiques and analyses by jury chairmen 
in the five show divisions (editorial, ad- 
vertising, institutional, book, tv). 

The book also has articles by Ray 
Prohaska, Arthur Hawkins, Henry C. 
Pitz, David Stone, Robert Fawcett, and 
is illustrated (aside from the show pieces) 
by Dora, Al Parker, Austin Briggs, John 
Groth, Robert Fawcett, Ervine Metzl, 
Howard Munce, Henry Koehler. Edited 
by Arthur Hawkins and designed by 
Robert Hallock, the book is published by 
Hastings House at $12.50. 





B/w picture story Panels starring 
for magazines model Joanna 

Leigh photogra- 
phed by Gleb Derujinsky stand out from 
typical magazine big picture color ads. 
For Coty by AD Martin Stevens, BBDO. 
Copy, Glen Verrill. 


61 








NY 18th Printing Exhibition 
January 18-21 

During New York’s observance of 
Printing Week, Jan. 17-23, 26 graphic 
arts, advertising and educational or- 
ganizations are planning special pro- 
grams, including the printing show of 
the New York Employing Printers 
Assn. at the Commodore. NYEPA will 
present their Franklin Award to Am- 
bassador Henry Cabot Lodge, US re- 
presentative to the UN. Members of 
the General Committee for Printing 
Week include these club presidents: 
from ADC Garrett P. Orr; DMAA Rob- 
ert F. DeLay; POPAI O. H. Stark; Type 
Directors Club James M. Secrest. 


William Schneider to address 

SI Illustrators ‘60 awards night 
Jan. 18 is the date and Society of Il- 
lustrators building, 128 E. 63 St., is the 
place for the SI second annual show 
awards presentation. Guest speaker will 
be former SI president, William Schneid- 
er, executive vp in charge of client service, 
Donahue & Coe. For reservations, call SI, 
TE 8-2560. Exhibit is open to the public 
Jan. 19 through February, daily except 
Sundays, 9-5. 

Two changes in the editorial iilustra- 
tion judging are: Illustrator Harvey 
Schmidt for Al Parker, and McCall AD 
Otto Storch for Cipe Pineles, AD Made- 
moiselle. 





Lithe awards Entries for 10th Anni- 


versary Lithographic 
Awards Competition & 
Exhibit, sponsored by 
Lithographers & Printers National Assn., 
must be received by Jan. 18. Advertisers, 
agencies, designers, and nonmember 
plants are eligible. Entry fee for mem- 


deadline is 
Jan. 18 


62 


bers, $5, non members, $10. Announce- 
ment brochures and entry blanks from 
the association, 597 Fifth Ave., NYC 17. 
Winning specimens will be reproduced 
in a 90-page catalog and the show will 
travel. All lithography produced during 
1959 is eligible. Award certificates will be 
presented to 306 winners in 51 classifica- 
tions April 25 at LPNA’s 55th annual 
convention, Boca Raton, Fla. 

Brochure designed by Allan Seide, 
Brooklyn, to project “color image and 
mystery” of lithography, used photo- 
graphy of brilliant hues and shapes of 
glass—including glass eye. Reflection ef- 
fect obtained by placing composition in 
aluminum box, back lighting. Type: 
Franklin Condensed, Modern #20 and 
Century Expanded. 


AIGA’‘s PforC show 

deadline Jan. 15 

Entries for both the 50 Ads of the Year 
and Printing for Commerce show must be 
received by Jan. 15 at AIGA, 5 E. 40 St.; 
NYC 16. For entry blanks, call MU 3- 
3568. Chairman of the shows and nonvot- 
ing jury chairman is Paul Rand. Judges 
are Alexey Brodovitch, Alvin Eisenman, 
Nino Ives, Herbert Matter, Constantino 
Nivola, Tomi Ungerer. Show will be held 
in May. 

Show this month is Paperbacks, USA, 
an exhibition of covers of 1957-59. Jurors 
were Ismar David, Louis Dorfsman, Alb- 
ert Dorne, Raymond B. Dowden, Robert 
Gage, Theodore Wilentz. 





The ADs’ editor An interest in pro- 
Arthur Hawkins moting ADs andart- 
ists to the public 


has led consulting AD/designer Arthur 
Hawkins into editorial work. He edited 
“Illustrators '59”, “The Art Director at 
Work”, co-edited “Advertising Direct- 
ions.” Such books, he believes, is one way 
the public can be made more aware of 
the successful work done by ADs and 
artists. 


Illustrators '59, published by Hastings 
House for the Society of Illustrators, 
promotes illustration—which SI felt has 
suffered in recent years at AD exhibits. 
The book shows illustration’s ad effective- 
ness, demonstrates the modern tech- 
niques developed by illustrators. 

The AD at Work, published by Hast- 
ings House for the NY AD club, shows 
layouts from roughs to finish of 15 top 
ADs, winners in the NYADC 37th ex- 
hibition, and includes articles by William 
Schneider, Allen F. Hurlburt, William 
Duffy. ADed by Eugene Milbauer. De- 
signed by George Giusti. 

Advertising Directions is published by 
the publisher of Art Direction magazine. 
Hawkins felt the field of visual com- 
munications needed a new kind of book, 
not merely a show and discussions of 
current pieces, but a study of the history, 
evolution, present development, and 
future trend of advertising art. ““Today’s 
world moves so fast that it’s important 
to know the direction of the future before 
it’s on us.” 

On the advisory council of NSAD and 
chairman of its speakers bureau, he is 
also a past president of the New York 
club, chairman of the advisory board and 
an administrator of the AD foundation. 
He has just been named chairman of 
Visual Communications International, 
the New York club’s fifth conference, 
to be directed by Frank Baker. 


NY Artists Guild hears about 
ad ideas in layout and photography 
Two speakers at recent AG meeting, 
Maison Clark, AD and art supervisor, 
Y&R, and photographer Toni Ficalora 
explained their creative approaches to 
advertising. ~ 

Clark, telling what stimulated his crea- 
tion of ad ideas, “Sometimes it is the 
look of the product itself . . . a memory 
from childhood . . . the work of a certain 
artist opens an AD’s mind to new tech- 
niques. The trend of the times may ex- 
cite an idea. Or many times the desire 
to break away from the trend will bring 
startling results.” He told the artists, 
“When we buy art, I hope to acquire 
a bit of your brain and your taste and 
your originality as well as your. expert 
technique . . . If you feel hesitant about 
making big changes, talk it over with the 
AD. Show him a sketch, talk him into 
letting you make him look good.” 

Ficalora said that he keeps ideas as 
simple as possible, uses color carefully, 
selects unique props and elements. He 
advised: Go counter to trends, “The thing 
is to be a leader, not follow the leader.” 
Photographers allowed interpretive free- 
dom often give work with freshness, 
spontaneity and character. Though some 
New York photographers are using bold 








stings 
ators, 
It has 
ribits. 
ctive- 

tech- 


Hast- 
shows 
5 top 
h ex- 
liam 
liam 
. De- 


ed by 
azine. 
com- 
book, 
ns of 
story, 
and 
day’s 
rtant 
efore 


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he is 
York 
l and 
tion. 
n of 
onal, 
ence, 


iphy 
ting, 
yisor, 
alora 
s to 


crea- 
, the 
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tech- 
j €x- 
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free- 
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ome 
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and stylized approach, he said, most are 
after a candid, believable look especially 
with high speed color films and Ektacolor 
prints. 

Artists Guild meets the second Monday 
of each month at the Salmagundi Club, 
47 Fifth Ave., at 7:45. Visitors are wel- 
come. Advance program information 
from AG president Robert MacDonald, 
1810 Cortelyou Rd., Brooklyn, UL 6- 
8910, or AG secretary, Margaret Ayer, 
129 E. 10 St., GR 7-0988. 





Series based on sports and 
headline theme, “Good for 
you,” scores excitement for U. S. Brewers 
Foundation. AD, Arthur Blomquist, 
JWT. Photographer, Howell Conant. 
Copy, JWT copy group, Wilson Siebert, 
head. Color spreads in Life, Look, SEP. 


A strike 





Million dollar A sound and sight 
promotion for ad debuted in this 
one ad with sound country with a big 

bang when Y&R’s 
4 color double spread plus record insert 
appeared in Look. The agency’s Reming- 
ton shaver product group was inspired 
by Scnorama, the French sound and sight 
magazine which has about 12 plastic re- 
cordings reproducing the text material 
and illustrations. 

Production problems and expense 
were big headaches. The French maga- 
zine has 150,000 circulation but Look re- 
quired over 6 million inserts. And dealer, 
trade and point of sale advertising tied 
in. Big bill for the one shot promotion 
was justified by the client: “If played 
only once with two people listening, this 
recording plus the double page spread .. . 
should deliver at least 10 million reader 
and listener impressions, compared with 
about | million ‘read most’ impressions 
expected of a magazine spread.” (Robert 
P. Clarke, Jr., Remington Electric Shaver 
AM.) “The purpose of the record page 


spectacular is to execute a powerful gift 
theme so dramatically that millions more 
Americans will experience the pleasure 
of shaving with a Remington.” (A. C. 
Barioni, general sales manager.) 

AD Ronny Johnstone had to use two 
photographers on both coasts to get the 
group picture. In New York Harold 
Becker and in California Bob Kelly shot 
the celebrities. Kelly was supposed to 
match color, lighting and distance from 
camera to the New York shot but in- 
evitably, due to deadline, coast time 


differential and the stars’ schedules, tim- 
ing was off. Retouching by Al Gianni, 
dye transfer by Langen & Wind. 

Still life of shaver by Ken Thompson. 
Hand lettering on ad by Tony Violino. 
Hand lettering on recording by George 
Abrams. Columbia recording was pro- 
duced in Hollywood, Chicago and New 
York, mixed and blended in one master 
tape, then transferred 6 million times 
to laminated paper insert. 

Copy supervisor, Hanley Norins. AE, 
Ollie McKee. 








Designing interest Front page 


teasers are 
answered by 
flip page in these two examples of 
a spate of back to back ads. Both 
full color. For Volkswagen, AD 


into back to back 





George Lois, DDB. Photographer, 


Art Direction / The Magazine of Creative Advertising / January 1960 


Carl Fischer. Copy, Julian Koenig. 
Type: News Gothic Bold and News 
Gothic. For Royal Doulton, AD Hal 
Florian, Anderson & Cairns. Photo- 
grapher, Harold Becker. Copy, Sher- 
man Rogers and Betty Barton. Type, 
Bauer Bodoni and Bodoni Book. 


63 











Iinsideitis—for | There's been re- 
the informative newed interest 
approach in product ad- 
vantage copy, 
cross-section, inside-look photog- 
raphy. All this probably in answer 
to increasing competition, and sales 
value of direct, adult informative 
appeal. Four examples are Doyle 
Dane Bernbach’s Volkswagen b/w 
bleed page for Life and Look; 
Mogul, Williams & Saylor’s full 
type/photo treatment for Patek 
Philippe; Cunningham & Walsh's 
new campaign for Watchmakers of 
Switzerland; Daniel & Charles’ hard- 
sell newspaper ad for Bruno-New 
York, RCA Victor distributor. 
For DDB: AD Helmut Krone, 


64 


photographer Wingate Paine, crea- 
tive supervision and headline by 
William Bernbach, body copy by 
Julian Koenig. For MW&S: Exec 
AD Robert H. Blend, photographer 
Len Siegel, copy by Seth D. Tobias, 
senior vp. Type: Caslon #540, head 
Monotype, body Linotype. For 
C&W: This is first in new magazine 
campaign which is consciously socko 
and breaks with past “pretty, arty” 
look. It’s tied to newspaper cam- 
paign pegged on reader contest. 
AD Philip Meyer, photographer 
Herbert Loebel, copy, Julius Har- 
burger. Type: Consort and Century 
Expanded. For D&C: ADs Rod 
Emery and Alan Bogorad, copy, 
Daniel S. Karsch, type: Craw Clar- 
endon and Century Expanded. 





Famous Artists/FC&B Seven first prize 
competition winners winners in as 

many _ illustra- 
tion categories of the 5th FAS competi- 
tion are: for billboard, (shown here), 
Merrill Gogan, Orlando, Fla.; magazine 
color, Peter Turner, Upper Saddle River, 
N. J.; travel color, Roger Van Sevenant, 
Poperinge, Belgium; magazine design, 
Ronald J. Jones, Washington, D. C.; 
fashion, Art Weymar, Evergreen, Colo.; 
small space ad, Robert Hasle, Evanston, 
Ill.; newspaper figure, Irving Zusman, 
Boston, Mass. More than $5000 in prizes 
were awarded. Top three in each category 
submit portfolios to FC&B ADs. 

Judges were Albert Dorne, president 
of FAS; Fred Ludekens, vp FAS and 
senior vp in charge of creative services, 
FC&B; Fred Sergenian, vp in charge of 
art, YkR; John H. Tinker, Jr., senior 
vp in charge of creative services, Mc- 
Cann-Erickson; Arthur Blomquist, vp 
JwT. 





Children’s book format Big and 
for sales brochure compli- 

cated adver- 
tising/promotional campaign for East 
Ohio Gas Co., by Ketchum, MacLeod & 
Grove, turned to simplest but attention 
getting cartoon booklet for gas range 
distributors. Brochure has big type (Cen- 
tury Schoolbook—body, 18 and 10 pt., 
heads larger), short phrasing, color 
breaks for emphasis, and illustrations of 
other campaign material. Offset on 
Beckett cover stock: AD and illustrations 
by Richard L. Aldcroft, copy by Bar- 
bara Lilly. Key art by Town Studio, 
Pittsburgh. 

For tie in of 11 manufacturers the 
campaign included a 2 page 2 color 
spread and 30 and 100 inch ads for 
newspapers, 20 second commercial by 





















































‘st prize 

in as 
lustra- 
ompeti- 

here), 
agazine 
River, 
venant, 
design, 
D. C.; 
Colo.; 
anston, 
usman, 
| prizes 
ategory 


esident 
S and 
rvices, 
irge of 
senior 
s, Mc- 
st, vp 


and 
pli- 
adver- 

East 
cod & 
ntion 
range 
(Cen- 
) pt., 
color 
ms of 
t on 
tions 
Bar- 
udio, 


; the 
color 
; for 
1 by 











Pelican Films, NYC, 1000 radio spots, 
and more than 200 outdoor boards fea- 
turing Wingate Paine photos of models 
Mary Jane Russell, Dovema and 
Gretchen Harris. Bus cards, POS and 
other material used food shots by Albert 
Gommi and range photography by Herb 


Redman, Cleveland. 





It’s the glow A noteworthy interpre- 

tation of the look so 
much in demand for soaps, creams, etc., 
by photographer John Rawlings for 
Cunningham & Walsh AD Irene Mc- 
Parland. Model Mary Hilem is glowy, 
not greasy. For Woodbury cold cream. 
Creative director, Jackie West. Copy 
director, Anne Foster. 





Paccione named Grey’s 

assoc. director of art 

Onofrio Paccione, with the agency nearly 
five years, is an ADC member, is on the 
Advisory Commission of the New York 
Community College, holds awards from 
the NYADC, Type Directors Club, AIGA. 
His work has been included in 50 Best 
Ads of the Year. 


Art Direction / The Magazine of Creative Advertising | January 1960 





Run away to 


OSE EE: 
Giess > 


Kids selling The irresistible ap- 
everything peal of children in 

any and all situations 
is being used for the widest range of 
accounts. In addition to the three 
examples here, note the ads for Tex- 
aco Dealers, Economic Develop- 
ment Administration of Puerto Rico, 
American Airlines, Cabin Crafts car- 
pets, Campbell’s Soup, Aunt Jemima 
pancakes, Bell Telephone System, 
etc., etc. 

1) One in a series shot by Tom 
Hollyman on the west coast for AD 
Gerald McLaughlin then with OBM. 
Copy, William Wright. 

2) Head shots but no headline for 
Federal Savings & Loan Corp. The 
ad made one of the highest Starch 
ratings recorded in the normally low 
interest field of finance. For SEP: 
men noting, 60%, read most, 15%, 
women noting, 62%, read most, 
21%. AD, John R. Murray Jr., Mc- 
Cann-Erickson. Photographer, Alb- 
ert Gescheidt. Redhaired freckle- 




























faced boy is nonpro Ricky Witlen, 
related to Gescheidt. Bruce Barton 
wrote copy to fit the pictures (“‘A 
little off the top’ works wonders for 
pay checks as well as kids . . .”). 
Roger Purdon, creative direction. 

3) First spread in John Falter’s 
series for AD Arthur Cady, Y&R. All 
the Johnson & Johnson ads are in 
oils, all show kids in situations to 
fit headline, “How many ways can 
he hurt himself today?”. Cady be- 
lieves in maximum freedom for artist 
of Falter’s calibre, doesn’t change a 
thing. “We either take it as is or 
throw it out. This gives Falter free- 
dom and responsibility too. If there 
were changing around of elements, 
we'd be liable to miss the artist’s 
special talent, what he brings to the 
job.” Falter is in on the earliest stages 
of planning the ads. 

Column of product art by Denker, 
Johnson & Fleck. Hand lettered head 
by George Abrams, Baskerville body 
type. Copy, Joe Giordano. 


65 








A try at com- 


Product detail . t 
plus human interest bining the best 
of both worlds. 


Adds sock, while avoiding limitations of 
ads which either sacrifice style detailing 
for mood, or vice versa. Newspaper ad 
by AD Robert Gage, DDB. Photographer, 
Wingate Paine. Copy, Judith Protas. 





(continued from page 59) 


Toronto for two weeks, beginning 
Tuesday, March 15. Awards luncheon 
will be held March 16. 

A series of discussions sponsored by 
the education committee and led by 
a panel of club members and experts 
begins in January at the Ontario Col- 
lege of Art. First subject, symbols and 
streets signs in Toronto. Regular 
monthly meeting dates are Jan. 25, 
Feb. 29, May 30, at the Architects 
Club. A cocktail party is planned for 
June 23. 


TV “deception” can be honest, 
Lanigan tells ADC 


Drawing a line between practices which 
create false impressions and “doctored” 
presentation which aims to create a 
true impression, John Lanigan told 
members of New York’s Art Directors 
Club how technical characteristics of 
electronic transmission often make such 
“deception” necessary to convey the 
truth. For example: use of a blue shirt 
to simulate a white shirt because the 
white shirt “bleeds” in TV. Similarly he 
explained the use of soap for beer 
heads, aerated shaving cream for cake 
icings, etc. If the object is to simply 
create a realistic effect, this is not 
deceit (any more than color retouching 
of photoengravings to compensate for 
printing’s mechanical limitations) Mr. 
Lanigan felt, but that if the resultant 
foam or icing were greater than in 
actuality the practice would be deceit- 
ful. 

The discussion was at an ADC lunch- 
eon meeting held at Videotape Pro- 


66 


ductions studio. Program featured a 
panel discussion MC’d by the club’s 
Bert Littmann, Pahmer & Littmann and 
featuring William Duffy, senior TV 
AD, McCann-Erickson, Raymond Lind, 
VP in charge of TV Production, Ben- 
ton & Bowles, Georg Olden, Director 
of Graphic Arts, CBS TV, Jack Side- 
botham, head of TV Art Department, 
Y&R, Dorothy Zimmer, supervisor of 
TV Commercials, N.W. Ayer, and Mr. 
Lanigan, VP and general manager of 
Videotape Productions. 

Other highlights of the discussion: 

Q. “Assuming that we would better 
the taste elements in commercials . . . 
would we at the same time increase 
believability . . . ?” 

A. (Duffy) . . . . there’s no connec- 
tion between taste levels and believa- 
bility or sales effectiveness. 


Q. “Are ratings and sales charts 
hampering creativity . . . controlling 
taste levels?” 


A. (Zimmer) Yes. But this doesn’t 


have to be. Get the AD into the act 
early so that he can set the taste level 
right away rather than try to raise it 
later. 

Q. “Could you do as good a job— 
artwise or sellingwise—if all ‘fixed 
frauds’ were not allowed in any form 
whatsoever?” 

A. (Sidebotham) Mr. Sidebothem 
distinguished between frauds and visual 
devices, implied such visual devices 
were often essential to the communica- 
tion of a true message. 

Q. “Can we really do anything about 
those ‘torture test’ commercials?” 

A. (Lind) “First, I really couldn’t 
pin down what appeared to be a 
unanimously distasteful commercial. It 
seems that healthy people couldn’t 
stand some of them, but the people in 
distress felt a warm feeling toward com- 
mercials that so honestly visualized 
their troubles . . . empathy .. . an im- 
portant ingredient in good advertis- 
ing.” 

Mr. Lind suggested better casting, 
proper set design and environment for 
the announcer, graphic art that will 
raise taste level and at the same time 
reinforce the message, and art director 
concern with the sound track. 

Following the discussion, the new 
Marconi camera was demonstrated and 
new developments in tape were ex- 
plained. (A feature article on tape will 
appear in a Spring issue of Art Di- 
rection). 


Chicago’s 2nd Creativity series 
begins Feb. 8 


First of eight weekly lectures on cre- 
ativity, cosponsored by the Chicago 


ADC, U. of Chicago’s University Col- 
lege, and Art Institute of Chicago, will 
be held Monday, Feb. 8, at the In- 
stitute’s Fullerton Hall, 7 p.m. Fee for 
the series is $32.50 for ADCC and AI 
members, $40 nonmembers. No single 
admissions will be sold. Bert Ray is 
ADC chairman. Ben Rothblatt, asst. 
dean University College, is the U of C 
and program chairman. Details from 
Bert Ray, Bert Ray Studios, 230 E. 
Ohio St. 








1) At right Oren Frost, 
past president ADC of 
Miami, second vp 
NSAD, and AD JWT, presents club 
gavel to Miami’s new president Sam 
Willig. Scene, the recent Awards Ban- 
quet. 2) Judges for the 7th Annual 
Awards Exhibition were, from left, 
Stuart Rae, head of Design Associates, 
Sarasota; Howard Blue, AD Burke, 
Dowling, Adams, Atlanta; Garrett P. 
Orr, president ADC of New York and 
eastern AD Outdoor Advertising Inc. 


Miami elects 
Sam Willig 


New York club scores 
on Hoyt Howard's trademark quiz 


Highest recognition ratings on the 
Trademark Game, Second Edition, by 
Hoyt Howard went to Phillip Morris 
cigarets and Jantzen sportswear. Both 
trademarks received 100 percent. Also 
in the high rated group were Bon-Ami 
cleanser, 98; Smith Bros. cough drops, 
Greyhound bus, Buster Brown shoes, 
all 95; Mercedes-Benz, Chevron gaso- 
line, 93. Lowest score was 45, for Bige- 
low rugs, and near that was a group of 
whiskies: I. W. Harper, 50, Calvert 
Reserve, 55, Beefeater gin, 61, Car- 
stairs White Seal, 68. Howard reports, 
incidentally, that a test in the Herald 
Tribune newsroom resulted in top 
ratings for the liquors. 





will 
+ In- 
e for 
d Al 
ingle 
ry is 


of C 
from 


Tost, 
C of 

vp 
club 


Ban- 
nual 
left, 
ates, 
irke, 
; ee 
and 
Inc. 


the 
, by 
orris 
Both 


Ami 
‘Ops, 
10€s, 


sige- 
p of 
vert 


orts, 
rald 
top 





Heyworth Campbell interred 
at Arlington National cemetery 


Once honorary member of Art Di- 
rectors Club of New York and its third 
president, the late Heyworth Campbell 
was interred with military honors in 
Arlington National cemetery, Washing- 
ton. He had served as a second lieu- 
tenant in the First Field Artillery, 
World War I. He died in November 
1953 at the age of 67. Always active in 
NYADC since he joined it in August 
1920, he was chairman of the 2lst 
Annual held during the 1942-43 season. 

Life member and founder Nathaniel 
Pousette-Dart issued the following state- 
ment: “Heyworth Campbell’s fellow 
members of the Art Directors Club 
always held him in warm affection. 
Whenever he entered a room evetry- 
body felt and recognized his dynamic 
presence. The vigor and enthusiasm of 
his work will always be remembered. 
He also rendered tireless service to the 
Society of Illustrators, and his distinc- 
tion in the field of art directing, part- 
icularly with the Conde Nast Publi- 
cations, won him an enviable reputa- 
tion.” 


Washington club moves 


New address and phone of the ADC 
of Metropolitan Washington is 1424 
K St., N. W., Suite 716, MEtropolitan 
8-1579. Dorothy Mansfield is corres- 
ponding secretary. President William 
Highberger invites all NSAD members 
to visit when in Washington. Club 
meets the second Monday of each 
month, or as specified, at the Embers, 
728 13th St. 

Dates and programs: Jan. 11, Art 
Paul, AD Playboy Magazine. Feb. 9, 
Workshop for the Evaluation of Publi- 
cations, joint meeting with AIGA, lat- 
ter sponsoring. May 9, Bob Jones, The 
Glad Hand Press, AD RCA Victor 
Record Div. Program combined with 
AIGA show, Printing for Fun, joint 
meeting with AIGA, ADCMW sponsor- 
ing. March 11, Ladies Night. March 
14, Technical Night. June 13, election 
night. Recent meeting program, A 
Night to Remember, included “Sunday 
Painters” show, benefit sale for Brian 
Brown Memorial Scholarship Fund, 
magic show by Abril Lamarque of the 
Society of Illustrators, NY. Charles 
Coiner, vp in charge of art, N. W. 
Ayer & Son, was recent guest speaker. 
Abstract paintings by Jocelyn Ball and 
experimental films made up another 
recent program. 

Club’s 1959 show is on display in 
Manila through January. The 1958 ex- 
hibit will be shown in Hong Kong and 


Phnom Penh (Cambodia) in January 
and February. Exhibits section, USIA, 
sponsors the traveling shows. 





Wm. E. Pensyl heads NSAD presi- 
AD of Year committee dent Arthur 

Lougee has 
named William E. Pensyl, vp and di- 
rector of creative services, Ketchum, 
MacLeod & Grove, Pittsburgh, as chair- 
man of the 1960 NSAD award. Pensyl, 
a charter member of the Pittsburgh 
club, joined KMG as an account as- 
sistant in 1938, became an AE in 1945, 
copy chief in 1948, creative director in 
1953 and was named to his present 
post, coordinator of creative copy, art 
and production and member of the 
board of directors, in 1954. 





New officers of the 
newest NSAD club 
are headed by presi- 
dent J. Richard Lewis, Harry Miller 
Agency; vp James Shockley, Nation- 
wide Insurance; secretary Iva Neff, 
Harry Miller; treasurer Clark Pester, 
Byrum-Jones. Artist Charles Harper, 
Cincinnati, whose work appears reg- 
ularly in Ford Times, was guest 
speaker at the election meeting. 


Columbus elects 
J. Richard Lewis 


chapter clips 


Baltimore: 1959 Famous Artists Scholar- 
ship Award to Bruce Bowersock, 21, 
of Mossman-Munschauer Art Studios. 
A native Baltimorean, he is a graduate 
of Polytechnic, and studied at Uni- 
versity of Maryland, Ringling School 
of Art in Sarasota, and the Maryland 
Institute.... New staff for club news- 
letter is George P. Fondersmith, editor; 
Thomas Parlette, news; Robert Wirth, 
features; Gary Goldman, production; 
Stanley Paulus, advertising; L. Robert 
Robbins, circulation....New member 
is Stephen J. Grabinski, photographer 
with Blakeslee-Lane. 


Milwaukee: Architect William P. Wenz- 
ler is guest speaker for the January 
meeting. He received the Francis J. 
Plymm Scholarship awarded by the 
University of Illinois for study in 
Europe. Alexander Roberts, president 
of Interstate Industrial Reporting Ser- 
vice, Inc., is the February speaker. 


Montreal: Committee chairmen are Bob 
Buckham, Cockfield Brown, exhibition; 
Pierre Garneau, CBS Graphics Dept., 
program; Al Barkes, Al Barkes Studios, 
membership; Harry Croucher, Cockfield 
Brown, house; Edmund Laliberte, Rob- 
ert Simpson Co., publicity; Colin Mc- 
Michael, Bell Telephone Co., tele- 
phone. 


Nashville: Annual Famous Artists School 
award went to Patsy Baran. Club presi- 
dent Haskell Richardson made the pre- 
sentation . . . Recently the club and 
Watkins Institute cosponsored a public 
exhibit of 50 early 20th century water- 
colors from Columbus Gallery of Fine 
Art, New York. The show, Adventure 
in Collecting, is from Ferdinand How- 
ald collection, and circulates under 
auspices of American Federation of 
Art. 


New York: Program for recent film 
luncheon included Old Ironside, an 
historical camera study of the Navy 
relic with the ship as the only pictorial 
element; and Teddy Roosevelt—Amer- 
ican, a filmograph technique with 
montage of political cartoons, sketches, 
newspaper headlines and photographs 
of the era. Both films are from the 
Department of Defense. 


Richmond: Guest speaker was Raymond 
Ballinger, director of Dept. of Adver- 
tising Design, Philadelphia Museum 
School of Art. He showed his slides of 
European posters. 6 


67 





Impressic | , 


WHAT'S NEW...WHAT’S BEST 


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


packaging, newspaper ads, consumer and business magazine ads, posters, T\ 








hotog 


ors, T 











1) Bright story, good continuity 


14x11 offset folder shows different types 
of plates for firm which offers creative, 
copy, agency, art, photography services 
plus printing and lithographing. AD, 
W. J. van Wormer, now manager of 
McCormick-Armstrong Advertising, 
Wichita. Designer, Ted Hawkins, now 
AD of the agency. Copy, William H. Mc- 
Daniel. Cover artist, John Antonio. 


2) It’s the idea that counts 


This b/w trade ad is clear copywise and 
visually. What could be more normal 
than an egg for breakfast? Abstract pheas- 
ant arouses interest. Copy is short, infor- 
mative, readable. One in a campaign 
designed by Trinkaus Aron & Wayman, 
S. Norwalk, for Langeler-Stevens Adver- 





tising, Orange, Conn. Client, WELI 
Radio, New Haven. AD/designer, Jon 
Aron. Photo, Ted Trinkaus. Type, Tor- 
ino Italic and Torino. Copy, Carl Stevens. 


3) A good nuts and bolts ad 

Here’s an answer to ADs who complain 
they can’t do a good magazine ad with 
nuts and bolts. This total product ad 
with not a bit of blue sky is a disciplined 
arrangement of hard sell that reflects 
quality and prestige for company and 
product. AD, Arthur Cady, Y&R. All copy 
handlettered by George Abrams in a 
face he designed for series running spor- 
adically about three years. Photographer, 
James Viles. Package art, Otto Zoehrer. 
Copywriter, Suzanne Rothman. 



















4) Cartoon art added to photo campaign 


Long established Gulf poster series built 
on human interest photography adds sim- 
plified cartoon in watercolor by Fletcher 
Richards, Calkins & Holden AD Earle 
Goodenow, then on the account. Effec- 
tively fits into fresh character of the 
series, adapts to today’s auto market. 
Posted in scattering of western and mid- 
west states, also small run overseas. Con- 
ceived by Walter B. Geoghegan, agency 
senior vp and Gulf account supervisor. 
Copy, Donald Ayers. 


5) Carton with a prewrap look 


Fleischmann’s Preferred gift carton re- 
lies on carton print design rather than 
on prewrap papers and ribbon. Diagon- 


69 




















eee a te ata) ot cantor 
a Ameen sens BAR) ES 
de kerk deratld 
cee ey) Rome ¢ Re tay 
= et eon a oe 
ot to te 
eo Rae? oe ete et 
ee oe —— 
mere 

- 


(ag ay s,s cg pas be i 
eae ya fr is Res 
« 


ally repeated zodiac patterns, alternately 
silver and gold, against white back- 
ground. Ribbon is a brilliant purple 
with brand name over black oval. De- 
signed by Robert Neubauer, Fairfield, 
Conn. Cartons by Container Corpora- 
tion. 


6) A camera painting 


Photography by Carroll Seghers II for 
Holiday is a fine example of the close- 
ness between painting and photography 
today. Simplicity of color—dusk green 
and brown, setting sunlight—and sil- 
houettes of fisherman and bird make this 
picture outstanding. For “The Best Part 
of Florida,” by Benedict Thielen. ADs, 





Frank Zachary and Stephen Biggs. 


7) Delicate art used big and bold 
Eric Mulvany illustration in Macy's full 
page newspaper ad combines sensitivity 
with impact. Creative director, M. Rosen- 
blum. Layout, Rosenblum and Mulvany. 
Type, Caslon 540 Italic and Century Bold 
Italic. Copywriter, Judy Young Osko. 


8) Contrasting 3D elements 

Counter display, 12x18”, with concise 
message rendered in dolfinite. AD, 
LeRoy Winbush. Designer, Leonard 
Jewell. Produced by Winbush Associates, 
Chicago, for Natl. Bank of Sycamore, IIl. 














9) Silk screen for industrial DM 


Direct mail campaign by Lukens Steel 
is aimed at bridge designers, engineers 
and builders. Each mailing features story, 
illustrated by 3 color photographic silk 
screen process, of historically important 
bridge. Mounted copies of the prints are 
offered. Low budget campaign to small 
mailing list resulted in 42.4 percent re- 
sponse per mailing. AD/design, Tom 
Corrigan. Art, hand lettering, Jack 
Nolan. Photography, Fred Frater. Copy- 
writer, Dave Hungerford. Type, 12 and 
10 pt. Futura Medium. Separation and 
silk screen process work by Charles W. 
Thomas Inc., Philadelphia, on Antique 
Cover 65 lb. Hammermill. 


10) Elegance in mass display 

Point of sale carton introduces Magi- 
Care Trio Cosmetics with drama, decora- 
tiveness. Front panels with graceful cal- 
ligraphy and type contrast with side 
panels’ design and color. Carton opens 
to show 1) structural design reminiscent 
of a stage box, and 2) jars and labels 
designed to complement box in design 
and color. Designed by Walter Landor 
& Associates for Mytinger & Casselberry, 
Inc. 


11) Cartoon commercial that’s freer 


Rough pencil rendering of figures con- 
trasts with flat cutout rendering of other 


elements. Produced by Animation, Inc. 
AD, Earl Klein. Artist, Robert Curtis. 
Music by Jack Fascinato. For Milton 
Weinberg Advertising. May Company 
Stores, client. 


12) Subject+-size make strong point 

Newspaper ad’s effectiveness is as ex- 
tended as its size—a 1 page spread bleed- 
ing across gutter. This is also the proper 
shape for the illustration and lends itself 
to unbelabored copy. AD, Edward M. 
Cottingham, then with Warwick & Leg- 
ler. Photographer, Hy Peskin. Copy- 
writer, Dayton Ball. Type, Cheltenham 
Bold Extended and Century Schoolbook. 


71 








MOT ORINK BRCITRS FOR THE CONTENIAD O87. BY MAXON? Cotenanne 














SSS eerste 
WD meee ee 
from water-color to needlework . . . Coronet 
_ @ enifter full of type . . . Gentlemen's Quarterly 


size contrast ... Vogue 


WHAT'S NEW...WHAT’S BEST... 
VISUAL VITALITY IN THE 
EDITORIAL PAGES 








integrated type, picture, copy. . 








Mark 
ROTHK' Luminous hues to evoke emotions and mystery 
Lites 





night light props . . . Look 





nature and abstract art meet .. . Life 


More editorial layouts are tightly inte- 
grating text and display type with illus- 
tration. The Gentlemen’s Quarterly 
spread features a Carl Fischer photo and 
text type set as a lo-ball glass and snif- 
ter. Bottom lines of type are in red to 
give illusion of a partly filled glass and 
integrate color with red punch in bot- 
tom of the pitcher. Headline is the 
stirrer. AD Al Greenberg . . . McCall’s 
pattern pages show model twirling, 
bouncing the type. Here she’s working 
the textype like a slinky and copy starts 
“Skirt shape: Slinky.” Photo by Allen 
Arbus. AD, Otto Storch . . . size contrast 
of head in middle picture being as 
large as models on either side makes a 
stopper spread for Vogue. Photo by 
Schatzberg. AD: Alexander Liberman 

art conscious Life and Look ran 
parallel tracks in November. Nov. 24 
Look featured Stuart Davis, Ben Shahn, 
Andrew Wyeth and Hans Hofmann spot- 
ting the work of Joseph Glasco, James 
Kearns, Robert Bliss and Alfred Leslie. 
Life started its series on abstract expres- 


zweig. 





sionism with a piece on Jackson Pol- 
lock Nov. 9 and Nov. 16 ran Bert Stern 
photographs of flickering flames and 
steel girders to show relationship of na- 
ture to the work of Clyfford Still, Franz 
Kline, Willem de Kooning, Mark 
Rothko. 

In the Mark Rothko spread Stern shows 
a horizontal banded sunset next to one 
of the artist’s colorful abstractions. AD: 
Bernard Quint . . . AD Allen Hurlburt 
(Look) and photographer Phillip Har- 
rington for a “Glamour Coats for Gala 
Nights” story spotted models against 
brightly lit letters of a Broadway sign 
spectacular . . . Coronet’s Christmas 
cover is a needlework by Irene Haas 
who has illustrated many Coronet stor- 
ies. She went from rough sketch to 
crayon and water-color version then to 
oversized water-color. Actual needle- 
work was done at Alice Maynard Inc. 
by Marcel Gengouldt and Frances 
Drury. Required matching 18 colors of 
stranded wool. AD: Martin Rosen- 


§ 
j 
q 
B 
a 
: 















BILLINGS AS A PERCENTAGE OF 1957 AVERAGE MONTH 


(Compiled in cooperation with NAAS, Inc.) 


138% 


114% 


109% .*" 
*806an" 
103% 

97% 


103% 


1957 Average Month equals 100 
eeeeseee 1958 Average Studio Performance 


eos §=1959 Average Studio Performance 


JANUARY FEBRUARY MARCH APRIL MAY JUNE JULY AUGUST SEPTEMBER OCTOBER NOVEMBER DECEMBER 


STUDIO BILLINGS 27% AHEAD OF ’S8 


starting last December, the general economic pickup 
has been reflected in greatly increased studio activity 


Despite a summer dip in billings, a sea- 
sonal fall-off, art studios billed 27% 
more business in the first seven months 
of this year than in 1958. Data is based 
on monthly studies conducted by CAM 
Report, business newsletter to the trade, 
and was compiled in cooperation with 
the National Association of Art Services, 
Inc. 

Billings upswing was gradual in the 
Fall of °58, really accelerated in Decem- 
ber and maintained a strong pace until 
this summer’s wilt set in. 

Although data in the accompanying 
chart is essentially gathered from art 
studios, a recent separate study of photo 
studios shows most of them are well 
ahead of '58 in billings also. 

This data is no reflection of freelance 
activity. Although many freelancers, 
either with established names or young- 


74 


sters who have caught on, are doing 
quite well, it is generally felt that the 
freelance artist is having rough going. 
Over the past decade, in New York for 
example, there has been a decline in 
the number of freelancers. This decline 
has been paralleled by the growth in 
number and size of studios. 

In Chicago too, except for the minor- 
ity of top names, freelancers are not 
doing as well as the studio offering a 
complete service. 

With billings running well ahead of 
both 1958 and 1957, as the chart shows, 
studios are headed for their best recent 
year, perhaps the biggest billings year 
ever. Obviously, not all studios share 
the prosperity equally as it takes a range 
of highs and lows to make the averages 
reported here. But it is significant that 
for several recent months the great 


majority of studios are running well 
ahead of the ’58 and ’57 figures, that the 
averages shown here are not simply the 
result of a few studios with high billings 
but do fairly reflect the general experi- 
ence. 

While there is a big difference be- 
tween high billings and profits, the 
upped and steady higher billings level 
should enable most well run studios to 
maintain a good profit level. As noted 
in last month’s Art Direction, average 
studio profits run around 6% but many 
studios show higher net profits. 

The percentage reported in the chart 
are variations from 1957's average 
month, which was arbitrarily assigned 
the value of 100. This data is kept up to 
date monthly in CAM Report and is 
based on a pool of information supplied 
by art studios coast to coast. a 





AIMED CREATIVITY 


the 60’s will see a growing togetherness of creativity 


and certainty as ad men buy fresh approaches, 


insist on measurable results 


by Marilyn Hoffner 


The true measurement of an ad—no mat- 
ter how many awards it might win—is its 
effectiveness. The best and most original 
execution is useless if the basic point is 
of no importance or has no meaning to 
the consumer. Unless it reaches the 
strongest prospects with the strongest 
message, unless it communicates infor- 
mation and emotional feelings, unless it 
effects favorable actions and attitudes, as 
well as being presented in the best pos- 
sible way, the ad has failed. 

Advertising and marketing men, art 
directors and designers all are increasing- 
ly aware of the two forces that make 
effective advertising: creativity and cer- 
tainty. 

Creativity is the source that agency 
men and their clients turn to in an effort 
to put individuality into campaigns; to 
establish product, brand and company 
images; to put that power into ad, pack- 
age, promotion and product design that 
will compel attention, impel sales. 

Certainty is the ever present but al- 
ways intensifying concern of the man 
closest to the budget. Even General 
Foods Mortimer, who proudly told his 
stockholders how and why he spent 
$96,000,000 in one year on advertising 
and promotion, wants to be sure that he 
is getting the results he wants. Increas- 
ingly, to advertising and marketing men, 
this means measuring. Measuring and 
testing before designs are made, on the 
shelf, in the magazine. Mathematical 
measuring, psychological testing, eye- 
movement tracing. Testing copy, colors, 
design, shelf position, ad readership. De- 


termining reaction, predetermining emo- 
tion. Measuring results against competi- 
tion and against dollars invested. In a 
business where box office scores are im- 
portant . . . where an ad in a magazine 
can get a readership of 1% or 50%... 
money should be spent to reach the 
biggest audience possible. It should get 
the most advertising for the dollar. 

An agency’s product is persuasion. 
Who you are trying to persuade, how 
you can best persuade them, and what 
you are trying to persuade them of are 
all facts that you must know to be suc- 
cessful. Here is where research enters the 
picture; it helps to persuade by getting 
you to know the people you are trying 
to reach by telling you what approach 
will interest them the most. It is incon- 
ceivable that any communication can be 
sharply aimed without the aid of some 
direction, some analysis. 

Today we are at a crossroads where 
creativity and certainty are meeting. 
Seemingly psychologically incompatible, 
even antithetical, they have come to- 
gether. The subjective emotional spirit 
is being tape measured, whether it likes 
it or not. What results are being discov- 
ered, where it is leading us, how success- 
ful the marriage is and is likely to be 
are concerns of every advertising man. 

For this reason Art Direction, in this 
special section, examines the work of five 
agencies outstanding for both their crea- 
tive and research departments, to better 
understand how they team together in 
practice, how their creativity is being 
aimed with greater certainty, what kind 


75 














of working relationships exist between 
the creative and research departments. 
We spoke to agency heads, art, copy, 
creative and research directors. We saw 
how close and sympathetic the relation- 
ship between the two areas can be; we 
saw how cooperation and coexistence 
operate and, all in all, we saw how re- 
search helps, not hinders, the art director. 

Research can help the artist: it is back- 
ground; it can verify an art director's 
opinion; it points out areas where he 
can wonder and ask questions; it can 
evaluate his creative output; it can point 
the way and then tell where he has suc- 
ceeded or failed. Research gives us the 
past histories and experiences of the 
client and his competitors; it gives us 
their problems and aims us toward the 
solutions. 

After an ad is completed, research can 
find out whether certain measurable ob- 
jectives have been achieved; evaluating 
as well as guiding helps creative effort. 

Research enables the artist to know 
more people. We all know a few people, 
a few neighborhoods and possibly a few 
ways of life; we use and project this 
knowledge. Research goes out and gets a 
picture of the consumer of our client's 
product. Then, as creative people, we 
can try to get a persuasive message to 
these people. 

Research also provides a supporting 
aid to the creative man, both within his 
own agency and at client meetings. In a 
meeting with account supervisors, ac- 
count executives and copy writers, the 
art director who doesn’t know the rules 
and reasons will be the one in the weak- 
est position. 

Those of us who are frequently ex- 
posed to client contact learn to use re- 
search findings to substantiate what 
otherwise would be called “artistic intui- 
tion.” Clients are becoming more and 
more research conscious; they are condi- 
tioned to deal with facts, and are by 
nature distrustful of ‘opinions’. Creative 
agency people are accustomed to rely on 
their intuition. Research helps to convey 
creative ideas convincingly to the client 

. if the intuitions are sound, they can 
be documented by research. 

Of course, there’s a balance. Research 
can help a creative man by telling him 
what to say and then telling him whether 
he succeeded in saying it. Research can- 
not tell him how to say it. Findings must 
deal with the content of the message; the 
creative man must deal with the manner 
in which the message is presented. In 
this way, creativity and the findings of 
certainty can and do work together. 








76 




























cosiaiaras anal heb unten aeuknerte ne 
Wg pn tn te te Ys ts mae 
— hecouse BBBO RESEARCH works wonders with oll. . 














Bihine 








































One of a series of ads for Esso Research that has consistently o 
scored higher in noting and readership than any others in its of 
category. This one attracted the attention of 45% of the men it 
readers of the Saturday Evening Post, as opposed to a 31% To 


average men noting for the field. Twice as many men read 
it all the way through...12% versus an average of 6%. It 
scored higher for noting and readership among women, too. 
Art director: George Elliott 














Insured Savings & Loan 

Here’s an offbeat ad for the Insured Savings and Loan 
ciations that was noted by almost twice as many men re 
of the Post an average ...60% as compared to a 39% av 
noting. It was noted by 62% of the women readers, as op 
to a 43% women’s average. Almost three times as many 
read it all the way through ...15% versus a 6% average, 
three times as many women read every word ... 21% as ag 
a 7% average. Art director: John_Murray 


Dorothy Gray 
This striking cosmetic ad caught the eyes of 58% of the wom 
readers of Ladies’ Home Journal, as compared to an avef 
noting of 41% for cosmetic ads. It got a “read-most” score’ 
25% versus a 5% average for the field, or five times as 
readers. Art director: Don Shure 





isistently 
ers in its 
' the men 
to a 31% 
nen read 
f 6%. It 


men, too, 





ee ae 
, poten th MADISCO SNACkS 
wee ‘ <a bf ; 
—— ‘sense. 


This color spread for Nabisco Snacks received one of the highest scores for noting 
and read-most among women of any ad ever recorded. 72% of the women readers 
of Life noted it, compared to a food average of 56%... and 33% of the women read 
it all the way through as compared to an average of 17% fer food ads. Art director: 
Tom Heck 





Art Direction / The Magazine of Creative Advertising | Jonvary 1960 


McCANN-ERICKSON 
...adual strength 


Few advertising recommendations are 
offered to McCann-Erickson’s clients 
without the backing of research. The 
agency, which has a strong research and 
marketing tradition, has a research de- 
partment that exceeds its art depart- 
ment by 25% and is one of the most 
all-inclusive departments in the agency 
field today. McCann claims to be the 
only agency that tests ads for sales effec- 
tiveness at the beginning of a cam- 
paign. In over 300 cases researchers have 
gone out, made findings in advance and 
the actual sales results have checked 
within 114%. This kind of analysis of 
why things work and don’t work takes 
the guesswork out of business. The 
agency says this approach pays off. 

Research is available at every stage 
of the agency’s operations, but rules and 
regulations do not govern or inhibit the 
creative department. Research is well- 
used, well-accepted and, from what we 
saw and heard, well-liked by the creative 
people. 

According to Don Calhoun, v.p. and 
creative director, his department works 
closer with the research department 
than any other agency does. He claims 
that it is a friendly relationship, and 
adds with a smile, “some of my best 
friends are research people.” Each de- 
partment understands what the other 
is trying to do. 

All of the agency creative meetings 
are peopled with research staff members 
on the roam. The creative plans board 
has a research person, while the re- 
search plans board has a creative staff 
member. There is a constant trading of 
knowledge. There are outside speakers 
on research, who address the creative de- 
partments and there is continuous prod- 


77 








uct examination. On big campaigns, 
research people give a quick run-through 
on some of the basic things that seem 
to be the most effective in the field. 
There is a regular roundup of the best 
television commercials (with facts and 
figures) and short films from all over the 
world, that is shown to a standing-room- 
only crowd of creative people. They are 
so stimulating, according to Don Cal- 
houn, “that the last time I saw one, 
1 came down and tore up the tv scripts 
I had just written... .” 


Quotes 


John Tinker, senior v.p. in charge of 
creative division: 


“Creativity and research aren’t forces 
fighting each other . . . they work to- 
gether and always have . . . they are 
always side-by-side and part of each 
other . . . a dual strength.” 


“It is inconceivable that any communi- 
cation can be sharply aimed without the 
aid of some direction and analysis.” 


“Research is no such thing as stifling. 
Those who consider the point of view 
of regarding it as such have an ex- 
tremely outdated viewpoint.” 


“Research doesn’t remain static . . . it 
can’t if you want to stay on top of it.” 


Don Calhoun, v.p. and creative director: 


“Research points out the obvious and 
this is important, because you forget 
the obvious many times.” 


“We don’t have all the answers through 
research .. . the business still requires 
sensitivity with words and pictures.” 


Donald Armstrong, v.p. and assistant 
to the president: 


“The dirty word ‘research’, along with 
its old concept, has been done away 
with, and both research and creativity 
are on the same team producing a good 
product.” 


“Without research, the creative man can 
dig a rut faster than research can ever 
dig him one.” 


“Research allows for a great deal more 
experimentation . . . it will say, yes, 
Ss 


“The role of the art director in adver- 
tising. is more important than it ever 
was, particularly with the advent and 
growth of TV—anyone can see that 
video, whether in print or on TV is 


78 


This ad for Ajax received the highest 
noting scores for any cleanser ad ever 
run. It got a 52% noting score in 
McCall’s versus a 29% average for 
cleaners...and five times as high a 
read-most score. The scores in the 
Ladies’ Home Journal were 58% and 
4%, versus an average of 37% and 


8%. Art director: Cyril David 


terribly impressive. Here, our A.D.s sit 
in on the plans board, share with the 
writers the responsibility of creativity 
and executing concepts.” 


Frank Baker, senior art director: 


“To question research is like question- 
ing knowledge.” 


“You have to work with research to 
understand it.” 


“Research makes you step back and 
take a look.” 


“Research people can be more objective 
than we creative people . . . it’s too 
close and personal to us.” 


“Our only job is to communicate with 
people . . . anything that helps us to 
do this more effectively should be our 
tool.” 


“Research points out the factors that 
make for high ads . . . and they usually 
add up to good ads,” according to Don 
Calhoun. In an agency where the re- 
search department knows its subject so 
well that it can predict the results of 
testing to within 3 points, consistently 
high results are obtained through the 
aid of direction and analysis, along with 
creativity. Here are six McCann-Erick- 
son ads that registered tops in their 
fields, with their ratings as compared 
to the average. 


” 


This back cover ad for Coca Cola was 
noted by 84% of the women readers of 
the Post, compared to a back cover 
average noting of 67% for women. The 
head of the researching outfit called 
the agency to congratulate them on this 
high, high score. It was read most by 
31% of the women readers, compared 
to a 12% average. It was noted by more 
men than average and read most by five 
times as many men as average... proof 
that love and real refreshment are here 
to stay. Art director: Frank Baker 


This black-and-white ad was noticed by 53% 
of the men readers of Look as compared to 
an 18% average. It received a read-most 
score of 30% as compared to a 4% read-most 
average. In other words, almost three times 
as many men saw it and almost eight times 
as many men read it, as read the average ad 
in the magazine. Art director: Tom Heck 





This tablecloth was washed in blue Cheer" 


| "Wenltn’s you like alt your sash this whit, this perfect? 


How can you be fresh, different and 
effective with a washday product? This 
was one of dozens of approaches tried. 
And this was the one that women no- 
ticed, read, remembered and liked. Did 
they understand that the white space 
represented a tablecloth washed that 
white with Cheer? The test scores gave 
full documentation that they did get the 
point and believed it. Art director: 
Arthur Seller 


Art Direction / The Magazine of Creative Advertising { January 1960 


YOUNG & RUBICAM 


. research should shape the 
strategic marketing plan 


According to David Ogilvy, “Raymond 
Rubicam probably did more than any- 
one else to bring research to bear on 
copy and art. His belief in research 
infected his great agency at all levels.” 
This belief still pervades the agency, 
which has a research staff of 176 and an 
art staff of 79. Y & R’s research efforts 
are aimed in the direction of measuring 
how well the agency has communicated, 
in fact and emotion, the intent of their 
marketing strategy. 


Quotes 
George Gribbin, President: 


“Advertising research today is doing a 
lot of measuring that is helpful to the 
art director, such as measuring the per- 
formance of one type of picture or lay- 
out against others. But it might be even 
more helpful if there was a lot more 
of what scientists consider research— 
basic research—in our field. 

“About thirty years ago George Gallup, 
then a professor at Northwestern Uni- 
versity, was doing research on what 
people really read in newspapers as con- 
trasted to what they said they read. Dr. 
Gallup was studying editorial matter 
primarily, not advertising. Raymond 
Rubicam learned about this, and he 
persuaded George Gallup to come to 
Young & Rubicam and find out what 
kind of advertising people really read 
and why they read it. Dr. Gallup was 
doing basic research. Raymond Rubi- 
cam saw that it could be applied to 
advertising. 

“Today we need to set aside more of 
our research dollars to pursue basic 
research. For example, we need to know 
more about why people remember some 
things and forget others. Such knowl- 
edge might enable an art director to 
build greater memorability into an ad- 
vertisement. Or it might not. 

“With leisure time about to become a 
still bigger factor in our lives, we need 
to know more about how people really 
react to leisure. Such ‘studies might have 
an important application to advertising. 
They might not. 

“There are many other areas of basic 
research which we ought to get into, 
finding out more about what people 
think and do, and what makes them do 
the things they do. 

“And the art director stands high on the 


79 














list of those who will benefit from such 
research. For as our basic knowledge 
and understanding of people increases, 
it will be his opportunity to apply the 
findings of basic research to the design 
and creation of increasingly effective 
advertising.” 


Walter Glenn, v.p. and director, 
art department: 






“Most art directors use some form of 
research . . . years ago sampling was 
limited to the family, the boss’ secretary 
and the new girl in the art files . 
these so-called mother-in-law surveys 
have been replaced by scientific re- 
search.” 









Everybody knows and likes the “So- 
ciety” ads. But there was a time when 
it was just one of a big pile of rough 
ideas that might or might not have 
merit. It was selected for a test along 
with several other possible approaches. 
e Men gave it high marks; they also felt 
nature. that it did a good job of setting this 
brand a little apart from the other 


“Presently we are in the era of a more names on the chelf. Art divester: Arth 
advanced and more delicately balanced Seller ee 


research, which is attempting to deter- 
mine ‘what people will do.’ ” 


“The good art director today uses the 
results of voluminous research on what 
people have done almost as second 


“As research moves forward, the prac- 


tical art director will combine the new : ae a SRO 
First tested in 1949. At that time it was a daring innova- 


findings — a open gr 2 pd tion in copy “by implication”. But Y&R research showed 
ae and will create better adver- that this ad told women a great deal about the product. 
tising. Their imagination took hold of the picture situation and 
iat tiie he added to the copy. The basic format is ten years old and 
Charles Feldman, v.p. and still going strong. Art director: Ronald Johnstone 


director of copy: 


“Although a creative person can and 
should investigate on his own, there 
are limits to this. Here is where re- 
search steps in.” 


“Research can help tell what to say and 
then tell whether he succeeded in say- 
ing it . . . but it can’t tell how to 
say it.” 


Dr. Peter Langhoff, v.p. and 
director of research: 


“Research, if it is to be utilized most 
effectively, cannot be confined to play- 
ing the role of score keeper. It must 
aid and abet in the formulation of the 
complete marketing strategy.” 


“It is in the direction of helping to 
define the areas of greatest marketing 
opportunities that research is making 
its most important and most needed 
contributions today.” 


General Electric appliance ads are usually among 
the best noted and best read ads wherever they 
appear. This is not by accident. Years and years 
of deep-probing research have eliminated the weak 
way to tell the story and have pointed to the ads 
that deliver the message and the will to buy. Of the 
many ways this product might have been shown... 
this tested out as most effective. Art director: Co=S—~ 
Leonard Ruben Oh: wus epmcemeorsl 








































































y. 
a 
t 
7 
4 











A Y&R art director had this hunch: Use a nearly life-size picture of the new machine 
and very brief copy. Women will do the rest. It worked. A pre-test of this ad proved 
that women ranged over the picture as though it was the real machine, ready to sew. 
They mentally operated it —and then told the Y&R interviewers how good it was! 


Art director: William Kammer 





Everybody agreed that this was a cute 
idea, but would it sell potatoes? Nobody 
knew for sure until after the pre-test. 
Then (as everybody claims they knew it 
would) the results showed that women 
accepted this ad wholeheartedly — called 
it cute and clever — and said that it was 
@ good, convincing story, as well. Art 
director: Maison Clarke 








Once upon a mattress the probing eye 
of research did light. For Simmons, this 
has been a continuous process as new 
product situations point out the need 
of new selling approaches. Tests show 
where the new ads are strong and where 
they are weak and need fixing. The 
“Temptation” idea proved to be the 
best-performing presentation in ten 
years of copy tests. Pre-tests showed 
that it had “promise” for the reader. 
Now the ads are running and the prom- 
ise is being fulfilled. Art director: 
Robert Wall 


Art Direction /{ The Magazine of Creative Advertising | January 1960 








Copy research has shown for years that 
recipes are a strong plus for a food ad. 
Here was a new way to include the 
recipe—without adding elements to the 
layout. Tests showed it extremely effec- 
tive. Art director: Raymond Todd 


81 











OGILVY, BENSON & MATHER 


... the basic promise 


Ogilvy, Benson & Mather’s creative re- 
search effort examines ideas, and deter- 
termines which are most effective. 
Research people participate in the cre- 
ativity, not only in the mechanics . . . 
in deciding what kind of research and 
what goals. Research is used only when 
there is a particular problem to solve 
and, as one spokesman said, “most of 
our most creative ads are not re- 
searched.” When it is used, research is 
used to discover the right ideas; the 
creative people are left to express these 
in the best form. Some of the “right 
ideas” come from David Ogilvy’s idea 
file—over the years he has made notes 
of anything that attracts other people's 
attention; here is where his idea for the 
Hathaway campaign came from. 

All of the agency's creative output, 
however, is governed by a very strict 
discipline. The agency believes that ev- 
ery ad is a part of the long-term invest- 
ment in the personality of the brand 
and that the manufacturer who dedi- 
cated his advertising to building the 
most favorable image, the most sharply 
defined personality, is the one who will 
get the largest share of the market in 
the long run. O, B & M tries to create 
sharply defined personalities for their 
brands and they stick to these personali- 
ties, year after year. Once it is decided 
what kind of image should be created 
for a client, creative technique comes 
into the picture. Here a highly devel- 
oped set of guiderules, devised by Mr. 
Ogilvy and based on copy research and 
common sense, is used. Some of the 
rules are general ones about advertis- 
ing; some deal with attitudes towards 
consumers; others are more specific and 
relate to the writing of headlines and 
the treatment of illustrations. 

When it comes to illustrations, the 
rules, all derived from research, are as 
follows: Illustrations should portray re- 
ward; to attract women, show babies 
or women .. . to attract men, show 
men; put “story appeal” in your illus- 
trations . . . devices like eye patches and 
beards; always use photographs, never 
use artwork . . . photographs invariably 


attract more readers—and more sales. 

The agency insists that its creative 
people master the groundrules of copy 
research; they try to inject them with a 
series of inhibitions and conditioned 
reflexes. Mr. Ogilvy has prepared slide 
presentations concerning his copy dis- 
cipline and personally conducts the 
training sessions. The lectures demon- 
strate that the creation of effective ad 
copy is heightened if it is based on ob- 
jective findings of research; that willing- 
ness to accept these findings releases the 
creative person from his own prejudices, 
frees him from wasteful struggles with 
secondary matters and enables him to 
concentrate on the main creative prob- 
lem. Young assistant art directors are 
reminded that Matisse started his career 
by copying old masters. 

The agency has a girl whose job it 
is to check over every ad before Mr. 
Ogilvy sees it and to draw his attention 
to deviations from their basic creed. 
However, the check list is only a mem- 
ory-jogger. It does not help the copy 
writers or art directors create better 
ads. According to Mr. Ogilvy, what most 
creative people need is continuous in- 
doctrinating—teaching, preaching, cajol- 
ing, bullying, threatening and bribing 
to get the findings of copy research into 
their blood stream. The young ones, 
he claims, are gluttons for copy re- 
search; they recognize that it improves 
their technical craftsmanship and helps 
them to sell their work to their super- 
visors. 


Quotes 


Stanley Canter, v.p. and 
research director: 


“If we can discover the right ideas .. . 
the basic promise to offer the consumer 

. on how to move products, our cre- 
ative people know how to express the 
ideas in the most creative form.” 


“We don’t use research just for the sake 
of using research . . . the agency has 
a lot of conviction about its creative 
effort.” 


Ay S oa 
Pepperidge: Rollin Smith 














Ar 


ae Soap dries your skin, but 
DOVE creams your skin 
while you wash 
and toilet bar is one-quarter cleansing cream. 








? Rollin Smith 


ee somt ro hare, 
rem oe ted water Sas cee een + tit Fm 


Only the tiny tea leaves will 


eS aeettphoot 3} a an 

Co Sacer ee irae SM eer “ 
— 

Saco Fe Taw a pinched ws inten. he 

ate caida Ratna 





Tetley Tea: Gerald McLaughlin 


Nae Cat ramen ohh mame aad tet = He eid may AD: te mie He ye! se we at Pong oot we ate Nae 


This amazing new Armstrong Ceiling soaks up noise 
~ and gives your home today’s smart new look 





Armstrong cenines 


ee ee me oe 


Armstrong: John LeGrand 


Rubinstein: Bert Wells 


Art Direction /{ The Magazine of Creative Advertising / January 1960 


6 for Mr, Tea 








Maxwell House: Rollin Smith 


The copy research for these ads cover a 
variety of techniques and purposes. In al- 
most all instances, extensive research was 
done to develop the basic promises of each 
ad. This is done by a series of testing de- 
vices which range from sorting two or three 
outstanding promises from a list of perhaps 
twenty to thirty; to investigating in detail 
what a specific promise means to the con- 
sumer, the extent to which it will motivate 
them to purchase a product, what messages 
it communicates, the extent of believability 
of the promise and various other aspects of 
consumer reaction to it. In some instances, 
the emphasis of the ad is not so much on 
a specific product message, but rather on 
creating a mood or brand image. Specific 
techniques are used to measure to what ex- 
tent the ads do, in fact, create or enhance 
the desired brand image. 





David Ogilvy, president: 

“The closer the friendship between 
director and the research 
the better for the creative 


creative 
rector, 
rector.” 


“Researchers pay lip-service to the ax- 
iom that research is not a substitute for 
creative originality. I hope they mean 
it. . . because it is true.” 


“Some of the old timers still complain 
that research hampers their creative 
genius. They forget that Shakespeare 
wrote sonnets within a strict formula, 
and that Beethoven always obeyed the 
rules of sonata form. All great crafts- 
men discipline their creative work.” 


“It is of enormous importance not to 
allow research to squelch creative vol- 
canos . research should be the serv- 
ant of the creative man—not his mas- 


ter. 


“Most of the resistance to research de- 
rives from the natural laziness of most 
creative men.” 


“One cannot operate as a creative man 
in a vacuum. One must be told by the 
marketing man what the total situation 
is. Once guided, the copywriter man 
must shut the door and write the ad 
—alone.” 


“Why don’t they (researchers) agree on 
some standard techniques for evaluating 
the messages we create? The rivalries of 
the research fraternity are not calculated 
to increase the confidence of the creative 
man in the validity of research.” 


Rollin Smith, Senior v.p. and 

art director: 
“Research isn’t a day-to-day operation in 
the art department.” 


“Research narrows down our area of 
possible error and floundering around.” 


Lou Redmond, v.p. and 

copy supervisor: 
“We try to be inspired and then we 
try to test our inspirations.” 


“Research does not make our decisions 
for us. It is simply a piece of evidence.” 


“You don’t have IBM machines make 
advertising decisions . . . people do.” 


“What you're trying to find out about 
an ad can’t be found by nose counting.” 
“It is important to set up your research 
department properly, so that you get 
the answers and information you're 
looking for . . . if your ads and communi- 
cation depend upon intangible qualities 
(image, power of an idea) your research 
has to do with these intangibles.” 


84 


Schweppes: Bill Binzen 





Zippo: Gerald McLaughlin 


Slow ‘ee Ghcovered the treth shout Rasi-on-the-Rocks 


Pacem Miee) 





me ele 
Penn 


OO Pe tmmem, Sene Yar 


a ma 


AL 


Puerto Rico: Rollin Smith, Bill Binzen 


“At 60 miles an 


hour the loudest noise 


in this new Rolis-Royce comes from 


the electric clock” 


ee ee 


me set 


Rolls Royce: Rollin Smith, Gus Wavpotich 


These ads have not been researched in spe- 
cific terms. The basic research principles 
which the agency has developed from many 
research studies over a period of years 
have governed their development. 








All Post cereals happen to be J9F> just » little bit better! 


Extensive motivation research showed that the selection 
of a cereal brand was a matter of relatively little conse- 
quence to the average mother; she had many other pur- 
chasing decisions that she approached much more seriously. 
This research suggested that the agency should not take 
themselves too seriously in the product claims, but should 
attempt to recognize the mother’s relatively relaxed atti- 
tude towards a cereal brand choice. This campaign, with 
its soft selling “little bit better” line was the happy result. 
Art director: Gunnard Faulk; Artist: Bill Helburn 


BENTON & BOWLES 
... pinpoint opportunities 


The people at Benton & Bowles feel that 
the vital core of advertising consists of 
art, copy and research; not necessarily in 
this order of importance. Each has its 
function, each performs its service, and 
each must contribute its part towards the 
creation of the final product: the ad for 
the client which the agency presents 
before the public. 

Research, the agency's representatives 
said, has never written a piece of copy; 
it is no substitute for creative thinking. 
Likewise, great art work and compelling 
copy are of little value unless the ad car- 
ries a message that will move the product 
off the supermarket shelf or propel the 
prospect into the showroom. 


Quotes 
Victor Bloede, v.p. and creative director: 


“Advertising is a simple business. The 
function of copy and art is to implant 
ideas . . . the simpler and the easier to 
understand, the better. Research can be 
of tremendous value to the artist and 
writer in achieving ultimate simplicity: 
first, by helping to pinpoint opportuni- 
ties for art and copy and second, by 
measuring how well—in terms of memo- 
rability and effectiveness—the goals are 
achieved.” 

“I see ever increasing cooperation be- 
tween art, copy and research towards 
more effective and simple advertising.” 


Richard Casey, v.p. in charge of research: 


About research used before creative work 
starts: “It points out target areas and 
results in less waste motion. The creative 
work is put against the marketing 
targets.” 

About research used in the evaluation 
of creative output: “Major emphasis here 
is on the question: Did the creative effort 
strike the marketing chord in such a 
way as to give reasonable assurance that 
the advertising is working as hard as it 
can?” 


Robert Pliskin, v.p. in charge of art: 


“Good advertising should tell and show. 
Art directors, working together with 
copywriters, devote all of their talent, 
training and experience to telling and 
showing a selling message. Research 
teaches us how to show most effectively 
and how to touch the experiences of 
people.” 



































For Liquid Prell it was decided to sell not just shampoo, but luxury— 
with the theme “Drench yourself in luxury.” Question: was this idea 
too far-fetched for the typical television viewer? Group interviewing 
with repeated samples of women indicated that the theme was not too 
“far out” and the campaign was run with good success. To suggest the 
idea of luxury in pictures, as well as words, fantasy commercials were 
produced. Art director: Bill McHale 








Be a lil ler ot event tat aati ant 
it Ccmeseacegs 4 
AN RG RE EC 


ie ro gr 
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Haberstock 


This campaign has a dual purpose; to in- 
crease public interest in mathematics and 
to tell people that the company is public- 
spirited and research-minded. It was felt 
that both purposes could be combined by 
selecting interesting moments in mathe- 
matics and dramatizing them. The agency 
chose modern design deliberately, in order 
to suggest a modern, progressive company. 
Before the campaign started, evidence was 
needed that the prepared ads would accom- 
plish the two purposes. A depth study showed 
that IBM’s corporate image was enhanced 
and strengthened by the series. Art director: 
Gerald McLaughlin; Artist: Roy Kuhlman 


At the time Alpha Bits was first introduced, 
the unusual shape received much emphasis 
in the ads. However, research indicated that 
parents also needed some reassurance as to 
its nutritive benefits. Accordingly, this series 
of ads was developed expressing more posi- 
tive nutritive value to be obtained from 
Alpha Bits. In addition, the product was 
“reintroduced” in an interesting way with 
these do-it-yourself crossword puzzles. Art 
director: Zoltan Medvecky; Artist: 











This is a specific product with a specific 
benefit. Benton & Bowles wanted to com- 
municate the idea in the clearest way pos- 
sible. In the art, simple, straight-forward, 
story-telling pictures were chosen. This ad 
was tested through the agency’s recall test- 
ing procedures and scored the highest of any 
dog food ads previously tested. The research 
showed that not only was the message clear, 
but the reaction was enthusiastic on the part 
of dog owners — great encouragement for a 
new product. Art director: Gunnard Faulk; 
Artist: Irving Penn 








? - » | Ratha te oft tor mee: Greny Toate hes wuneyiing your dt 
es | Nochamg te adi for murachonene easy Trae gree ser dag 


.* 
—_ a ioe 
' 3 ae mtrkgn a eee 














Depth research showed that people want to do business with a successful 
oil company—one that was first with new developments and new ideas. 
Most people did not know too much about gas and oil and, therefore, 
chose their brand by the reputation of the company. A forward-looking, 
aggressive, successful company was summed up in the “Hottest Brand 
Going” theme. The question remained as to how much of an attention- 
getter the poster would be. Research subjected this poster, five additional 
Conoco posters and about 20 other current posters—both competitive and 
non-competitive—to laboratory testing using a device which permits 
accurate, objective measurement of relative visibility and comprehension. 
This poster scored highest of all. Art director: Allan Rockmore; Artist: 


Frank McCarthy 


Art Direction { The Magazine of Creative Advertising / January 1960 


87 








CUNNINGHAM & WALSH 


.. research the major problem 


Much constructive thinking is devoted 
toward maintaining a good working rap- 
port between the creative and research 
departments at C & W. The art staff ac- 
knowledges the fact that the research 
department and its director, Richard 
Baxter, are not oblivious to creative 
people and their needs. Baxter, in turn, 
feels that research is merely the founda- 
tion or takeoff point for creative think- 
ing. 

What does C & W do to get close agree- 
ment between the two departments? Be- 
sides having periodical meetings and 
having research representatives at all 
creative meetings, the agency has a basic 
training course in research for all art 
directors and newcomers to the art de- 
partment. Each member of the depart- 
ment has attended three one-hour sem- 
inars, at which time he hears how sound 
reasoning can back him in his creative 
endeavors. Copy research platforms, 
Starch and Gallup-Robinson ratings, 
statement of principles of how research 
can be useful and of how the agency goes 
about it are all discussed. Some young 
people, to whom it is an unknown facter, 
resist research, and at the first meetings 
there may be a little antagonism. At the 
end of the three seminars, the “students” 
are understanding graduates. 

Another plan, which art director Steve 
Baker claims will be a C & W “first”, is 
one that he is in the process of develop- 
ing with Mr. Baxter. Called “visual per- 
suasion,” he explained that it will in- 
volve digging into the more subtle phases 
of the subject, such as the models that 
sell best and the atmosphere of type. The 
plan is to issue periodical bulletins on 
findings and distribute them to all on 
the agency’s creative staff. 

The agency researching revolves 
around the client’s major problem; this 
may be his image to the public or any 
other facet of his advertising. When it 
comes to an ultimate decision in any 
campaign, that decision is creative. 


Quotes 
Richard Baxter, Director of Research: 


“You can violate research rules, but know 
what and why you are violating them. 
Break some of the rules some of the time, 
but not all of the rules all of the time,” 
“If you can’t use it, then we're kidding 
ourselves, because then it really isn’t 
creative research, which is its service 
function.” 

“This isn’t an art exhibit . . . you’re deal- 
ing with a business man’s money and the 
risk involved is great. Once you accept 
the fact that it is a business, you'll work 
to increase the company’s sales. You're 
not designing the ads just to make your- 


self famous . . . if that happens as well as 
selling the client’s products, it’s good, 
but secondary in the big picture .. . an 
extra plus.” 


Charles Adorney, Executive art director 
and vice-president: 


“Research can be used more to enforce 
an artist’s opinion, rather than to chan- 
nel it.” 

“Research and creativity aren’t that far 
apart.” 

“Research points out areas where we 
creative people can ask questions and 
wonder ... and become firm in our 
convictions.” 

“The good research man recognizes the 
fact that an agency that does well occa- 
sionally goes out on a limb.” 

“Using research is using a calculated risk 
as Opposed to a blind risk.” 


Steve Baker, Senior art director: 


“Instead of putting them into straight 
jackets, as it is reputed to do, research 
can show creative people the way to new 
vistas.” 

“Research men should concentrate more 
on unearthing information; let the cre- 
ative people interpret their findings. It 
is in this way that research can be used 
most creatively.” 

“Research is a handicap only if it is mis- 
used. It’s easy to misapply research; this 
happens frequently.” 




















Mag tyes 























y, 


Sided: / 


W 


JAGL 



















ke survey was conducted to find out what image house- 
wes, had of Captain Folger, what their attitude towards 


was and what connection they see between him and 
coffee; also, to discover the attitudes toward the com- 
ial as a whole. 79 women were interviewed. The reac- 
to Captain Folger and to these commercials were 
ble. Women tended to regard the Captain lightly, 


as an appealing figure. Result: the client was satisfied 


the image Captain Folger conveys to the viewer. Art 
tors: C & W Tv department 


Connecticut General’s ads, while highly attractive and modern, fell very 
low in remembrance value. Other insurance company advertising, it was 
discovered, rated much higher in observer's minds, as far as remembering 
who the company was. Twenty competitive insurance ads were studied. 
Tests proved that a simple change of incorporating the name of the 
company in the headline would improve the remembrance power of the 
ad. This change is in effect in all of the company’s upcoming ads. Art 
director: Howard Wilcox 


Art Direction / The Magazine of Creative Advertising / January 1960 












A wide opinion survey was conducted 
among Jaguar owners and the findings 
greatly helped in arriving at picture con- 
tents. It was discovered that owners pre- 
fer to see cars moving or about to move 
...it gives them a feeling of action; the 
“image” of Jaguar is masculine, men like 
to drive it, women like to adore it, Jaguar 
owners put themselves past the emotional 
need for ostentation. Information for the 
artist? Yes. These findings helped Cun- 
ningham & Walsh convince the client that 
perhaps the marble-staircase and long- 
stem column background could be dis- 
pensed with; that the car should be shown 
on the road or against “masculine” back- 
grounds; that stark illustrations were 
psychologically sounder than cluttered 
ones, because they made the reader feel 
that Jaguar was a car for the intellectual 
loner, the non-conformist. Research also 
helped C & W sell the client the radical 
concept of copyless ads with only the 
word “Jaguar” under the illustration. Art 
director: Steve Baker 























































Onty Connecticut General offers your company a group ix ension p og? with the added 
technique of BIB.U.—s service that leads to Better Imployee Understanding. @ When your employees — 
understand the real vahue of the extra benefits you provide, you find it easier zo increase productivity. 
And to attract and hold good people, too. These are the results of Metter Rmployes Understanding. 
Ask about B.B.U. Connecticut General Life Insurance 


Cromp Inenrance | Pension Plans | Health | Accent | Life 















The problem was to create a more modern image for West- 
ern Electric. Several different layouts were tested, with 
very slight differences in the results. The final decision was 
made by the C & W creative board, who picked a layout 
using a split picture. After the campaign ran for a year 
it was again tested and the results proved that the split 
picture fell below the ratings for a single picture format. 
The individual picture format was adopted with a moderni- 
zation of the type and great attention was paid to what 
went into the square halftone. The single illustration cam- 
paign did appreciably better. Note the story that the illus- 
tration tells; the phone modernizes as well as the woman’s 
fingernail polish, which changes from none at all, to a red 
that we all recognize, to a blue-gray of the future, which 
was based on research with nail polish pani 





Research found out what the potential cus- 
tomers did not know about the company. A 
campaign was built to fulfill a specific need; 
to answer all the questions that were un- 
answered and to build an image of a big, 
important, modern company. People thought 
that St. Regis was only a paper manufactur- 
ing company and they did not know its size. 
The image was general and vague. The cam- 
paign offset all this and built a new image. 
Each ad shows one product at a time, stress- 
ing diversification. The campaign goes into 
the biggest possible space with bleed ads, 
color, modern layouts and art treatment. The 
results: 70% of the ads usually come out as 
the “most-read” and “most-noticed” in sur- 
veys of the magazines the ad appears in; 
requests for additional information runs into 
thousands; the customers compliment St. 
Regis for its modern advertising. Art direc- 
tor: Steve Baker 


Gasoline ade were once the lowest read ads. 
Now the product ads are very highly read 
and usually appear among the top five ads 
most read. 

This Texaco ad was pretested to measure the 
basic ideas that were conveyed to the reader, 
as well as consumer reaction. 77% of re- 
spondents were receptive to the basic ideas, 
with the majority playing back “better serv- 
ice.” Conclusions: the ad was very effective 
in getting across its basic ideas. The recall 
of the advertiser was 100% and the reaction 
to the ad was primarily favorable. The major 
weakness of the ad as tested was the head- 
line, which had a low recall compared to the 
other components. The final ad was changed 
to incorporate the headline above the picture 
and substituting the word “service” for 
“dealer.” Art director: Charles Adorney * 





















an exploding 
America opens 
and expands 
more markets 
for ad art 


BY HOWARD H. FOGEL 


1959’s advertising expenditures are ex- 
pected to pass the $11 billion mark. 
Analysts looking only 10 years ahead to 
1969 predict a doubling of ad expendi- 
tures. In this expanding economy the 
artist and the art director will work in 
larger studios and larger agencies. And 
the creative team will aim their ads at 
not only an ever expanding market but 
one with changing characteristics re- 
garding age, sex, family structure, leisure 
time, geographic concentration, country- 
city proportions. 

The following data was compiled 
from many sources to give Art Direction 
readers an educated guess of the size 
and shape of tomorrow’s market. 


bigger, bigger, bigger 

No matter what set of statistics you look 
at, one conclusion stands out: the Amer- 
ica of tomorrow will be bigger and 
Bigger and BIGGER! More people, 
more products, more income, more 
houses, more automobiles. The changes 
will be so significant that the average 
man will have difficul:y recognizing what 
was once home-sweet-home. 


population totals . . 

First, let’s look at the people. If we use 
an upper projection of the Census 
Bureau, we will add another 120 million 
people by 1980. This means that we 
will have done in twenty years what it 
took us from 1620 to 1930 to accomplish! 
By 1980, individual households will have 
risen from 50 to 76 million. This growth 
is not expected to be uniform, but in 
spurts. Our first postwar baby boom be- 
gan in 1946. These youngsters will reach 
marriageable age by 1966. Then they 
will set up households and begin their 
own familying. Since the original baby 
boom continued well into the 1950s, the 
annual increase of households between 
1966 and 1976 will be about the same. It 
is only when their children reach twenty 
that the next big population spurt will 
occur. 


more young . . . more old 
The age make-up of these households 


Art Direction / The Magazine of Creative Advertising / January 1980 


is important. Between now and 1965, 
it is expected that the over 55 group will 
rise 59%, but when this period is 
stretched to 1980, the rise will average 
out to only 20%. In the meantime, the 
below-25 group will have hit their stride 
in 1970, will have increased their pro- 
portion by a whopping 67%! Only the 
25-54 age group will remain static, in- 
creasing 7%. The implications for hous- 
ing alone are overpowering when it is 
remembered that the very young and the 
very old are small family units! 

Are there reasons why there should be 
such upheavals at the top and bottom of 
the household units? Yes, earlier mar- 
riages. Women are marrying at 20 
rather than 21 as in the 1930s, and men 
at 221% rather than 24. Also, money is 
less scarce, and more women work to 
make ends meet, and to get more mate- 
rial comforts. As one authority stated, 
the tendency is to get things as early as 
possible while the getting is good. 

People are living longer, too. Life 
expectancy increased twenty years be- 
tween 1900 and 1957. Future gains are 
expected to be more moderate. Today a 
man is expected to reach 70 years; by 
2000, 74. This opens new vistas, pre- 
sents new possibilities to advertisers. In 
1900, only 3 million people were over 
65. In 1959, there were 15.4 million. The 
ratio has risen from 1 out of 25 to 1 
out of 11. The market, however, might 
be for these people rather than to them. 
At present, the income of 60% of all 
aged is under $1000 a year. The neces- 
sities—food, care and clothing—will be 
uppermost to them. Recreation and lux- 
uries will be through the beneficence of 
younger, thoughtful relatives or govern- 
ment agencies. 


family size... 

The size of families will differ; the 
upper and lower levels with two or 
three, rarely more than four people. The 
days of the large families of five or more 
are over. True, families are larger, but 
more 3 and 4 child families have been 
created than others. Even though the 
totals have remained the same, the sig- 
nificance is different: more families are 
having children, but having fewer of 
them so as to be able to give them more 
benefits! 


more women . 

What will the population look like? In 
the main working group, the 25-64 year 
olds, the increase will be 25 millions in 
the next two decades—a rise from 1957 
of 81.8 million to a 1980 estimate of 
106.3 million (out of a total population 
of 272 million). Initially this group will 
contain older workers, but by 1980, be- 


cause of the 1960s bumper baby crops, 
the emphasis will be on youth. In the 
meantime, a large group of older 
workers will have left the labor force to 
become above-65 retired pensioners. 
They will have a 66% increase over 
1957 and will total 2414 million in 1980, 
or a 10 million gain in 23 years. Most 
will be women; men just don’t live that 
long. In 1940, there were 95 males per 
100 females 65 years or over. In 1957, 
the ratio had dropped to an 85-100. By 
1980, it is expected to be 72-100, an ex- 
cess of 4 million women, 65 and over. 
However these statistics do not tell the 
full story. Though women outlive men, 
both will be living longer together, and 
thus another market will be expanded. 
The implications of these family struc- 
tures are far reaching. For the first time 
in our history, there will be more 
mouths to feed than people working to 
feed them. Whereas in 1956, 65 million 
people worked 39 hours a week and 
produced $434 billions goods and serv- 
ices, in 1975, 88 million people will 
work 35 hours a week and produce $835 
billions of goods and services. By adding 
less than 25% to our working force, we 
will nearly double our Gross National 
Product while working less time. 


automation . . . 

How come? Inflation and natural growth 
account for much of this expansion. But 
a comparatively new economic phenom- 
enon accounts for the rest, automa- 
tion. Technology will have so improved 
that an unemployment crisis is conceiv- 
able until the necessary readjustments 
take place. Look what has happened in 
the past decade. Metal-working capacity 
has risen 40% between 1953-1958; De- 
troit now turns out a much more com- 
plex unit with only 75% as many ma- 
chine tools as in 1950. The blue collar 
worker represents only 37% of the labor 
force; the 1970 projection is 31%. Do 
you wonder why the strikes are longer, 
more bitter? 

How will this productivity benefit the 
advertiser? At first, it would look as if 
the consumer will have more time for 
his family, his hobby, his house. How- 
ever, the 35 hour week may not be a 
complete blessing. With so much time, 
Joe American may well decide to take 
a second job and cut out his leisure time 
and spending. Projections indicate that 
his productivity level will go from 
$3.29 per hour in 1956 to $5.14 per hour 
in 1975. But working fewer hours can 
mean that his income will be static . . . 
while his wants are increasing. Already 
the Census Bureau reports a sharp in- 
crease in “moonlighting” — the day 
worker with a night job as well. Surveys 
show a rise of 1,800,000 multiple job 


91 








holders in 1950 to 3,100,000 in 1958; an 
increase from 2.9%, to 4.8%, of the work- 
ing population. Three times as many 
men as women are multiple job holders; 
the married ones outnumbering the sin- 
gle ones 2-to-l. No wonder women do 
about 85%, of the shopping for every- 
thing. But if the trend continues, what 
happens to “togetherness”? 


West still fastest growing . . . 

Where will the people live? Mostly out 
West or in Florida. And they will con- 
tinue to leave the farm for the city. 

One authority says the East will add 
18%, to its population; the West, 18%. 
By 1975, California will be our largest 
state with 25.6 million, nearly doubling 
its present population. New York will be 
second with 20.8 million. Today New 
York has 16.2, California 13.4 million. 
The shift will not only affect representa- 
tion in Congress, but also how you live. 
Witness the craze for California-style 
lamps which have rescaled so many 
tables and couches. 

What else does this shift Westward 
mean? It means that the milder Cali- 
fornia climate and the desert widths of 
Arizona and Nevada will influence our 
means of travelling and the media the 
advertiser uses. For example, California 
has twice as many automobiles as Illinois 
even now and almost double New York's 
total. So . . . western senators and con- 
gressmen are the most concerned about 
outdoor advertising. What about recrea- 
tion? Remember only yesterday when 
we would go to the beach for the Sum- 
mer? Today, a family can have its own 
pool or live in an apartment house with 
its own pool, garage and sun deck. What 
about shopping? Fifteen years ago, 
supermarkets were an interesting Cali- 
fornia experiment! 

What about other states? 

Nevada and Arizona will show the 
fastest rate of growth between now and 
1975. In the South the emphasis is on 
Florida and Texas. In 1950, Florida had 
2,800,000 people. The 1960 estimate is 
4,700,000 and for 1970 about 7,000,000. 
Which states will lose? Vermont, Missis- 
sippi and Oklahoma, to name the largest 
losers. 


farm-city shifts . . . 

Within states there will also be shifts. 
The move will be from farm to city and 
from city to city. And Americans move! 
In 1959, 9 million families, more than 
35,500,000 persons moved from one 
dwelling to another. The Census Bureau 
says that one-fifth of the nation moves 


92 


to new homes annually. 

The decline of the farm population is 
dramatic. In 1956, 22 million lived on 
farms. In 1975 with the population 272 
million, 15 million will be on the farm. 
This means that it will take only 7% 
of the population to feed us. Elsie the 
Cow will have her own technological 
revolution. 


strip cities . . . 
What about the cities? They will be 
“strip cities”’—the suburbs of one city 
will run into the suburbs of another. 
Today it takes an hour and a half to 
go by car from Manhattan to Philadel- 
phia. That's exactly the same time to go 
from the tip of Brooklyn to the end of 
The Bronx! Less than a decade ago, 
about one-sixth of Brooklyn was all 
farmland, areas in Queens didn’t have 
streets and Staten Island was a wilder- 
ness. New York now really goes as far 
south as New Brunswick, north through 
Westchester, east to Hempstead. The St. 
Paul-Minneapolis, the San Francisco- 
Oakland and the Ft. Worth-Dallas areas 
are for all practical purposes units. To 
explain graphically the full meaning of 
the strip city of the future, imagine a 
twenty-mile width sweeping through and 
linking all the following “independent” 
cities: St. Louis, Peoria, Chicago, Mil- 
waukee, Detroit, Toledo, Dayton, Cin- 
cinnati, Cleveland, Buffalo, Utica, 
Albany, Boston, New York City, Phila- 
delphia, Baltimore and Washington, 
D. C. Fantastic? Any more fantastic than 
to remember that a decade ago Long 
Island was one big potato farm, scat- 
tered with air fields because of the isola- 
tion? We have been merging the suburbs 
into the cities without even realizing it. 

How will this affect the American con- 
sumer? One estimate is that he will live 
within 30 to 60 miles of where he works. 
He won’t worry about commuting be- 
cause giant thruways will take him from 
his door to where he works. But he will 
not be able to say where he wants to 
live. On the contrary, the federal high- 
ways will determine that for him. He'll 
want to be where his facilities, utilities 
and foodstuffs are, and the shopping 
centers will be on the main thorofares. 
And most of his purchases will be done 
at these shopping centers. Example: in 
1955 there were approximately 1750 of 
them. By the end of 1959, the number 
is expected to have reached 3700 doing 
a $30 billion volume. 

Even the city-heart will take on cer- 
tain aspects of the shopping centers. 
Call them malls, plazas or city centers, 


whole areas will be roped off against 
cars which will be left in some distant 
parking lot. Toledo, Kalamazoo and 
Hempstead have already tried it out suc- 
cessfully. Plans are afoot for New York 
City’s Nassau Street, right in the heart 
of the financial district, to try this ex- 
periment as well. Slums and old build- 
ings will have to be torn down so that 
parks and airy structures may replace 
them. There may be helioports in the 
center of the city. What the City Beau- 
tiful movement could not do in the 
name of esthetics, the City Fathers will 
do in the name of economics. 

Who will live in the city-heart? The 
extremes of the age groups in our popu- 
lation: the above-50 and the just-mar- 
rieds as well as the ever increasing group 
of unmarrieds. In fact those without 
children or whose children have been 
married off will dominate the city-heart; 
the others will tend to congregate in the 
suburbs. 


racial-religious changes . . 

Other factors are racial and religious. 
There is a higher birth rate among the 
non-white groups as well as a higher 
mortality rate. With immigration cut off 
those groups which specifically encour- 
age the birth rate will be the ones to 
grow proportionately. To the advertiser 
this means that not all of his models 
will be blond, rosy-cheeked, poster-Pro- 
testant white. There will be wider and 
wider use of non-white subjects. Already, 
this is the only way to sell beer in 
Harlem. Go one step further, and con- 
sider the advantages of using abstract art 
to appeal to as wide a group as possible, 
the prime purpose of advertising. 


creative man’s potential . . . 


It is obviously impossible to plot pre- 
cisely the size and shape of the American 
family in the future, or to determine 
all the problems and solutions of ad- 
vertisers in our exploding economy. Still, 
it is clear that size and growth by them- 
selves require changes in our thinking. 
It should also be obvious that the better 
educated Americans of tomorrow will be 
less concerned about how much chrome 
a product has than why it is there in the 
first place. 

The changes that are taking place are 
happening so quickly that it does make 
sense to take a moment to explore the 
projections made above. Any explora- 
tion of America’s tremendous growth 
warrants the conclusion that the poten- 
tial for the creative visual man is ex- 
panding even faster than is our economy 
and population. * 





inst 
ant 
ind 
uc- 
ork 
art 
€x- 
ild- 
hat 
ace 
the 
au- 
the 
vill 





“Maybe” “Well, yes” 


2u- 
ar- 


up 


: euncinnati’s 


he 


th 





cr 


A new method of judging the Cincinnati 
show was tried out by this year’s com- 
mittee. After years of having entries 
screened by a members committee, then 
judged for awards by an out-of-town 
jury, the club asked their out-of-town 
jury to do double duty and pass on every 
entry. Of over 700 pieces submitted, 180 
were accepted for hanging and 39 copped 
awards. Jurors were Reno Biondi (Chi- 
cago—Stephens, Biondi, DeCicco), Ray 
Dennis (Milwaukee—The E. F. Schmidt 
Co.) and Clark Robinson (New York— 
Cunningham & Walsh). Show chairman 
was Vernon C. Rader, (Procter & Gamble 
Co.). 


Ton 


Oo Oem A FS 


o 





Art Direction { The Magazine of Creative Advertising | January 1960 














OOTETS 
DART 

















Art Direction { The Magazine of Creative Advertising / January 1960 








2) 


3) 


4) 


5) 


6) 


7) 


8) 


9) 


10) 


11) 


12) 


13) 


AD: John Ziegler 
Art: Mark Shaw 
Client: Procter & Gamble Co. 


AD, art: Robert T. Hayes 

Client: Crosley Broadcasting Corp. 
AD: Dutro Blocksom 

Art: Robert P. Krusling 

Client: Procter & Gamble Co. 

AD: Henry VonHedeman 

Art: Robert Cosgrove, Tucker Campbell 
Client: Kroger Co. 

AD: Robert T. Hayes 

Art: Clinton Orlemann 

Agency: Ralph H. Jones Co. 

AD: John Koch 

Art: Robert P. Krusling 

Client: Procter & Gamble 

AD, art: George Tassian 

Client: Mosaic Tile 

AD: Rev. Kieran Quinn, OFM 
Art: Larry Zink 

Client: St. Leonard Friary 

AD: Harold Wetzel, C. Thomas Martin 
Art: Sergei Givotovsky 

Client: Joyce-U. S. Shoe Corp. 

AD: Donald Baker 

Art: Mac Cate 

Client: Procter & Gamble Co. 


AD: Bill Tabler 

Art: Joan Broerman 

Client: H&S Pogue Co. 
Photo: Fred Toy 

Client: Cincinnati Enquirer 
AD: Vernon C. Rader 

Art: Bill Sontag 

Client: Procter & Gamble Co. 


95 





creativity in 


ST.LOUIS... 


Picking 163 exhibition pieces from more 
than 800 entries from a 150-mile radius 
about St. Louis are judges Robert E. 
Blackburn (Vice President and Creative 
Director, Clinton E. Frank Adv., Chi- 
cago), Dean Earl English (U. of Mis- 
souri School of Journalism), N. F. Law- 
ler (Vice President and Sales Director, 
Foster & Kleiser Outdoor Advertising, 
Detroit), and Georg Olden (Director 
of Graphic Arts, CBS Television, NYC). 
Shown are some of the show’s gold 
medal winners. Show chairman was 
R. F. Ertell, AD D’Arcy Advertising. 
Co-chairman was J. S. Sartoris, AD at 
Gardner Advertising. 


2nd annual show spotlights area as one of 
the country’s upcoming ad art centers 

















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Art Direction / The Magazine of Creative Advertising / January 1960 


AD: Joseph Tobin Jr. 
Art: Creative Studio 
Client: Monsanto Chemical Co. 


AD, art: Martin Blass 
Client: Wohl Shoe Co. 


Experimental art: Robert Blair 


AD: Robert Thurn 

Photo: Art Fillmore 

Client: Jack Daniel Distillery 
AD: Joel Kurtz 

Art: James Cummins 

Client: Stix, Baer & Fuller 


AD: James Wortman 

Art: Nelson Renick 

Client: Bemis Bros. Bag Co. 
Agency: Gardner Advt. Co. 


AD: Lee Hall 

Art: Centaur Studios 

Client: South tern Bell Teleph Co. 
AD: John Gertmann 

Art: Robert Blair 

Client: Graham Paper Co. 














Two Kinds of Ads: 
Sick and Reflexive 


Many sick ads lately seem to assume 
that they can worry us into curing our 
ailments. The ills presented for patent 
relief are colds, headache, sinus, ten- 
sion, and tired blood. No really inter- 
esting cure is ever proposed, such as a 
remedy for anti-intellectualism. 

They usually do not even have the 
positive qualities of the hard-diamond 
sell. The sick ad may show an unimagin- 
ative anatomical cross-section with per- 
haps a hammer pounding away at the 
prefrontal cortex. Others: stuffed up 
mucous centers and nasal drip. 

Sick ads are evidently not guided by 
research. During World War II, for 
example, attempts were made to get 
soldiers to brush their teeth. Several 
films were made containing a brush- 
your-teeth plea. One presented all the 
horrible and ugly consequences of non- 
brushing. Another displayed only the 
mild and positive advantages of having 
clean teeth. There was an increase in 
brushing for those shown the latter, 
but the soldiers exposed to the film of 
grotesque pyorrhea scenes actually 
brushed their teeth less often. 

The psychological reason is simple: 
If you try to frighten people into taking 
care of their ailments by presenting 
ugly consequences, the mechanism of 










avoidance sets in. People avoid every- 
thing connected with the consequences 
including the remedy. 

One can resent the spread of sick ads 
also on purely esthetic grounds. Adver- 
tising art has shown more improvement 
along esthetic lines during the past few 
years than ever before. The revolution 
is seen in package design and in the 
integration of pictorial and typo- 
graphic elements. Sick ads are a blight 
on an otherwise attractive ad horizon. 

Finally, sick ads are an insult to intel- 
ligence and imagination. The over-con- 
crete distorted manikin uses the simple 
technique of children and members of 
primitive societies who enact a message 
rather than communicate it. 

In sharp contrast is the attractive, or, 
at least, provocative reflexive ad, the 
ad within the ad. An example is Miss 
Clairol with the relatively complex and 
reflexive question, “Does she . . . or 
doesn’t she?” No annoying enactment 
of color tint being applied or display 
of sick hair resulting from using the 
wrong product—usually product X, the 
most advertised product in the world. 

In raising the question, “Does she 

. or doesn’t she?”, the ad transcends 
the product and raises a more basic 














issue: can you tell the artificial from 
the real, can the synthetic duplicate the 
authentic? The answer is that only her 
hairdresser knows for sure, which gets 
right to the heart of the issue since only 
the synthesizer can be aware of the 
product’s syntheticity. This ties in well 
with the philosophy of our time, that 
we can improve on nature. 

The Clairol ad raises a question and 
in so doing raises other questions in the 
mind of the observer. There are several 
other “can you tell the difference” ads 
which employ a reflexive note thereby 
raising a broader issue, one that is 
usually better remembered. 

There is the tattooed man, the man 
who dares to think for himself, the man 
with the patch. Of course this can be 
carried too far. One philosopher re- 
cently speculated on what would hap- 
pen if the motivation researchers 
invented a subliminally tattooed man, 
thinking for himself, with patches over 
both eyes. 

Sick ads can perhaps be improved by 
emulating Clairol. A man obviously free 
of headache, tension, pressure and nasal 
drip could be seated comfortably over 
the caption: Does he . . . or doesn’t he 
take Anacin? Only his druggist knows 
for sure. * 





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Philadelphia ADs study 
‘changing role of AD’ 


Panelists for the Philadelphia ADC 
studied methods of improving the sta- 
tus of ADs, explored the adaptation 
of print ADs to tv, agency rather 
than studio doing collateral. Moder- 
ated by Charles T. Coiner, vp/exec 
AD, N. W. Ayer & Son, the panelists 
were Jerome B. Gray, Gray & Rogers; 
Robert O. Bach, managing AD, Ayer; 
Rollin S. Smith, exec. AD, OBM; 
Robert Larimer, copy supervisor, B&B. 
Some excerpts: 

Coiner: “As I see it from the lofty 
mountain peak of the old man on the 
mountain, art direction is at a very 
vital point in its development. 1) The 
agency AD is hammering at all the 
doors he can get to in an effort to 
improve his status. 2) We are enter- 
ing a period where the visual aspect 
of advertising is more important than 
ever before. One only has to look 
through our publications to determine 
that something very definite is needed 
to give our advertising character, to 
make it more effective. 

“3) On top of this, large and small 
businesses are very much concerned 
with their overall company image. 
Some large corporations are success- 
fully handling the problem not so 
much through their advertising agen- 
cies, I’m afraid, but rather by reaching 
over the head of the agencies directly 
to some of the best free lance de- 
signers or design organizations. 


Collateral—agency or studio? 

“If the agency cannot or will not 
supply the- answer to this important 
problem, their clients will certainly act 
independently and continue to go over 
their heads, and, in fact, in these very 
cases encourage their outside designer 
to dictate the format of the advertis- 
ing itself. Thus, the agency is put in 
the position of simply placing the ad- 
vertising without having anything to 
do with its formation—a most precar- 
ious position. 4) Television. In many 
agencies the AD’s position as it relates 
to television is still unresolved. At best, 
his is a constantly changing situation. 

“... There are huge studios thriving 
in America today whose sole product 
is a brand of polished hack work. 
These studios didn’t exist 15 years ago. 
Maybe this is not entirely the fault of 
the ADs, but it certainly can’t be 
blamed on the artist...” 








Art Direction { The Magazine of Creative Advertising / Januory 1960 


Philadelphia 





Smith: (answering the question, 
What's the significance of trend of top 
ADs leaving agencies to free lance?) 
“I think they wanted to move on into 
an area not confined by agency pro- 
cedures. They wanted to have more to 
do with the basic concept and execu- 
tion.” 


Can print ADs do TV successfully? 


Bach: (answering, Is it unrealistic 
for agencies to expect ADs trained and 
experienced in print media to become 
qualified and capable for tv?) “In 
theory, no. We are going through an 
experiment right now. We believe this 
is very very realistic, not only realistic, 
but very essential. It is our belief that 
a creative AD can generate ideas in 
any media...The one who will take 
a more important place within the 
agency structure is the AD who will 
welcome wholeheartedly and _ enthusi- 
astically the opportunity of creating 
ideas for any media.” 

Larimer: “We made every effort in 
the last year or so to coordinate print 
and. tv within the various art groups. 
Whether a print AD will work on tv 
depends on whether his accounts are 
in tv. If his accounts are, then he 
works on both....In a print ad, the 
AD controls the final production, or 
at least he should. 

“What has happened in many agen- 
cies, and this isn’t really the fault so 
much of the agency but of the new- 
ness of the media, is the AD has be- 
come simply a step in the production 
of tv. When the production people 
take over, the AD loses control.... 
He sees his conceptions and _ ideas, 
even when perfectly sound, uninten- 
tionally lost in the final production. 
By making the AD more a part of 
the tv production team, I think he will 
reach the same status in tv that he has 
already attained in print. Then he 
will really be the AD of the tv com- 
mercial. But, until then, I think he is 
better off in print where he can make 
his mark.” 

Smith: “We took the precaution, if 
that’s the way to put it, of sending all 
our ADs to tv schools. We worked 
cameras, the mixer, the console, and 
learned to a degree, I think, the tech- 
nical things that take place in produc- 
ing either a show or a commercial. In 
tv there is the AD, the copywriter, the 
agency producer, the film house pro- 
ducer, the stylist, the union and the 





cameraman. So the possibility of get- 
ting away from the AD’s conception is 
quite probable. 

“The AD cannot communicate di- 
rectly, so whatever he has to contrib- 
ute, for better or worse, is apt to be 
watered down a wee bit, to put it 
mildly. This is unfortunate. The aver- 
age commercial—that is, the average 
good commercial—is apt to be less 
good than the average print ad.” 


Copy and art—a ‘team’? 

Gray: “I think each member of this 
panel is overlooking the fact that the 
copywriter, the one who is in tv com- 
mercials, has a lot to do before the AD 
gets into the act. We have copywriters 
who are fully capable of conceiving 
and visualizing story boards, then the 
AD takes over for the refinement and 
improvement of these story boards. 
This is a matter of collaboration. I’m 
not going to sit here and think that 
the ADs are God. Although I think 
the AD is very much in the picture, 
I think the importance lies in close 
collaboration with the copywriter.” 

Coiner: “I don’t know whether most 
agencies are the same, but I think as it 
is in our agency, the writer or the copy 
supervisor has the final responsibility 
on the tv job as he has in print.” 

Bach: “The print trained writer is 
having just as much trouble orienting 
himself to the tv media as the AD.” 


Where's the training coming from? 


Bach: “Very few art schools have 
figured out a way to train potential 





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ADs in the tv medium. It is, first of 
all, a complicated problem. Secondly, 
it is an expensive thing for a school to 
gear up to the challenge. The tele 
vision trained ADs have come from” 
backgrounds where they have been liv. | 
ing more closely with this medium, 
They might have come from animation | 
studios or from network tv stations 
where they have been living with this” 
a lot more intimately than most of us 
who have been brought up in the 
field of print.” 


An ad clinic for advertisers? 

Gray: “Unmentionable! Too much™ 
advertising is prepared for the client } 
rather than the public. I think many 
of us are prostitutes. We prepare an 
advertisement or a campaign knowing 
the client’s idiosyncrasies, his person- 
ality, and his philosophy. Knowing 
these things, we hope what we have 
prepared will be approved. This is 
tragic. I think there is nothing that 
the ADC could do to reform this. 

“God help us if, and I have a horror | 
of it, the client says, ‘Now look, I don’t 
know anything about advertising, I | 
don’t know anything about art, I don’t 
know anything about copy, but... 
and that ‘but’ makes you lose your self 
respect. And if you tell him to stuff his 
account, he will. I tried it in the early | 
days of the agency when I had a little 
fire, and I lost the major account of 
Gray & Rogers by telling him to stuff 
it. It only took him 12 hours to do it, 
too. 

“What is’ the answer to this? Basic- 
ally it is simplicity. It is not this age 
of asininity that we are getting into. 
The copywriters and the ADs have an 
opportunity here to service this thing, 7 
and let people know that after all this 
is a medium of common sense.” 


MA nt—how do ADs make it? 


Bach: “Whenever management is 
discussed, the ADs, not in this club 
alone, but in other clubs too, keep | 
talking about management and refer- © 
ing to management just as if they are 
on the outside looking in. They say © 
they are not management, and that 
management is somewhere else. It’s 
always on the basis that someone up 
there doesn’t love me. I think it’s 
partly an attitude. They are not part 
of management because they dre not 
thinking like management. I think 
management would welcome and en- 
courage any copy or art person within 
its respective management structure if 
the guy demonstrates certain talent, 
ambition, initiative, and common sense 
to make a contribution at the man- 
agement level.” 











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1934 ARCH STREET, PHILADELPHIA 3, PA. LOCUST 4-5711-12 


REPRESENTED BY JUDY WAGNER * JOHN ROBINSON « WILLIAM D. 


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FARAGHAN Es: IOTOGRAPHY 











ASID elects R. S. Latham 


1959-60 president of the American Soc- 
iety of Industrial Designers is Richard 
S. Latham, partner in Latham, Tyler & 
Jensen. He had been vp, the society's 
midwest chapter chairman and regional 
vp. William M. Goldsmith, Chicago, was 
elected to a three-year directorship. Jack 
Collins of Milwaukee was named mid- 
west chapter chairman and regional vp. 


ADCC fine arts show 
opens Jan. 4 


Innovation in this year’s exhibit was two 
groups of judges, one for traditional art, 
and one for abstract. Show will be in the 
new galleries of the Main Street Book 
Store, 642 N. Michigan Ave. 


Chicago Artists Guild picks 
Fred Steffen, 9 councilmen 


Election of Fred Steffen marked the first 
time AG named a president to a fourth 
term. The election followed his appoint- 
ment to his third three-year term as coun- 








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cil member. Other officers are exec vp 
John Breunig, FC&B AD; vps Franklin 
McMahon and Bill Baker; secretary Rod 
Ruth, cartoonist/illustrator; treasurer 
Jeannette Burke, News-Bulletin column- 
ist and printing firm AD. 

Council members who were re-elected 
are John Breunig, Ed Fitzgerald, Phoebe 
Moore, and Fred Steffen. New council 
members are Leonard Black, Ralph 
Creasman, Chester Greene, George Man- 
iates, and Irving Titel. Continuing 
through 1960 are Jim Brown, Jeannette 
Burke, Bob Glaubke, Paul Haag, Luther 
Johnson, Dick Loew, and Clarke Tru- 
deau. Serving three year terms expiring 
in 1961 are Marv Abelson, Paula Alg- 
minowicz, Bill Baker, Ted Carr, Bill 
Clark, Henry Freiday, Franklin Mc- 
Mahon, Jack Strausberg, and Alex 
Yaworski. 

New AG members are photographer 
Jack De Sort, John Collura, Robert W. 
Garland, John R. Landah, Robert S. 
Shufelt. 


STA names Hayward Blake 


New officers of the Society of Typogra- 
phic Arts are president Hayward R. 
Blake, director of graphic design, Ekco- 
Alcoa Containers, Wheeling. He was 
formerly with Raymond Loewy Associ- 
ates. STA first vp is Gladys Swanson, H. 
L. Ruggles & Co.; second vp Robert M. 
Moore, Container Corporation of Amer- 
ica; treasurer Lawrence H. Muesing, 





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Design Dynamics; secretary Camille J. 
Cook. 





Kling-Bielefeld merges Charles F. 
with Moore, Ruck & Co. Ruck will 

be vp in 
charge of design in new organization, 
Robert Snyder & Associates, Inc., 
effected by merger of merchandising 
agency Moore, Ruck & Co. with Kling- 
Bielefeld Studios, Inc. William M. 
Moore, Jr. will be exec vp in charge of 
merchandising. President Robert J. 
Snyder, explaining the move, said, “We 
are looking ahead. In 1960 the need for 
a major, single source to plan and pre- 
pare complete promotion packages and 
merchandising materials will be greater 
than ever.” 





Chicago trade magazine Long es- 
redesigns, changes name tablished 

trade mag- 
azine for paper packaging, Fibre 











lle J. 





hed 


mag- 
ibre 





Containers and Paperboard Mills, has 
emerged as Paperboard Packaging with 
complete restyling by John Weber 
and Susan Karstrom Keig of Morton 
Goldsholl Design Associates. New logo 
simulates basic materials in paperboard. 
Published by Board Products Publishing 
Co., Chicago. 


Chicago notes 


ADC president Leonard S. Rubenstein 
has been elected vp of Clinton E. Frank. 
He’s been with the agency since 1954... 
Feldkamp-Malloy is distributing a palm 
size catalog showing 100 samples of 
photography and art. Sheets are riveted 
at one corner so that they may be fanned 
open like a deck of cards. Held one way, 
file shows studio’s photography. Flipped, 
artwork is shown. From F-M, 185 N. 
Wabash Ave... . 

Judges for the Artists Guild’s fine arts 
exhibit were painter/muralist Rainey 
Bennett; sculptress Nelli Barr, instruc- 
tor at IIT; painter Paul Wieghardt, fine 
art professor, Chicago Art Institute. . . . 
Paul E. Haag succeeds Richard Loew as 
chairman of the AGC insurance commit- 
tee. Haag is layout man and sales rep with 
Promotional Arts, guild member since 
1952 . . . John Langston from Grant- 
Jacoby to Stephens-Biondi-DeCicco . 

New at Art Forum Studios, Betty 
Schon. Glen Wilkins is on exec staff... . 
Illustrator Sharon Reeves with Higgins- 
Hegner Studio . . . William Reilly, now 
with creative dept., Dick Kuehn & 
Associates, came from George Hartman 
agemcy....... William M. Hughes has 
been named operations director and 
mgr., illustrative and commercial photo 
dept., Sigman & Associates. Rudy Muday 
is his asst. . . . Grant-Jacoby Studios 
named Stu Thomson asst. exec AD, Bob 
Cooley head layout dept., Art Roberts 
vp in charge of photo units, Irv Titel 
director of design. Additions: Photo- 
grapher Pete Debes, illustrators Rod 
Ruth, Dick Loehle, Bill Bowell. sales. . . 

Allen Carr Studios now at 333 N. 
Michigan . . . Hirschmann-Wessel Studio 
added Mike McGee, account supervisor, 
and Eric Von Winckelmann, designer 
illustrator . . . Bert Ray Studios is now 
Bert Ray Studio, Inc. . . . Charles Dinges 
now an AD with Y&R in Detroit .. . 
Everett Christoffersen left Bert Ray for 
Omaha . . . Ray Statz & Associates, rep- 
ping photographer Ralph Cowan, report 
Cowan has additional space, great kit- 
chen facilities . . . Bob Glaubke studio 
now at 19 E. Pearson . . . Photographer 
Jim Gail now with Ross Wetzel. 














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Art Direction /{ The Magazine of Creative Advertising | Jonuary 1960 





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Bill Tara named Succeeding Chicago 
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Pinzke, Bill Tara 
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International Design Conference, 1960. 
Other officers from the west coast, are 
first vice chairman Jack Roberts, execu- 
tive vp Carson/Roberts, LA; executive 
committeemen Ted Rand, Graphic 
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A member of 
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Niles E. Kelley Jr. has opened his own 
studio in the Joseph Vance Bldg., Seattle. 
Before his agency association, Kelley had 
operated free lance studios in Seattle and 
San Francisco. He is a member of the 
Chicago Artists Guild, and the Puget 
Sound Group of Northwest Painters. 


Niles E. Kelley, Jr. 
opens Seattle studio 


Oregon’s photo exhibit 
includes five separate shows 


Now on permanent loan to the Oregon 
Historical Society for display in their 
museum and library is a five part photo- 
graphic exhibit, said to be the largest 
ever prepared for the Pacific northwest. 
Sponsored by the Oregon Centennial 
Fine Arts Committee, the exhibit was de- 
signed by Charles Politz, Portland. The 
largest segment, This Land, This Oregon, 
has 150 pieces from freelance, amateur, 
commercial, newspaper, and portrait 
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Here’s the first book ever to interpret advertising art, design, 
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The writers are many of the art directors who themselves 
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Advertising Directions is an exciting, stimulating, critical 
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and again through the years. You will find its straight-forward 
editorial style clearly documented by hundreds of illustrations. 

Advertising executives, art directors, all buyers and producers 
of advertising art will have in Advertising Directions a source 
file of tremendous range. 

Advertising Directions relates and illustrates all facets of 
visual advertising in perspective. You may agree with the 
authors; you may not. You will have, after you absorb this book, 
a much more comprehensive control of your assignments, 
purchases and orders. 


Here’s a partial listing of the articles... 


Trends in Product Advertising: Food, tobacco, liquor, entertain- 
ment, PR, automotive, fashion. 

Trends in Media: TV, magazines, newspapers, DM, displays, 
sales promotion. 

Trends in Graphics: Illustration, photography, ideas, typography, 
production. 

Advertising Directions is handsomely bound, hard cover, 8% x 
11. 288 pages and more than 800 illustrations. Scheduled for 
November 15th publication. Price $10.00. 


Use this convenient Order Form 


immediately on publication. Enclosed is check for $ 


The authors: 


Stephen Baker 
Claris Barron 
Hershel Bramson 
Aaron Burns 
Charles Coiner 
Gabryel de Million-Czarnecki 
Wallace W. Elton 
Suren Ermoyan 
Karl Fink 
Howard Fogel 
Edward Gottschall 
John Jamison 

Art Kane 

Herb Lubalin 
Julia Lukas 

Dolph Morse 
David Ogilvy 
Georg Olden 
Garrett Orr 

Peter Palazzo 
Herbert Rohrbach, Jr. 
Lester Rondell 
William Schneider 
Fred Sergenian 
William Strosahl 
William Taubin 
Irving Taylor 

Roy Tillotson 
Henry Wolf 


Co-Editors: 


Edward Gottschall 
Arthur Hawkins 


Art Directions Book Company/19 W. 44th Street, N. Y. 36, N. Y. 


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CLASSIFICATION STH BUYERS GUIDE 


a 
4 


. advertising design 

. advertising strips 
airbrush 

airbrush renderings 

. annual reports 
architectural rendering 
art directors, consultant 
book jackets 
booklets, direct mail 
. Bourges technique 

. car cards 

12. cartoons 

13. catalogs 

14. charts 

15. color separations 

16. comic books 

17. continuities 

18. displays 

19. exhibits 

20. fine art for industry 
21. greeting cards 

22. ideas 

23. interiors 

24. labels 

25. layouts 

26. letterheads 

27. maps 

28. mechanicals 

29. oil painting 

30. package design 

31. pen and ink 

32. pharmaceutical design 
33. point-of-sale 

34. portraits, painting 
35. posters 

36. presentations 

37. product design 

38. props 

39. record albums 

40. editorial art technique 
41. scale models 

42. scratchboard 

43. sculpture 

44. spots 

45. stock art 

46. trade marks 

47. trade publishing art 
48. wash drawing, b/w 
49. watercolor 


SP EnNOVEwn— 


— 
— 


ILLUSTRATION 


50. aeronautical 

51. animals 

52. automobiles 

53. biblical 

54. characters 

55. chemical 

56. children 

57. children’s books 
58. decorative humorous 
59. fashion & style 
60. figure 

61. furniture 

62. general 

63. historical 

64. home furnishing 
65. humorous 

66. industrial 

67. interiors 

68. landscape 

69. marine 


70. 
71. 
72. 
73. 
74. 
75. 
76. 
77. 
78. 
79. 


medical 

product, still-life 
props 

shoes 

Sport 

still-life 

story 

stylized 

symbolic 
technical 


LETTERING 


80. 
81. 
82. 
83. 
84. 


85. 
86. 
87. 
88. 
89. 
90. 
91. 


alphabets, designed 
illuminated lettering 
LeRoy lettering 
lettering 

paste-up alphabets 
paste-up color sheets 
paste-up shading film 
photographic composition 
photo, film, process 
photographic variations 
planotype lettering 
Varigraph lettering 


RETOUCHING 


92. 
93. 
94. 
95. 
%6. 
97. 
98. 
99. 
100. 
101. 
102. 
103. 


TV 


104. 
105. 
106. 
107. 
108. 
109. 
110. 
11. 
112. 
113. 
114. 
115. 


carbros 

color toning 
dye transfer 
fashion 
Flexichrome 
Fluorographic 
industrial 
photo, b/w 
photos, color 
products 
technical 
transparencies 


animation 

art 

cartoons 

direct color prints 
film production 
hot press 
lettering 
lettering, photo 
props 

slides 

story boards 
titles 


ART SUPPLIES 


116. 
117. 
118. 
119. 
120. 
121. 
122. 
123. 
124. 
125. 
126. 
127. 
128. 
129. 
130. 
131. 


acetates, overlays 
adhesives 

air brushes 
animation colors 
artists brushes 
books 

Bourges materials 
bristol boards 
canvas 

charcoal & pastel papers 
colored papers 
crayons and chalks 
drafting supplies 
drawing instruments 
erasers 

fixatives 


Ait Direction / The Magozine of Creative Advertising / January 1960 


132. 
133. 
134. 
135. 
136. 
137. 
138. 
139. 
140. 
141. 
142. 
143. 
144, 
145. 
146. 
147. 
148. 
149. 
150. 
151. 
152. 
153. 


fluorescent materials 
fluorescent paper 

hand lettering sheets, etc. 
illustration boards 

inks 

lettering templets 
manufacturer 

masking inks & opaques 
negative opaques 

office supplies 

oil colors 

pads, blocks, sketch books 
palettes 

pastels 

pencils 

pens 

picture frames 
retouching materials 
retail art stores 

sketch boxes 

slide rules 

watercolor materials 


PHOTOGRAPHY 


154. 
155. 
156. 
157. 
158. 
159. 
160. 
161. 
162. 
163. 
164. 
165. 
166. 
167. 
168. 
169. 
170. 
171. 
172. 
173. 
174. 
175. 
176. 
177. 
178. 
179. 
180. 
181. 


aeria! 

animals 
antique arms 
architectural 
birds 

cats & dogs 
children 

color 
consultants 
editorial 
experimental 
fashion 
general 

human interest 
illustration 
industrial 
interiors 
landscapes 
location 
magazine photography 
murals 

photo agencies 
photo-reporting 
printons 
products 

props 
publicity 
reportage 


. slide films 

. Stereo 

. still life 

. stock photos 

. trick photography 


PHOTO REPRODUCTION SERVICES 


187. 
188. 
189. 
190. 
191. 
192. 
193. 
194, 
195. 
196. 


Anscochrome processing 
b&w prints in quantity 
carbros 

color assemblies 

color prints in quantity 
color separations 

copy of artwork 
duplicate transparencies 
dye transfer prints 

dye transfer prints, giant 


197. Ektacolor 


198. 
199. 


Ektachrome processing 
enlargements 


200. Flexichrome 

201. montage 

202. mura! color transparencies 

208. photocomposing 

204. photocomposing on 
transparencies 

205. photomurals 

206. reprodupe 

207. reprodye 

208. reproportioning 

209. screened veloxes 

210. slides 

211. strip-ups 

212. 35mm negs. & positives 

213. transparencies 

214. transparency art 

215. type “C” prints 

216. viewgraph slides 

217. color film strips 

218. colorstats 

219. copy prints 

220. ozalids 

221. ozachromes 

222. photostats 

223. photostats on acetate, in 
opaque black or white 

224. visualcast slides 


GRAPHIC ARTS 


225. acetate proofing 

226. advertising presentations 
227. ad pre-prints 

228. bindery 

229. display manufacturers 
230. envelope manufacturers 
231. gravure plates 

232. industrial comic books 
233. lithography 

234. paper merchants 

235. photoengravings 

235a. photogelatin printing 
236. printers, letterpress 

237. rotogravure 

238. silk screen printers 

239. type direction 

240. type foundry 

241. typographers, A.T.A., N.Y. 
242. typographers, hand 

243. typographers, machine 
244. typography, old fashioned 
245. typography, photo 

246. Varityping 


OFFICE SERVICES 


247. employment agencies 
248. messenger service 


ART SCHOOLS 
249. schools 
REPRESENTATIVES LISTINGS 


250. artists’ representatives 
251 copywriters’ representatives 
252 photographers representatives 


STUDIO LISTINGS 


253. art studios 
254. photography studios 
255. copy studios 


107 








CLASSIFIED LISTINGS 


ART 


1. advertising design 


Advertising Techniques, Inc. UL 7-7280-1-2 
174 S. Portland Ave., Bklyn. 17, N.Y. 

from concept through production 
John Artim, A.A.E. 

5 Manor Lane North, Yardley, Pa. 
advertising design 

Len Bastrup, Associates 

74 Turtleback Rd., Wilton, Conn. 
creative design & production 
Berube-Salkin Studio 

835 3rd Ave., NYC 22 

George Buctel BE 5-3546 
220 Pelham Rd., New Rochelle, N.Y. 
calendars and specialties 

Osborn Charles Associates Inc. PL 3-7873 
145 E. 49 St., NYC 17 PL 5-2473 
fashion & soft goods-ads, promotion, pckging. 
Bob Clark and Friends CA 7-7227 
1008 S.W. 6th Ave., Portland 4, Ore. 
annual reports, booklets, layouts 
Donald H. Culp 

929 S. Queen St., York 1, Penna. 
advertising design 

Maarten de Raad 

4511 Maycrest Ave., Los Angeles 32, Calif. 
advertising design 

Design Unlimited IV 3-5955 
111 Front St., Hempstead, L.I., N.Y. 

creative design for Long Island advertisers 
Clarence Deutsch CA 4-0788 
E-714 Ist Nat'l. Bk. Bldg., St. Paul 1, Minn. 
creative, art supervision, production 

Diamond Art Studio MU 3-1418 
10 E. 40 St., NYC 16 

creative, decorative trade & consumer 
Charles F. Dreyer * Art Service YU 64242 
480 Lex. Ave., NYC 17 MO 7-3780 
promotion, technical illus. finishes 
Donald Ebert 

1512 Pine St., Phila. 2, Pa. 
layout, ads, bklets, decorative, illus. 

Hoyt Howard, Inc. MU 5-5995 
210 E. 39 St., NYC 16 

more readers-per-dollar is our first aim 

Lorry Kerbs JU 6-4418 
311 W. 43 St., NYC 36 
industrial-institutional-quality foods 

Phenis J. Lawrence EU 4-1591 
664 Luna Ct., Jacksonville 5, Fla. 

fresh creative advertising design & layout 
Museum Books, Inc. MU 2-0430 
48 E. 43 St., NYC 17 

books and magazines, foreign & domestic 
Tom Richardson Cl 7-6422 
620 5th Ave., NYC 

gen. advtg. design layout & typography 
George Samerjan LO 4-7257 
80 W. 40 St., NYC 18 

graphic art, design, layout, packaging 
Marjorie E. Taylor HA 7-1241 
30 Cedar Dr., Huntington, L.I., N.Y. 

creative design, packaging, slides, layouts 
Luis A. Turner CA 2-106] 
1228 S.W. Salmon St., Portland 5, Ore. 
industrial, utility layouts 


CY 5-7446 


PO 2-7865 


PL 5-6815 


60146 


KI 5-0726 


108 


Don White OX 6-4403 
10631 Sunnybrook Ln., Whittier, Calif. 
creative art service 


2. advertising strips 
Johnstone & Cushing PL 3-5770 
137 E. 57 St., NYC 22 


specialists in comic art, cartoons, comic books 


3. airbrush 


Advertising Techniques, Inc. UL 7-7280-1-2 
174 S. Portland Ave., Bklyn. 17, N.Y. 
retouching, illustration 

Diamond Art Studio 

10 E. 40 St., NYC 16 

illustration, poster, fine retouching 
Estelle Mandel 

46 E. 80 St., NYC 21 

agent forcreative artists 

Otto E. Markevics 

602 W. 139 St., NYC 31 

illus., medical, tech. & retouching 
Jack P. Taylor, Ill 

863 W. 5 St., Winston-Salem 5, N.C. 
airbursh 


MU 3-1418 
E 7-5062 
AU 6-0050 


PA 2-3146 


4. airbush renderings 
LE 2-6607 


Commercial Art Bureau, Inc. 
2 Park Ave., NYC 16 


perspective drawings from blueprints 


5. annual reports 


Advertising Techniques, Inc. UL 7-7280-1-2 
174 S. Portland Ave., 3klyn 17, N.Y. 
from concept through production 


Len Bastrup, Associates PO 2-7865 
74 Turtleback Rd., Wilton, Conn. 

creative design & production 

Design Unli:ited IV 3-5955 


111 Front St., Hempstead, L.I., N.Y. 
complete art & production service 
Diamond Art Studio 

10 E. 40 St., NYC 16 

covers, comp. dummies, dec. spots 
Hoyt Howard, Inc. 

210 E. 39 St., NYC 16 
stockholders are people. We design for them 
Bruno Junker MU 7-3572 
17 W. 44 St., NYC 36 

maps, birdseye views, perspective art 


JU 6-4418 


MU 3-1418 


MU 5-5995 


Larry Kerbs 
311 W. 43 St., NYC 36 
pictorial & typographic; quarterlies 


Estelle Mandel RE 7-5062 
46 E. 80 St., NYC 21 

agent for creative artists 

Ken Saco Associates, Inc. MU 5-5958 


185 Madison Ave., NYC 16 

package design, trademarks, letterheads 
George Samerjan LO 4-7257 
80 W. 40 St., NYC 18 

graphic art, design, layout, packaging 


6. architectural rendering 


Norman Rines JA 4-6319 
18 Pond St., Jamaica Plain 30, Mass. 

real estate art for newsprint 
Seymour Snyder 

11 E. 44 St., NYC 17 

all mediums, color, b/w, also interiors 


MU 2-1480 


7. art directors, consultant 


Len Bastrup, Associates PO 2-7865 
74 Turtleback Rd., Wilton, Conn. 

creative design & production 

Osborn Charles Associates Inc. PL 3-7873 
145 E. 49 St., NYC 17 PL 5-2473 


fashion & soft goods-ads, promo. packaging 
Irene Charles PL 5-2473 
145 E. 49 St., NYC 17 

AD of Osborn Charles Assoc. Fash./soft goods 
Bob Clark and Friends CA 7-7227 
1008 S.W. 6th Ave., Portland 4, Ore. 
complete campigns, ideas thru to print 
Design Directions Inc. MU 9-4948 
1170 Broadway, NYC 1 

package; P.O.P.; &display; design specialists 
Design Unlimited IV 3-5955 
111 Front St., Hempstead, L.I., N.Y. 
creatively serving all of Nassau County 
Clarence Deutsch CA 4-0788 
E-714 Ist Nat'l. Bk. Bldg., St. Paul 1, Minn. 
creative, art supervision, production 

Diamond Art Studio MU 3-1418 
10 E. 40 St., NYC 16 

complete campaigns from ideas thru to print 
Charles F. Dreyer * Art Service YU 6-4242 


480 Lex. Ave., NYC 17 MO 7-3780 
ady., edit., promo., technical 
J. Walter Flynn YU 2-1056 


P.O. Box 2053; Santa Fe, N.Mexico OR 2-0693 
editorial layout, advertising, public relations 
Robert Hawthorne TR 1-5936 
27854 Lincoln Road 
Bay Village, Ohio 
Hoyt Howard, Inc. 

210 E. 39 St., NYC 16 
subscribers to research & Code of Ethics 
Tom Richardson Cl 7-6422 
620 Sth Ave., NYC 

freelance art direction & consulting 
Robertson/Montgomery 

716 Montgomery St., S.F. 11, Calif. 
trademark packaging direct mail publictns. 
Ken Saco Associates, Inc. MU 5-5958 
185 Madison Ave., NYC 16 

annual reports, package design, letterheads 
George Samerjan LO 4-7257 
80 W. 40 St., NYC 18 

graphic art, design, layout, packaging 


MU 5-5995 


YU 1-159 


8. book jackets 


Maarten de Raad 
4511 Maycrest Ave., Los Angeles 32, Calif. 
book/jackets 


Estelle Mandel RE 7-5062 
46 E. 80 St., NYC 21_ 

agent for creative artists 

Victor V. Vizbara LA 8-9587 


115-51 229th St., Cambria Htgs. 11, N.Y. 
creative art &design, graphics, packaging 
Marianne Wielgos (nights) CO 7-4479 
31 Newbury St., Boston 16, Mass. 

book jackets 





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4-6319 


| 2-1480 


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| 2-7865 
3-7873 
5-2473 

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5-2473 

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7-7227 
9-4948 
ialists 


3-5955 


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4-0788 


inn. 
3-1418 
print 
6-4242 
7-3780 
2-1056 
2- 0693 
tions 
1-5936 
5-5995 
>s 
7-6422 
1-1596 


ns. 


5-5958 


ads 
4-7257 


lif. 


1.5062 
3- 9587 


}-4479 








9. booklets, direct mail 


Advertising Techniques, Inc. UL 7-7280-1-2 
174S. Portland Ave., Bklyn. 17, N.Y. 
from concept through production 


Len Bostrup, Associates PO 2-7865 
74 Turtleback Rd., Wilton, Conn. 

creative design & production 

Berube-Salkin Studio PL 5-6815 
835 3rd Ave., NYC 22 

Osborn Charles Associates, Inc. PL 3-7873 
145 E. 49 St., NYC 17 PL 5-2473 


top fashion & soft goods-art/copy/production 
Bob Clark and Friends CA 7-7227 
1008 S.W. 6th Ave., Portland 4, Ore. 

complete service for art & production 

the copy shop MU 3-1455 
270 Madison Ave., NYC 16 

freelance copy, concepts, campaigns—all media 
Design Unlimited IV 3-5955 
11] FrontSt., Hempstead, L.I., N.Y. 

complete design & production services 
Clarence Deutsch CA 4-0788 
E-714 Ist Nat'l. Bk. Bldg., St. Paul 1, Minn. 
creative, art supervision, production 


Diamond Art Stuio MU 3-1418 
10 E. 40 St., NYC 16 

visuals, comps, finishes 

Edward Dratz CA 7-2555 
4E. Ferry Lane, Westport, Conn. 

John A. Gorham WO 5-1198 


421 E. Figueroa St., Santa Barbara, Calif. 
brochures /booklets/line drawings /spots 

Hoyt Howard, Inc. MU 5-5995 
210 E. 39 St., NYC 16 

more readers-per-dollar is our aim 
Lorry Kerbs 

311 W. 43 St., NYC 36 

creative planning & followthru 
Estelle Mandel 

46 E. 80 St., NYC 21 

agent for creative artists 

R. Roger Remington 

107 Grant Ave., Glens Falls, N.Y. 
booklets, direct mail 

George Samerjan 

80 W. 40 St., NYC 18 

graphic art, design, layout, packaging 


JU 64418 
RE 7-5062 
30130 


LO 4-7257 


10. Bourges technique 
Diamond Art Studio MU 3-1418 
10 E. 40 St., NYC 16 


li. car cards 
Diamond Art Studio MU 3- 1418 
10 E. 40 St., NYC 16 


humorous, decorative 


12. cartoons 
Leo Bliok LE 2-9776 
1214 Bdway, NYC 1 
cartoons, humorous & spots 
Charles Borshanian 
14231 Puritan, Detroit 27, Mich. 
roughs comps finished art 
James R. Cannon JA 9-2227 
721 Crescent Dr., New Castle, Indiana 
direct mail, spots, editorial 
Cartoon Advertising 
Times Tower Building, NYC 36 
smart stylized cartoons for ads, articles, TV 


BR 2-175] 


BR 9-3111 


Bob Clark and Friends CA 7-7227 
1008 S.W. 6th Ave., Portland 4, Ore. 
humorous, stylized or high design 

Diemond Art Studio MU 3-1418 
10 E. 40 St., NYC 16 

spots, cartoon strips 

Kurt Herz 

20 W. 45 St., Rm. 1200, NYC 
spots, decorative humorous 
Charles Herzog II! Studio TR 1-2875 
7338 Woodward Ave., Detroit 2, Mich. 
Johnstone & Cushing PL 3-5770 
137 E. 57 St., NYC 22 


specialists in comic art, cartoons, comic books 


MU 7-0373 


13. catalogs 


Advertising Techniques, Inc. Ul 7-7280-1-2 
174 S. Portland Ave., Bklyn. 17, N.Y. 
from concept through production 


Commercial Art Bureau, Inc. LE 2-6607 
2 Park Ave., NYC 16 
technical & industrial 

MU 3-1455 


the copy shop 

270 Madison Ave., NYC 16 
freelance copy, concepts, campaigns—all media 
Design Unlimited IV 3-5955 
111 Front St., Hempstead, L.I., N.Y. 

complete design & production services 
Diamond Art Studio MU 3-1418 
10 E. 40 St., NYC 16 
from ideas thru to print 
Larry Kerbs 

311 W. 43 St., NYC 36 
promotional & technical artfully combined 


JU 6-4418 


L.& B. Composition, Inc. OR 5-8933 
115 W. 23 St., NYC 11 
complete type, art, camera service 
Rapid Art Service MU 3-8215 
304 E. 45 St., NYC 

LO 4-7257 


George Samerjan 
80 W. 40 St., NYC 18 
graphic art, design, layout, packaging 


14. charts 
Commercial Art Bureau, Inc. LE 2-6607 
2 Park Ave., NYC 16 
charts, graphs for repro or slides 
Diamond Art Studio MU 3-1418 


10 E. 40 St., NYC 16 
statistical & technical charts, graphs, maps 


Jere Donovan JU 61212 
9 Rockefeller Pl., NYC 

pictorial charts and diagrams 

L. & B. Composition, Inc. OR 5-8933 


115 W. 23 St., NYC 11 

bar charts, graphs, vuegraphs- bl. & wh.-color 
Otto E. Markevics AU 6-0050 
602 W. 139 St., NYC 31 

statistical, tech., presentation, slides 

Rapid Art Service MU 3-8215 
304 E. 45 St., NYC 


5. color separations 


Diamond Art Studio MU 3-1418 
10 E. 40 St., NYC 16 
perfect register 
16. comic books 
Diamond Art Studio MU 3-1418 


10 E. 40 St., NYC 16 


Art Direction /{ The Magazine of Creative Advertising | Janvory 1960 


commercial comic books & strips 
Johnstone & Cushing 

137 E. 57 St., NYC 22 
specialists in comic art, cartoons, comic books 


PL 3-5770 


17. continuities 


Diamond Art Studio MU 3-1418 
10 E. 40 St., NYC 16 
straight or humorous 
Johnstone & Cushing PL 3-5770 


137 E. 57 St., NYC 22 


specialists in comic art, cartoons, comic books 


18. displays 


Len Bastrup, Associates PO 2-7865 
74 Turtleback Rd., Wilton, Conn. 

creative design 

Osborn Charles Associates Inc. PL 3-7873 
145 E. 49 St., NYC 17 PL 5-2473 


top creative point-of-sale & package design 
Diamond Art Studio MU 3-1418 
10 E. 40 St., NYC 16 

point of sales 

Norman Flayderman, Antique Arms TO 9-4242 
44 W. Putnam Ave., Greenwich, Conn. 
Antique arms & accessories—for rent or sale 


General Exhibits Inc. ME 5-1408 
7811 Mill Rd., Phila. 17, Pa. 

exhibits & displays, design & prod. 

Neal Goldman Associates, Inc. MU 6-2747 


230 Park Avenue, NYC 17 
creative organization, spec'Ists in displays 


Rapid Art Service MU 3-8215 
304 E. 45 St., NYC 
Seymour Snyder MU 2-1480 


11 E. 44 St., NYC 17 
still life, interiors, architect. landscps. 


Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 

more than 81 photographic services 

Luis A. Turner CA 2-1061 


1228 S.W. Salmon St., Portland 5, Ore. 
design & construction displays 


19. exhibits 


Len Bastrup, Associates PO 2-7865 
74 Turtleback Rd., Wilton, Conn. 

creative design 

Osborn Charles Associates Inc. PL 3-7873 
145 E. 49 St., NYC 17 PL 5-2473 


Jack Osborn-design/render/consultant 

The Displaycrafters ST 2-7732 
29 N. Wacker Dr., Chicago 6, Ill. 

displays e@ exhibits e dioramas @ model making 
Norman Flayderman, Antique Arms TO 9-4242 
44 W. Putnam Ave., Greenwich, Conn. 

Antique arms & accessories—for rent or sale 


General Exhibits Inc. ME 5-1408 
7811 Mill Rd., Phila. 17, Pa. 

exhibits & displays, design & prod. 

Neal Goldman Associates, Inc. MU 6-2747 
230 Park Ave., NYC 17 

Rapid Art Service MU 3-8215 
304 E. 45 St., NYC 

Rik Shaw Associates, Ltd. PL 7-3988 


250 W. 57 St., NYC 19 
more than 81 photographic services 


20. fine art for industry 


Estelle Mandel RE 7-5062 
46 E. 80 St., NYC 21 
agent for creative artists 

109 














George Samerjan LO 4-7257 
80 W. 40 St., NYC 18 

graphic art, design, layout, packaging 
Seymour Snyder MU 2- 1480 
11 E. 44 St., NYC 17 


landscapes, still life, architect., all mediums 


21. greeting cards 


Estelle Mandel RE 7-5062 
46 E. 80 St., NYC 21 

agent for creative artists 

Marjorie E. Taylor HA 7-1241 


30 Cedar Dr., Huntington, L.I., N.Y. 
funny, decorative studio type 


22. ideas 

Bob Clark and Friends CA 7-7227 
1008 S.W. 6th Ave., Portland 4, Ore. 

creative, original, sales producers 
the copy shop 

270 Madison Ave., NYC 16 
freelance copy, concepts, campaigns-all media 
Design Unlimited IV 3-5955 
111 Front St., Hempstead, L.I., N.Y. 

creative solutions to promotional problems 
Diamond Art Studio MU 3-1418 
10 E. 40 St., NYC 16 

direct, unusual, complete campaigns 

Hoyt Howard, Inc. MU 5-5995 
210 E. 39 St., NYC 16 

this is what we love about the business 

L. & B. Composition, Inc. OR 5-8933 
115 W. 23 St., NYC 11 

sales promotions (brainstorm to finish) 
Philips Printery-Philip Saltzman AL 4-519] 
24 E. 23 St., NYC 10 

designers-ideas developed 


MU 3-1455 


23. interiors 


Clarence Deutsch CA 4-0788 
E-714 Ist Nat'l. Bk. Bidg., St. Paul 1, Minn. 
creative, art supervision, production 


24. labels 


Advertising Techniques, Inc. UL 7-7280-1-2 
174 S. Portland Ave., Bklyn. 17, N.Y. 

design, mechanical, production 

Osborn Charles Associates Inc. PL 3-7873 
145 E. 49 St., NYC 17 PL 5-2473 
top fashion/soft goods label Aag/packaging 
Maarten de Raad 

4511 Maycrest Ave., Los Angeles 32, Calif. 
labels 
Diamond Art Studio MU 3-1418 
10 E. 40 St., NYC 16 

creative, die-cuts, to meet all needs 
Roy Horton Studios 

151 E. 50 St., NYC 22 

rough, comp., mechanical 

L. & B. Composition, Inc. 

115 W. 23 St., NYC 11 

design, art, type for labels 

William Metzig 

331 Madison Ave., NYC 17 
trademarks, labels, package design, letterhead 
Marianne Wielgos (nights) CO 7-4479 
31 Newbury St., Boston 16, Mass. 

labels 


PL 3-4914 


OR 5-8933 


MU 7-0512 


110 


25. layouts 


Paul K. Apkarian GA 1-4691 
1855 Roxbury Rd., Cleveland 12, Ohio 

rough to comprehensive 

James R. Cannon JA 9-2227 
721 Crescent Dr., New Castle, Indiana 
booklets, publications, direct mail 

Osborn Charles Associates Inc. PL 3-7873 
145 E. 49 St., NYC 17 PL 5-2473 
top fashion/soft goods design/comps /rendering 
Bob Clark and Friends CA 7-7227 
1008 S.W. 6th Ave., Portland 4, Ore. 

creative layout, illustration, lettering 
Commercial Art Bureau, Inc. LE 2-6607 
2 Park Ave., NYC 16 

booklets, catalogs, mailers, ads, etc. 

Maarten de Raad 

4511 Meycrest Ave., LosAngeles 32, Calif. 
layouts 


Diamond Art Studio MU 3-1418 
10 E. 40 St., NYC 16 

industrial, consumer for all media 

Hoyt Howard, Inc. MU 5-5995 


210 E. 39 St., NYC 16 
4 floors of pros where ideas come first 


Tom Richardson Cl 7-6422 
620 5th Ave., NYC 

highstyle advtg. & editorial layout 

George Samerjan LO 4-7257 


80 W. 40 St., NYC 18 
graphic art, design, layout, packaging 


26. letterheads 


Len Bastrup, Associates PO 2-7865 
74 Turtleback Rd., Wilton, Conn. 

creative design & production 

Osborn Charles Associates Inc. PL 3-7873 
145 E. 49 St., NYC 17 PL 5-2473 


corp. image/logos /letterhead /bus.card design 
Maarten de Raad 

4511 Maycrest Ave., Los Angeles 32, Calif. 
Design Unlimited IV 3-5955 
111 Front St., Hempstead, L.!., N.Y. 
complete design & production services 
Diamond Art Studio MU 3-1418 
10 E. 40 St., NYC 16 

design, finish, all types of businesses 


Edward Dratz CA 7-2555 
4 E. Ferry Lane, Westport, Conn. 

for business or personal use 

William Metzig MU 7-0512 


331 Madison Ave., NYC 17 

trademarks, labels, package design, letterhead 
Ken Saco Associates, Inc. MU 5-5958 
185 Madison Ave., NYC 16 

annual reports, package design, trademarks 


27. maps 
Aero Service Corporation GL 7-3000 
210 E. Courtland St., Phila 20, Pa. 
relief maps & models 
George Buctel BE 5-3546 


220 Pelham Rd., New Rochelle, N.Y. 


decorative, educational 


Diamond Art Studio MU 3-1418 
10 E. 40 St., NYC 16 

decorative, statistical, technical 

Jere Donovan JU 6-1212 


9 Rockefeller Pl., NYC 

pictorial maps-economic, historical, etc. 
Charles F. Dreyer * Art Service YU 6-4242 
480 Lex. Ave., NYC 17 MO 7-3780 


dec., funct., educa., navigation 
Bruno Junker 

17 W. 44 St., NYC 36 
Perspective maps, birdseye views 
Estelle Mandel 

46 E. 80 St., NYC 21 

agent for creative artists 
Monsen Typographers, Inc. 

960 W. 12 St., L.A., 15, Calif. 
Monsen map type 

Monsen Typographers, Inc. 

22 E. IlinoisSt., Chi. 11, UI. 
Monsen map type 


MU 7-3572 
RE 7-5062 
RI 7-619) 


SU 7-1223 


28. mechanicals 


Advertising Techniques, Inc. UL 7-7280-1-2 
174 S. Portland Ave., Bklyn. 17, N.Y. 

for all reproduction processes 

Osborn Charles Associates Inc. PL 3-7873 
145 E. 49 St., NYC 17 PL 5-2473 
top packaging- flexible /carton/wraps /labels 
Commercial Art Bureau, Inc. LE 2-6607 
2 Park Ave., NYC 16 

most careful preparation—anywhere 


Diamond Art Studio MU 3-1418 
10 E. 40 St., NYC 16 

clean, precise-type specs 

Charles F. Dreyer * Art Service YU 6-4242 
480 Lex. Ave., NYC 17 MO 7-3780 
exp. econom. follow-up of design 

Roy Horton Studios PL 3-4914 
151 E. 50St., NYC 22 

Jack P. Taylor, ill PA 2-3146 


863 W. 5th St., Winston-Salem 5, N.C. 
mechanicals 


29. oil painting 


Estelle Mandel RE 7-5062 
46 E. 80 St., NYC 21 


agent for creative artists 


30.° package design 


Advertising Techniques, Inc. UL 7-7280-1-2 
174 S. Portland Ave., Bklyn. 17, N.Y. 
from idea to mechanical 


Len Bastrup, Associates PO 2-7865 
74 Turtleback Rd., Wilton, Conn. 

creative design & production 

Osborn Charles Associates Inc. PL 3-7873 
145 E. 49 St., NYC 17 PL 5-2473 


complete pckging service-design/prod/consult. 
Maarten de Raad 

4511 Maycrest Ave., Los Angeles 32, Calif. 
package design 
Design Directions Inc. 
1170 Broadway, NYC 1 
design & construction/package coordinators 
Design Unlimited IV 3-5955 
111 Front St., Hempstead, L.I., N.Y. 

creative solutions to packaging problems 
Clarence Deutsch CA 4-0788 
E-714 Ist Nat'l. Bk..Bldg., St. Paul 1, Minn. 
creative, art supervision, production 

Diamond Art Studio MU 3-1418 
10 E. 40 St., NYC 16 


complete design service; comp to finish 


MU 9-4948 


Neal Goldman Associates, Inc. MU 6-2747 
230 Park Ave., NYC 17 
Roy Horton Studios PL 3-4914 


151 E. 50 St., NYC 22 





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Ingersoll Studios BR 9-5132 
4W. 40 St., NYC 

rough, comp., mechanical 

Robert Isaacson Associates DIAL 


440 Colfax Rd., Havertown, Pa. INFORMATION 
any type product or package, labels, trademarks 
William Metzig MU 7-0512 
331 Madison Ave., NYC 17 

trademarks, labels, package design, letterhead 


The Edward L. Mobley Company FE 4-2535 
150 Main St., Wadsworth, Ohio 

package design 

Muller Associates EL 5-3518 


405 E. 54th Street (Penthouse Tower) 
New York City 22 
Tom Richardson 
620 Sth Ave., NYC 
package design, product, styling, display 

Ken Saco Associates, Inc. MU 5-5958 
185 Madison Ave., NYC 16 

annual reports, trademarks, letterheads 
George Samerjan LO 4-7257 
80 W. 40 St., NYC 18 

graphic art, design, layout, packaging 

Luis A. Turner CA 2-1061 
1228 S.W. Salmon St., Portland 5, Ore. 
package & display design 

Don White OX 6-4403 
10631 Sunnybrook Ln., Whittier, Calif. 


creative artist @ overwraps @ carton 


Cl 7-6422 


31. pen and ink 
Maarten de Raad 
4511 Maycrest Ave., Los Angeles 32, Calif. 
pen and ink 


Diamond Art Studio MU 3-1418 
10 E. 40 St., NYC 16 

adv. & story illustration 

Thomas F. MacArthur BR 9-3426 


Box 298, RD-3, Troy, N.Y. 

general, historical, booklets, direct mail 
Estelle Mandel RE 7-5062 
46 E. 80 St., NYC 21 


agent for creative artists 


32. pharmaceutical design 


Advertising Techniques, Inc. UL 7-7280-1-2 
174 S. Portland Ave., Bklyn. 17, N.Y. 

from concept to production 
Camera, M.D. Studios 

127 E. 34 St., NYC 16 
medical and scientific photo- illustration 
Maarten de Raad 

4511 Maycrest Ave., Los Angeles 32, Calif. 
pharmaceutical design 

Diamond Art Studio 

10 E. 40 St., NYC 16 

layouts, comps, finish; broadsides 
Hoyt Howard, Inc. 

210 E. 39 St., NYC 16 

we don’t believe in the small type & pix fad 
Estelle Mandel RE 7-5062 
46 E. 80 St., NYC 21 


agent for creative artists 


MU 6-3922 


MU 3-1418 


MU 5-5995 


33. point-of-sale 
Len Bastrup, Associates PO 2- 7865 
74 Turtleback Rd., Wilton, Conn. 
creative design & production 
Bob Clark and Friends CA 7-7227 
1008 S.W. 6th Ave., Portland 4, Ore. 
brainstorming sessions by appointment only 





Art Direction / The Magazine of Creative Advertising / January 1960 


Design Unlimited iV 3-5955 
111 Front St., Hempstead, L.I., N.Y. 

complete design & production services 

Edward Dratz CA 7-2555 
4 E. Ferry Lane, Westport, Conn. 

cosmetic and drug display a specialty 

Paul E. Nonnast Fl 8-9549 
164 E. Court St., Doylestown, Pa. 
3-dimentional product display design 


Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 

more than 81 photographic services 

Jesse Srofe PA 1-1589 


Carew Tower, Cincinnati 2, Ohio 
Ful-Vue Boots — for special cosmetic offers 


34. portraits, painting 
Louis Gehring LO 3-1500 
1 W. 37 St., NYC 18 
portraits, painting 
Estelle Mandel 
46 E. 80 St., NYC 21 
agent for creative artists 
Otto E. Markevics 
602 W. 139 St., NYC 31 
b/w & color 


RE 7-5062 


AU 6-0050 


35. posters 


Bob Clark and Friends CA 7-7227 
1008 S.W. 6th Ave., Portland 4, Ore. 

genuine traffic stoppers 

Maarten de Raad 

4511 Maycrest Ave., Los Angeles 32, Calif. 
posters 


Diamond Art Studio MU 3-1418 
10 E. 40 St., NYC 16 

travel, food, industrial 

Simon Goldsmith RE 2-9834 
30 Church St., NYC 7 

Hoyt Howard, Inc. MU 5-5995 


210 E. 39 St., NYC 16 
ideas make posters. Ours seen coast-to-coast 


Estelle Mandel RE 7-5062 
46 E. 80 St., NYC 21 

agent for creative artists 

Melanie Merckenich TO 6-5444 


10 Moss, Apt. 200, HighInd. Pk. 3, Mich. 
posters, cards, for silk screen 


Rapid Art Service MU 3-8215 
304 E. 45 St., NYC 
Tom Richardson Cl 7-6422 


620 5th Ave., NYC 
posters; exhibition & display design 


36. presentations 


Berube-Salkin Studio PL 5-6815 
835 3rd Ave., NYC 22 
Bob Clark and Friends CA 7-7227 


1008 S.W. 6th Ave., Portland 4, Ore. 
cinch that account on first call 
the copy shop 

270 Madison Ave., NYC 16 


freelance copy, concepts, campaigns-all media 


MU 3-1455 


Diamond Art Studio MU 3-1418 
10 E. 40 St., NYC 16 

effective & unique design 

Simon Goldsmith RE 2-9834 
30 Church St., NYC 7 

Hoyt Howard, Inc. MU 5-5995 


210 E. 39 St., NYC 16 


even dull pitches can be made interesting 





Muller Associates EL 5-3518 
405 E. 54 Street (Penthouse Tower) 

New York City 22 

Ken Saco Associates, Inc. 


185 Madison Ave., NYC 16 
annual reports, trademarks, letterheads 


MU 5-5958 


Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 

more than 81 photographic services 

Marjorie E. Taylor HA 7-124] 


30 Cedar Dr., Huntington, L.I., N.Y. 
creative slides, charts, brochures 


37. product design 


Len Bastrup, Associates PO 2-7865 
74 Turtleback Rd., Wilton, Conn. 

creative design 

Charles F. Dreyer * Art Service YU 64242 
480 Lex. Ave., NYC 17 MO 7-3780 


ideas, research, render. engineer-con tact 


Neal Goldman Associates, Inc. MU 6-2747 
230 Park Ave., NYC 17 

The Edward L. Mobley Company FE 4-2535 
150 Main St., Wadsworth, Ohio 

Product design 

Philips Printery-Philip Saltzman AL 4-519] 


24 E. 23 St., NYC 10 

ideas developed—industrial designers 

Luis A. Turner CA 2-1061 
1228 S.W. Salmon St., Portland 5, Ore. 
industrial design 


38. props 


Norman Flayderman, Antique Arms TO 9-4242 
44 W. Putnam Ave., Greenwich, Conn. 
Antique arms & accessories—for rent or sale 


39. record albums 
Maarten de Raad 


4511 Maycrest Ave., Los Angeles 32, Calif. 
record albums 


Estelle Mandel RE 7-5062 
46 E. 80 St., NYC 21 

agent for creative artists 

Ken Saco Associates, Inc. MU 5-5958 


185 Madison Ave., NYC 16 
annual reports, trademarks, package design 


40. editorial art technique 
Jean Macdonald Porter RO 1-2180 
120 Grand St., White Plains, N.Y. 
child books, advertising, overlays 


41. scale models 


Aero Service Corporation GL 7-3000 
210 E. Courtland St., Phila. 20, Pa. 
scale models & maps 

The Edward L. Mobley Company 
150 Main St., Wadsworth, Ohio 
scale models 


FE 4-2535 


42. scratchboard 


Diamond Art Studio 
10 E. 40 St., NYC 16 
adv. product, story illustration 


MU 3-1418 








Herman Haimovitz RO 4-0482 
3502 Labyrinth Rd., Baltimore 15, Md. 
commercial & book illustration 


43. sculpture 


Gabriel Mayorga 
331 W. 11 St., NYC 14 
industrial sculpture 


44. spots 


Diamond Art Studio 
10 E. 40 St., NYC 16 
decorative, humorous, realistic; all media 
Edward Dratz CA 7-2555 
4 E. Ferry Lane, Westport, Conn. 
decorative spots and illustration 
Charles F. Dreyer * Art Service 
480 Lex. Ave., NYC 17 

dec., scratchbd., symbols, tech. 
Simon Goldsmith 

30 Church St., NYC 7 

Kurt Herz 

20 W. 45 St., Rm. 1200, NYC 
decorative humorous, cartoons 
H. David Howard 

11 E. 44 St., NYC 17 

spot illustration with men's fashion styling 
L. & B. Composition, Inc. OR 5-8933 
115 W. 23 St., NYC 11 

spots to fit your needs—fast & economical 
Estelle Mandel RE 7-5062 
46 E. 80 St., NYC 21 

agent for creative artists 
James R. Summers 

353 E. 50St., NYC 22 
decorative, humorous, realistic 
Marjorie E. Taylor HA 7-1241 
30 Cedar Dr., Huntington, L.I., N.Y. 
decorative humorous, stylized 


MU 3-1418 


YU 6-4242 
MO 7-3780 


RE 2-9834 


MU 7-0373 


MU 2- 1480 


MU 8-5236 


45. stock art 


The Bettmann Archive 
215 E. 57 St., NYC 22 
Culver Service 

660 Ist Ave., NYC 


PL 8-0862 
MU 4-5054 


46. trade marks 
Len Bastrup, Associates PO 2-7865 
74 Turtleback Rd., Wilton, Conn. 
creative design & production 
Maarten de Raad 
4511 Maycrest Ave., Los Angeles 32, Calif. 
trade marks 
Design Directions Inc. 
1170 Broadway, NYC 1 
trademark ‘package design & coordination 
Design Unlimited IV 3-5955 
111 Front St., Hempstead, L.I., N.Y. 
Diamond Art Studio MU 3-1418 
10 E. 40 St., NYC 16 
creative design 
Charles F. Dreyer * Art Service YU 6-4242 
480 Lex. Ave., NYC 17 -. MO 7-3780 
many nat. consumer—ind. now in use 
Hoyt Howard, Inc. 
210 E. 39 St., NYC 16 
designers, members: U.S. Trademark Ass'n. 
William Metzig MU 7-0512 
331 Madison Ave., NYC 17 
trademks. labels, pkge. design, letterhead 


MU 9-4948 


MU 5-5995 


112 


Ken Saco Associates, Inc. MU 5-5958 
185 Madison Ave., NYC 16 

annual reports, package design, letterheads 
George Samerjan LO 4-7257 
80 W. 40 St., NYC 18 

graphic art, design, layout, packaging 

Luis A. Turner CA 2-1061 
1228 S.W. Salmon St., Portland 5, Ore. 
trademark development 


47. trade publishing art 


Charles F. Dreyer * Art Service YU 6-4242 
480 Lex. Ave., NYC 17 MO 7-2780 
edit. covers, tech. advertiser's serv. 

H. David Howard MU 2-1480 
11 E. 44 St., NYC 17 

men’s boys fash. hats shoes, floats, access. 


48. wash drawing, b/w 


Bob Clark and Friends CA 7-7227 
1008 S.W. 6th Ave., Portland 4, Ore. 

so real they look like color 
Commercial Art Bureau, Inc. 
2 Park Ave., NYC 16 
specialists in technical & industrial 

Diamond Art Studio MU 3-1418 
10 E. 40 St., NYC 16 

adv., product,story illustration, interiors 
Estelle Mandel RE 7-5062 
46 E. 80 St., NYC 21 


agent for creative artists 


LE 2-6607 


49. watercolor 
Estelle Mandel RE 7-5062 
46 E. 80 St., NYC 21 


agent for creative artists 


ILLUSTRATION 


50. aeronautical 
Bruno Junker MU 7-3572 
17 W. 44 St., NYC 36 
aviation, astronautics, missiles, space 
Gabriel Mayorga CH 2-3319 
331 W. 11 St., NYC 14 
aviation illustrator 


51. animals 


R. J. Davidson PR 5-4050 
562 Kirkby Rd., Elmont, L.1., N.Y. 
decorative, humorous e line, color, half tone 
Diamond Art Studio MU 3-1418 
10 E. 40 St., NYC 16 

realistic, decorative, humorous, all media 
Estelle Mandel RE 7-5062 
46 E. 80 St., NYC 21 

agent for creative artists 

Lloyd Sandford SW 6-6714 
31-03 Garrison Terrace, Fair Lawn, N.J. 

all types, realistic, pen & ink, gouache 

James R. Summers MU 8-5236 
353 E. 50 St., NYC 22 

realistic & stylyzed, color & b/w 


52. automobiles 


The Bettmann Archive 

215 E. 57 St., NYC 22 

photos, drawings of old automobiles 
Culver Service MU 4- 5054 
660 Ist Ave., NYC 

funny old pix & prints 

Paul E. Nonnast 

164 E. Court St., Doylestown, Pa. 
auto & truck situations/line, tone, color 


PL 8-0362 


Fl 8-9549 


53. biblical 


Estelle Mandel 
46 E. 80 St., NYC 21 
agent for creative artists 


54. characters 


Estelle Mandel 
46 E. 80 St., NYC 21 


agent for creative artists 


55. chemical 
The Bettmann Archive PL 8-0362 
215 E. 57 St., NYC 22 
historical prints of alchemy, chemistry 
Camera, M.D. Studios MU 6-3922 
127 E. 34 St., NYC 16 
medical and scientific photo- illustration 
Culver Service MU 4- 5054 
660 Ist Ave., NYC 
historical prints & pictures 


56. children 


R. J. Davidson 

562 Kirkby Rd., Elmont, L.1.; N.Y. 
decorative, humorous @ line, color half tone 
Estelle Mandel RE 7-5062 
46 E. 80 St., NYC 21 

agent for creative artists 

Paul E. Nonnast 

164 E. Court St., Doylestown, Pa. 
children 

Mary Royt BE 5-3546 
220 Pelham Rd., New Rochelle, N.Y. 
commercial & book 

James R. Summers MU 8-5236 
353 E. 50 St., NYC 22 


realistic & stylized, color & b/w 


PR 5-4050 


Fl 8-9549 


57. children’s books 


George Buctel BE 5-3546 
220 Pelham Rd., New Rochelle, N.Y. 

trade & educational 

Estelle Mandel RE 7-5062 
46 E. 80 St., NYC 21 

agent for creative artists 

May Royt BE 5-3546 
220 Pelham Rd., New Rochelle, N.Y. 

trade & educational 


58. decorative humorous 
R. J. Davidson PR 5-4050 
562 Kirkby Rd., Elmont, L.!., N.Y. 
animals, people food eline, color half tone 





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Diamond Art Studio MU 3-1418 
10 E. 49 St., NYC 16 

spots, ads, booklet illustration 
Edward Dratz 

4. Ferry Lane, Westport, Conn. 
decorciive spots and illustration 
Kurt Herz 

20 W. 45 St., Rm. 1200, NYC 
spots, stylized, cartoons 

Estelle Mandel 

46 E. 80 St., NYC 21 

agent for creative artists 

Robert Salpeter 

624 E. 229 St., Bronx 66, N.Y. 

all mediums — modern 

James R. Summers 

353 E. 50 St., NYC 22 

decorative, humorous, color & b/w 
Marjorie E. Taylor HA 7-1241 
30 Cedar Dr., Huntington, L.I., N.Y. 
sophisticated, line/color, b/w 


CA 7-2555 
MU 7-0873 
RE 7-5062 
TI 2-0046 


MU 8-5236 


59. fashion & style 
H. David Howard MU 2- 1480 
11 E. 44 St., NYC 17 
men’s boys fash. hats shoes, floats, access. 
H. David Howard MU 2-1480 
11 E. 44 St., NYC 17 
art for Brooks, Finchley, Knox, Thomas Begg, 
IZOD, etc. 
James R. Summers 
353 E. 50 St., NYC 22 
Men’s & children’s fashion illustration 


MU 8-5236 


60. figure 


Bob Clark and Friends CA 7-7227 
1008 S.W. 6th Ave., Portland 4, Ore. 

glamour girls & luscious babes 

Charles Herzog III Studio TR 1-2875 
7338 Woodward Ave., Detroit 2, Mich. 

figure illustration 
Estelle Mandel 

46 E. 80 St., NYC 21 
agent for creative artists 
Otto E. Markevics 

602 W. 139 St., NYC 31 


general , motion, mood 


RE 7-5062 


AU 6-0050 


61. furniture 
Diamond Art Studio MU 3-1418 
10 E. 40 St., NYC 16 
line & wash, b/w & color 
H. Raymond Sklar GR 7-9126 
5756 Woodcrest Ave., Phila. 31, Pa. 
furniture, product ill., b/w-color 
Seymour Snyder 
11 E. 44 St., NYC 17 
interiors, color, b/w, also architecture 


MU 2-1480 


62. general 


James R. Cannon JA 9-2227 
721 Crescent Dr., New Castle, Indiana 

black & white — ink, wash, gouache 

Bob Clark and Friends CA 7-7227 
1008 S.W. 6th Ave., Portland 4, Ore. 

we glamorize anything from apples to zebras 
Diamond Art Studio MU 3-1418 
10 E. 40 St., NYC 16 

realistic, decorative, humorous, b/w, color 





Art Direction | The Magazine of Creative Advertising | January 1960 





Charles F. Dreyer * Art Service YU 6-4242 
480 Lex. Ave., NYC 17 MO 7-3780 
adv., edit, prom., indus, tech. art serv. 

Estelle Mandel RE 7-5062 
46 E. 80 St., NYC 21 

agent for creative artists 

Otto E. Markevics 

602 W. 139 St., NYC 31 

Paul E. Nonnast 

164 E. Court St., Doylestown, Pa. 
general illustration 

Wallace Saaty Cl 7-3900 
Wellington Hotel, 7th Ave. &55 St., NYC 19 
realistic, product & figure 

Underwood & Underwood News Photos, Inc. 

3 W. 46 St., NYC 36 JU 65910 


all subje cts: advertising & editorial 


AU 6-0050 
Fl 89549 


63. historical 
The Bettmann Archive PL 80362 
215 E. 57 St., NYC 22 
old prints, photos on any subject 
Culver Service 
660 Ist Ave., NYC 
wide assortment of prints 
Estelle Mandel 
46 E. 80 St., NYC 21 
agent for creative artists 
Underwood & Underwood News Photos, Inc. 
3 W. 46 St., NYC 36 JU 65910 
all subjects: advertising & editorial 
Leonard Vosburgh PL 4-4304 
62 Mountain Ave., No. Plainfield, N.J. 
americana, civil war, pen & ink, line/wash 


MU 4-5054 


RE 7-5062 


64. home furnishings 
Diamond Art Studio MU 3-1418 
10 E. 40 St., NYC 16 
interiors, b/w & color, wash & line 


65. humorous 
Cartoon Advertising BR 9-3111 
Times Tower Building, NYC 36 
smart stylized cartoons for ads, articles, TV 
Bob Clark and Friends CA 7-7227 
1008 S.W. 6th Ave., Portland 4, Ore. 
even the sphinx ladghed at our stuff 


66. industrial 


Advertising Techniques, Inc. UL 7-7280-1-2 
174 S. Portland Ave., Bklyn. 17, N.Y. 

art for industry 

Commercial Art Bureau, Inc. 

2 Park Ave., NYC 16 

wash, airbrush & line drawings 
Diamond Art Studio 

10 E. 40 St., NYC 16 

all fields, all media 

Bruno Junker 

17 W. 44 St., NYC 36 

technical, science & industrial art 
Otto E. Markevics 

602 W. 139 St., NYC 31 

tech. & industrial, b/w, color 


67. 


Diamond Art Studio 
10 E. 40 St., NYC 16 
commercial & industrial, all media 


LE 2-6607 


MU 3-1418 


MU 7-3572 


AU 60050 


interiors 


MU 3-1418 


Maxwell Schwartz UL 9-5465 
554 E. 26 St., Bklyn. 10, N.Y. 

color, wash, line, pastels 

Seymour Snyder MU 2- 1480 


11 E. 44 St., NYC 17 
also furniture; color, b/w, also architecture 


68. landscape 


Estelle Mandel RE 7-5062 
46 E. 80 St., NYC 21 

agent for creative artists 

George Samerjan LO 4-7257 


80 W. 40 St., NYC 18 

graphic art, design, layout, packaging 

Seymour Snyder MU 2-1480 
11 E. 44 St., NYC 17 


all mediums-fine arts, commercial, still life 


69. marine 
Charles F. Dreyer * Art Service YU 6-4242 
480 Lex. Ave., NYC 17 MO 7-3780 


charts, naviga. USPSquadron know-how 


70. medical 


The Bettmann Archive 
215 E. 57 St., NYC 22 
famous doctors of the past, medieval practice 
Camera, M.D. Studios MU 63922 
127 E. 34 St., NYC 16 

advertising photography to photomicrography 
Culver Service MU 4-5054 
660 Ist Ave., NYC 

hist. prints on doctors thru out the ages 

Otto E. Markevics AU 6-0050 
602 W. 139 St., NYC 31 


the finest in airbrush 


PL 8-0362 


71. product, still-life 


Bob Clark and Friends CA 7-7227 
1008 S.W. 6th Ave., Portland 4, Ore. 
realistic, stylized or just plain good 

Otto E. Markevics AU 6-0050 
602 W. 139 St., NYC 31 

products & prod. design, b/w, color 
Jack P. Taylor, Ill 

863 W. 5 St., Winston-Salem 5, N.C. 
product, still-life 


PA 2-3146 


72. props 


Norman Flayderman, Antique Arms TO 9-4242 
44 W. Putnam Ave., Greenwich, Conn. 
Antique arms & accessories—tor rent or sale 


73. shoes 


H. David Howard 
11.E. 44 St., NYC 17 
mén’s boys shoes British accts. Southall, Peal 


MU 2-1480 


Estelle Mandel RE 7-5062 
46 E. 80 St., NYC 21 
agent for creative artists 
74. sport 
The Bettmann Archive PL 80362 


215 E. 57 St., NYC 22 

prints on oldtime sports & sportsmen 
Culver Service 

660 Ist Ave., NYC 

old photos/prints in all categories 


4-5054 











75. still-life 


Estelle Mandel 

46 E. 80 St., NYC 21 
agent for creative artists 
George Samerjan 

80 W. 40 St., NYC 18 
graphic art, design, layout, packaging 


RE 7-5062 


LO 4-7257 


76. story 
Estelle Mandel RE 7-5062 
46 E. 80 St., NYC 21 
agent for creative artists 
Paul E. Nonnast 
164 E. Court St., Doylestown, Pa. 
story illustration, book, magazine, adv. 


Fil 89549 


77. stylized 
LO 4-7257 


George Samerjan 


80 W. 40 St., NYC 18 
graphic art, design, layout, packaging 


78. symbolic 
Estelle Mandel RE 7-5062 
46 E. 80 St., NYC 21 
agent for creative artists 
George Samerjan 
80 W. 40 St., NYC 18 
graphic art, design, layout, packaging 


LO 4-7257 


79. technical 


John Artim, A.A.E. 

5 Manor Lane North, Yardley, Pa. 
technical 

Commercial Art Bureau, Inc. 

2 Park Ave., NYC 16 
perspectives & cutaways from blueprints 
Bruno Junker MU 7-3572 
17 W. 44 St., NYC 36 

technical & science art, science fiction 

Otto E. Markevics AU 6-0050 
602 W. 139 St., NYC 31 

b/w, color, A-Z, spec. operation, constr., etc. 
C. F. Suchomski EX 1-9735 
1754 E. 37 St., Cleveland 14, Ohio 


technical illustration 


LETTERING 


CY 5-7446 


LE 2-6607 


80. alphabets, designed 
Philips Printery-Philip Saltzman AL 4-519] 
24 E. 23 St., NYC 10 
designers-creative ideas 
Photo-Lettering, Inc. 
126 E. 45 St., NYC 17 
exclusive for campaigns or publications 
Marianne Wielgos (nights) CO 7-4479 
31 Newbury St., Boston 16, Mass. 
designed script lettering 


MU 2-2346 


81. illuminated lettering 


E. J. Carroll, Studio of YU 60786 
520 Sth Ave. (e 43 St.), NYC 36 


Scrolls/certificates /plaques /testimonials/ 


memorial books/service awards/citations/diplomas 


114 


Enid Eder Perkins EM 2-7220 
4000 Massachusetts Ave., NW, Wash. 16, D.C. 
scrolls, calligraphy 


82. LeRoy lettering 
L. & B. Composition, Inc. OR 5-8933 
115 W. 23 St., NYC 11 
manual or photographic plus art & varitype 


83. lettering 


Paul K. Apkarian GA 1-4691 
1855 Roxbury Rd., Cleveland 12, Ohio 
creative, contemporary, rough to finish 

Bob Clark and Friends CA 7-7227 
1008 S.W. 6th Ave., Portland 4, Ore. 

the kind that talks or the kind that sings 
Commercial Art Bureau, Inc. LE 2-6607 
2 Park Ave., NYC 16 

comp & finished 

Eleanor W. Ewing CO 5-8450 
457 W. 57 St., NYC 19 Ext. 1709 
mechanicals, paste ups, tech. illustrations 
Hal Fiedler JU 68217 
150 W. 46 St., NYC 36 

L/O & fin, creatv & service, calligr, Tm des 
Flexo-Lettering Co., Inc. PL 3-4943 
305 E. 46 St., NYC 17 

hundreds of styles — 100’s of variations 

Simon Goldsmith RE 2-9834 
30 Church St., NYC 7 

L. & B. Composition, Inc. 
115 W. 23 St., NYC 11 
hand, leroy, speedball, film (450 fonts) 

Jack Reiman Wi 7-1220 
140 W. 42 St., NYC 36 

rapid hand presentation lettering, brush, pen 


OR 5-8933 


84. paste-up alphabets 


The Craftint Mfg. Company GL 1-1225 
1615 Collamer Ave., Cleveland 10, Ohio 
craf-type mat finish acetate adhesive sheets 


85. paste-up color sheets 


The Craftint Mfg. Company GL 1-1225 
1615 Collamer Ave., Cleveland 10, Ohio 


86. paste-up shading film 


The Craftint Mfg. Company GL 1-1225 
1615 Collamer Ave., Cleveland 10, Ohio 


87. photographic composition 
Davidson Corporation UL 5-0300 
29 Ryerson St., Brooklyn, N.Y. 


“protype” 


88. photo, film, process 
The Fotoflex Co. MU 2-1190 
214 E. 41 St., NYC 17 
exclusive lettering styles, request catalog #8 
The Headliners, Inc. OX 7-4820 
44 W. 44 St., NYC 
Marvin Kommel Productions 
8 W. 45 St., NYC 36 
$1 per word, sized, spaced and positioned 


MU 2-3498 


Photo-Lettering, Inc. MU 2-234 
126 E. 45 St., NYC 17 

the finest custom photo-lettering since 1936 
Typography Shop TR 5-76% 
2161 Monroe Dr., N.E., Atlanta 9, Ga. 

all Headliners, Inc. Alphabets 


89. photographic variations 
Flexo-Lettering Co., Inc. PL 3-494 
305 E. 46 St., NYC 17 
thinning, weighting, perspectives, ital, etc, 
Photo-Lettering, Inc. MU 2-234 
126 E. 45 St., NYC 17 
pioneers of photographic variation since 193 
Typography Shop TR 5-767% 
2161 Monroe Dr., N.E., Atlanta 9, Ga. 


perspective, curving, squats, etc. 


90. planotype lettering 
MU 7-2327 


Planoscope Corporation 


551 5th Ave., NYC 


91. Varigraph lettering 


Varigraph Co. 
Madison 1, Wisconsin 
Dstbr. Varigraph Lettering Instrument 


RETOUCHING 


92. carbros 
Ted Bellis WI 7-4342 
366 Sth Ave., NYC 1 
all subjects transparently retouched 


93. color toning 
Rik Shaw Associates, Ltd. PL 7-398 
250 W. 57 St., NYC 19 
more than 81 photographic services 


94. dye transfer 


Archer Ames Associates 

16 E. 52 St., NYC 

Ted Bellis 

366 5th Ave., NYC 1 

all subjects photographically retouched 
Rik Shaw Associates, Ltd. PL 7- 
250 W. 57 St., NYC 19 

more than 81 photographic services 


95. fashion 


Archer Ames Associates 
16 E. 52 St., NYC 


96. flexichrome 


Archer Ames Associates 

16 E. 52 St., NYC 

Rik Shaw Associates, Ltd. 

250 W. 57 St., NYC 19 

more than 81 photographic services 





MU 2-234 


nce 1936 
TR 5-76% 
a, 


tions 
PL 3-494 


tal, etc. 


MU 2-2346 
since 193% 
TR 5-767 


VI 7-4342 


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city ZONE STATE 
CAM Report is published by the publishers of ART DIRECTION 











97. fluorographic 


Fluorographic Sales Division WO 2-7615 
La Arcada Bidg., Santa Barbara, Calif. 
Fluorographic art materials 


98. industrial 
Ted Bellis WI 7-4342 
366 5th Ave., NYC 1 
all phases expertly executed 
Commercial Art Bureau, Inc. 
2 Park Ave., NYC 16 
b/w and color 


LE 2-6607 


99. photo, b/w 


Archer Ames Associates 
16 E. 52 St., NYC 


Ted Bellis 

366 5th Ave., NYC 1 

fashion, pictorial, editorial 
Commercial Art Bureau, Inc. 

2 Park Ave., NYC 16 

retouched for finest reproduction 
Rik Shaw Associates, Ltd. 

250 W. 57 St., NYC 19 

more than 81 photographic services 


MU 83240 


WI 7-4342 
LE 2-6607 


PL 7-3988 


100. photos, color 
Ted Bellis WI 7-4342 
366 Sth Ave., NYC 1 
dye transfer, flexichrome, “C” prints 
Commercial Art Bureau, Inc. LE 2-6607 
2 Park Ave., NYC 16 
specialize in machinery, technical, etc. 
Rik Show Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 
more than 81 photographic services 


101. 


Archer Ames Associates 
16 E. 52 St., NYC 

F. Weber Co. MA 7-7430 
1220 Buttonwood St., Phila. 23, Pa. 


products 
MU 8-3240 


102. technical 
LE 2-6607 


Commercial Art Bureau, Inc. 
2 Park Ave., NYC 16 
retouching, rendering for finest reproduction 
Otto E. Markevics AU 6-0050 
602 W. 139 St., NYC 31 


b/w, & color 


103. transparencies 
Estelle Friedman Associates MU 7-7194 
141 E. 44 St., NYC 
National Studios 
42 W. 48 St., NYC 
b/w & color 
Rik Show Associates, Ltd. 
250 W. 57 St., NYC 19 
more than 81 photographic services 


JU 2-1926 


PL 7-3988 


116 


TV 


104. animation 


Bob Clark and Friends CA 7-7227 
1008 S.W. 6th Ave., Portland 4, Ore. 

your products practically speak for themslvs. 
Sam Grainger Productions JA 3-3679 
838 Brockbank Rd., Charlotte 9, N.C. 
animation for TV, industrial films 

Keitz & Herndon LA 65268 
3601 Oak Grove Ave., Dallas 4, Texas 

Louis O. Hertz, Jr. BL 5-114] 
Box 7431, Station C, Atlanta 9, Ga. 

complete contemporary animation. strybd. to film 


105. art 
National Studios JU 2-1926 
42 W. 48 St., NYC 
Rapid Art Service 
304 E. 45 St., NYC 
Rik Shaw Associates, Ltd. 
250 W. 57 St., NYC 19 
more than 81 photographic services 
George Samerjan 
80 W. 40 St., NYC 18 
graphic art, design, layout, packaging 


MU 3-8215 
PL 7-3988 


LO 4-7257 


106. cartoons 


Bob Clark and Friends CA 7-7227 
1008 S.W. 6th Ave., Portland 4, Ore. 
specialists in the utterly ridiculous 

Keitz & Herndon LA 6-5268 
3601 Oak Grove Ave., Dallas 4, Texas 

Rapid Art Service MU 3-8215 
304 E. 45 St., NYC 

Rik Shaw Associates, Ltd. 
250 W. 57 St., NYC 19 


more than 81 photographic services 


PL 7-3988 


107. direct color prints 


Kurshon & Lang Color Service, Inc. MU 7-2595 
10 E. 46 St., NYC 17 

photographic color for advertising & industry 
Norman Kurshan, Inc. JU 6-0035 
8W. 56 St., NYC 19 

custom quality color service 
Rik Shaw Associates, Ltd. 
250 W. 57 St., NYC 19 

from transparency or art 


PL 7-3988 


108. film production 


Sam Grainger Productions JA 33679 
838 Brockbank Rd., Charlotte 9, N.C. 

budget priced animated for TV 

Keitz & Herndon LA 65268 
3601 Oak Grove Ave., Dallas 4, Texas 


109. hot press 
National Studios JU 2-1926 
42 W. 48 St., NYC 
ask for newest type sheet 
Rik Shaw Associates, Ltd. 
250 W. 57 St., NYC 19 


PL 7-3988 


110. lettering 


Bob Clark and Friends CA 7-7227 
1008 S.W. 6th Ave., Portland 4, Ore. 

lively, stylized or stiff 

Rik Shaw Associates, Ltd. 

250 W. 57 St., NYC 19 

more than 81 photographic services 


PL 7-398 


111. lettering, photo 
Flexo-Lettering Co., Inc. PL 3-4943 
305 E. 46 St., NYC 17 
fit any lettering into a special layout 
Marvin Kommel Productions MU 2-3498 
8W. 45 St., NYC 36 
film lettering for TV titles 
L. & B. Composition, Inc. 
115 W. 23 St., NYC 11 
450 fonts, 10 pt.-84 pt., modern- traditional 
Photo-Lettering, Inc. MU 2-2346 
126 E. 45 St., NYC 17 
a complete photo-lettering service for TV 
Rapid Typographers Inc. MU 8-2445 
305 E. 46 St., NYC 17 
$1 word to fit your layout, 100’s of styles 


OR 5-8933 


112. props 


Norman Flayderman, Antique Arms TO 9-424? 
44 W. Putnam Ave., Greenwich, Conn. 
Antique arms & accessories—for rent or sale 
Rapid Art Service MU 3-8215 
304 E. 45 St., NYC 


113. slides 


Kurshan & Lang Color Service, Inc. 

10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & industry 
Norman Kurshan, Inc. JU 60035 
8 W. 56 St., NYC 19 

custom quality color service 
National Studios 

42 W. 48 St., NYC 

2x2, 3¥%x4, 4x5, b/w & color vugraf 
Rapid Art Service 

304 E. 45 St., NYC 

Rik Shaw Associates, Ltd. 

250 W. 57 St., NYC 19 


consultants to TV stations 


JU 2-1926 


MU 3-8215 
PL 7-3988 


114. story boards 
R. J. Davidson PR 5-4050 
562 Kirkby Rd., Elmont, L.I., N.Y. 
decorative, humorous e creative roughs to comp. 
Sam Grainger Productions JA 3-3679 
838 Brockbank Rd., Charlotte 9, N.C. 
storyboards—original or from your copy 
Keitz & Herndon LA 6-5268 
3601 Oak Grove Ave., Dallas 4, Texas 
Rapid Art Service MU 3-8215 
304 E. 45 St., NYC 
Rik Shaw Associctes, Ltd. 
250 W. 57 St., NYC 19 


PL 7-3988 


115. titles 


National Studios 
42 W. 48 St., NYC 
hot press — hand lettering 


JU 2-1926 





—@@.__{e; @giawPeowa &wmeAa 


CA 7-22 


>L 7-3988 


O 9-4242 
. 
or sale 


\U 3-8215 


AU 7-2595 
industry 
JU 6-0035 


JU 2-1926 


AU 3-8215 
>L 7-3988 


1S 
U 3-8215 
L 7-3988 


Photo-Lettering, Inc. MU 2-2346 
126 E. 45 St., NYC 17 

your titles produced in economical Pro-type 
Rapid Art Service MU 3-8215 


304 E. 45 St., NYC 
ART SUPPLIES 


116. acetates, overlays 


The Craftint Mfg. Company GL 1-1225 
1615 Collamer Ave., Cleveland 10, Ohio 
sheets, rolls &pads clear & mat finished 

M. Grumbacher, Inc. BR 9-6400 
460 W. 34 St., NYC 1 

Tuffilm Rolls 24" clear & frosted 
Monsen Typographers, Inc. 

960 W. 12 St., L.A. 15, Calif. 
Monsen transparent impressions 
Monsen Typographers, Inc. 

22 E. Illinois St., Chi. 11, Wl. 
Monsen transparent impressions 


RI 7-6191 


SU 7-1223 


117. adhesives 


The Craftint Mfg. Company GL 1-1225 
1615 Collamer Ave., Cleveland 10, Ohio 

M. Grumbacher, Inc. BR 9-6400 
460 W. 34 St., NYC 1 

rubber cement 

Sanford Ink Co. ES 84814 
2740 Washington Blvd., Bellwood, Ill. 

rubber cement; Grippit, permanent paper cement 


118. air brushes 


Thayer & Chandler HA 1-7210 
910 W. Van Buren St., Chicago 7, Ill. 
the airbrush of the particular artist 


119. animation colors 
M. Grumbacher, Inc. BR 9-6400 
460 W. 34 St., NYC 1 
Cel-tested colors & grays 


120. artists brushes 
Continental Exchange SY 2-1715 
P.0.Box 2296-D, Pasadena, Calif. 
distributor: “Trident” artist brushes 
The Craftint Mfg. Company GL 1-1225 
1615 ColHamer Ave., Cleveland 10, Ohio 
oil, water color & sign writers’ brushes 
M. Grumbacher, Inc. BR 9-6400 
460 W. 34 St., NYC 1 
oil, water color & signwriters’ brushes 
A. Langnickel OX 5-0875 
115 W. 31 St., NYC 
F. Weber Co. MA 7-7430 
1220 Buttonwood St., Phila. 23, Pa. 


121. books 


M. Grumbacher, Inc. 
460 W. 34 St., NYC 1 


howto-do-it, oil, water color, etc. 


SA*MER*JAN (peter james) noun 1. A cre- 
ative photographer who has soap and water 
in his studio to shoot clean type girls for soap 
clients! 2. Also pretty clean himself! 

ee ) ) 


PES SSS SPSS FE 


LLELELELELES 


Photography 
846 North Fairfax / Hollywood 46 
OL 3-2940 


PRPS SS SSS SSE 











PERMO WHITE CO. 
Zine Water Colors 
Permo White, Grays and Black 
Perfect for retouching 
Illustrating and lettering 
Send for circular A 


15 E. 40th St., New York 16, N. Y. 














layout & design, TV art 
painting. life drawing 
illustration, fashion 
cartountng, 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 


Art Direction /{ The Magazine of Creative Advertising | January 1960 











TRANSFER TRACING 


e ERASES LIKE PENCIL 


Use Saral's F colors: 

GRAPHITE—for dark on light surfaces 
YELIOW—for light on dark surfaces 

BLUE—for mechanicals (non-photographic) 
RED—for glossy surfaces (acetate, photos, stats) 





$35° per BOXED ROLL + 12 Feet x 12'/ Inches 











122. Bourges materials 
Bourges Color Corp. WA 4-8070 
80 5th Ave., NYC 11 
available thru art material dealers 


123. bristol boards 
Chorles T. Bainbridge’s Sons TR 5-3041 
20 Cumberland St., Bklyn. 9, N.Y. 
drawing Bristols (prof. & student grades) 
Crescent Cardboard Company EV 4-3700 
1240 N. Homan Ave., Chicago 51, Ill. 
M, Grumbacher, Inc. BR 9-6400 
460 W. 34 St., NYC 1 
“Grumbacher” 
Strathmore Paper Co. 
Front St., W. Spfld., Mass. 
available thru art material dealers 


RE 68301 


124. canvas 


The Craftint Mfg. Company GL 1-1225 
1615 Collamer Ave., Cleveland 10, Ohio 
canvas — panels, boards & rolls 
M. Grumbacher, Inc. 

460 W. 34 St., NYC 1 

canvas panels, boards, rolls & pads 

F. Weber Co. MA 7-7430 
1220 Buttonwood St., Phila. 23, Pa. 


BR 9-6400 


125. charcoal & pastel papers 
Chorles T. Bainbridge’s Sons TR 5-304] 
20 Cumberland St., Bklyn. 9, N.Y. 
charcoal & pastel papers & boards 
The Craftint Mfg. Company GL 1-1225 
1615 Collamer Ave., Cleveland 10, Ohio 
cut sheets & pads 
M. Grumbacher, Inc. 
460 W. 34 St., NYC 1 
sheets, pads, rolls in white & colors 
Strathmore Paper Co. * RE 6-8301 
Front St., W. Spfld., Mass. 
available thru art material dealers 
F. Weber Co. MA 7-7430 
1220 Buttonwood St., Phila. 23, Pa. 


BR 9-6400 


126. colored papers 


The Craftint Mfg. Company GL 1-1225 
1615 Collamer Ave., Cleveland 10, Ohio 
color-vu 192 color range+ 16 ‘grays 
Strathmore Paper Co. 

Front St., W. Spfld., Mass. 


available thru art material dealers 


RE 6-8301 


127. crayons and chalks 


A. W. Faber-Castell Pencil! Co., Inc. 

41-47 Dickerson Street HU 3-1997 
Newark 3, N.J. 

Faber Pencil Company, Eberhard GR 4-671] 
Crestwood Pk., Wilkes-Barre, Pa. 
Nupastels-chalk sticks-60 colors 
M, Grumbacher, Inc. 

460 W. 34 St., NYC 1 

crayons, layout chalks, Golden Palette Pastels 
Sanford Ink Co. ES 84814 
2740 Washington Bivd., Bellwood, Ill. 
Cray-Pas, dry oil colors in stick form 


BR 9-6400 


128. drafting supplies 


The Conlin Company Inc. ED 62121 
60 to 72 Elm St., Bridgeport 3, Conn. 
professional artist’s &drafting room supplies 
A. W. Faber-Castell Pencil Co., Inc. 
41-47 Dickerson Street 

Newark 3, New Jersey 


HU 3-1997 


129. drawing instruments 


A. W. Faber-Castell Pencil Co., Inc. 
41-47 Dickerson Street 

Newark 3, New Jersey 

Faber Pencil Company, Eberhard GR 4-6711 
Crestwood Pk., Wilkes-Barre, Pa. 
microtomic, pencils, leads, holders 
S. Krautkopf 

553 Lincoln Pl., Bklyn. 38, N.Y. 
German precision drawing instruments 
compasses-ruling pens-prop. dividers 

F. Weber Co. MA 7-7430 
1220 Buttonwood St., Phila. 23, Pa. 


HU 3-1997 


ST 9-1599 


130. erasers 
Eagle Pencil Company WA 5-0900 
Danbury, Connecticut 
375 Park Ave., NYC MU 82100 
A.W. Faber-Castel!l Pencil Co., Inc. 
41-47 Dickerson Street HU 3-1997 
Newark 3, New Jersey 
Faber Pencil Company, Eberhard GR 4-671] 
Crestwood Pk., Wilkes-Barre, Pa. 
Pink Pearl, Rubkleen, Kneaded Rubber 
A. Langnickel OX 5-0875 
115 W. 31 St., NYC 


131. fixatives 


The Craftint Mfg. Company GL 1-1225 
1615 Collamer Ave., Cleveland 10, Ohio 
crystal clearplastic spray 

Eagle Pencil Company WA 5-0900 
Danbury, Conn. — 375 Park Ave., NYC 

the fix without fumes MU 82100 
Faber Pencil Company, Eberhard GR 4-671] 
Crestwood Pk., Wilkes-Barre, Pa. 

Nupastel Fixative — clear matte finish 

M. Grumbacher, Inc. BR 9-6400 
460 W. 34 St., NYC 1 

“Tuffilm” & “Myston” workable spray 

F. Weber Co. MA 7-7430 
1220 Buttonwood St., Phila. 23, Pa. 


132. fluorescent materials 
Fluorographic Sales Division WO 2-7615 
LaArcada Bldg., Santa Barbara, Calif. 
Fluoro-Color art materials 

133. fluorescent papers 
The Craftint Mfg. Company GL 1-1225 
1615 Collamer Ave., Cleveland 10, Ohio 
R.1.C. papers 8 daylight fluorescent colors 
134. hand lettering sheets, etc. 
The Craftint Mfg. Company GL 1-1225 


1615 Collamer Ave., Cleveland 10, Ohio 
craf-type mat finish acetate adhesive sheets 


135. illustration board 


Charles T. Bainbridge’s Sons 

20 Cumberland St., Bklyn. 9, N.Y. 
illustration brds. (prof. & student grades) 
Crescent Cardboard Company EV 4-3700 
1240 N. Homan Ave., Chicago 5], Ill. 

M. Grumbacher, Inc. BR 9-640 
460 W. 34 St., NYC 1 
“Grumbacher” plate & kid finish 
Strathmore Paper Co. 

Front St., W. Spfld., Mass. 
available thru art material dealers 


TR 5-304] 


RE 6-830} 


136. inks 


The Craftint Mfg. Company GL 1-1225 
1615 Collamer Ave., Cleveland 10, Ohio 
Craftint “66” Jet Black & 17 colors 
M. Grumbacher, Inc. 

460 W. 34 St., NYC 1 

drawing, colored & masking inks 

C. Howard Hunt Pen Co. 

7th & State, Camden 1, N.J. 

inks (Speedball) 

F. Weber Co. 

1220 Buttonwood St., Phila. 23, Pa. 


BR 9-640 
WO 3-0037 


MA 7-7430 


137. lettering templets 


Varigraph Co. 
Madison 1, Wisconsin 
Dstrbr. Varigraph Lettering Templets 


138. manufacturer 
Charles T. Bainbridge’s Sons TR 5-3041 
20 Cumberland St., Bklyn. 9, N.Y. 
illustration brds-draw. Bristol s-papers & pads 
Joseph Dixon Crucible Co. WO 4-7080 
Wayne & Monmouth Sts., Jersey City, N.J. 
Eagle Pencil Company WA 5-0900 
Danbury, Conn. 
375 Park Ave., NYC “= 
Faber Pencil Company, Eberhard 
Wilkes Barre, Pa. 
N.Y. office — 200 5thAve — 
M. Grumbacher, Inc. 
460 W. 34 St., NYC 1 
Nobema 
141 Green St., NYC 
Venus Pen & Pencil Company 
Lewisburg, Tennessee 
F. Weber Co. MA 7-7430 
1220 Buttonwood St., Phila. 23, Pa. 


MU 82100 
GR 4-671] 


OR 5-0482 
BR 9-6400 


AL 4-081] 
EL 9-1583 


139. masking inks & opaques 


M. Grumbacher, Inc. BR 9-6400 
460 W. 34 St., NYC 1 


Patent Red, Patent Black, Ink Concentrate 


140. negative opaques 


M. Grumbacher, Inc. BR 9-6400 
460 W. 34 St., NYE 1 


Speed-O-Paque, Metallic Opaque 
141. office supplies 


A. W. Faber-Castell Pencil Co., Inc. 
41-47 Dickerson Street HU 3-1997 
Newark 3, New Jersey 











C. Howard Hunt Pen Co. WO 3-0037 




























ard Ith & State, Camden 1, N.J. 
Boston pencil sharpeners 
TR 5-304) Sanford Ink Co. ES 8-4814 
2740 Washington Bivd., Bellwood, Ill. 
ides) writing inks, stamp pads & inks, adhesives 
“4 4-370 
BR 9-640 142. oil colors 
The Craftint Mfg. Company GL 1-1225 
RE 6-830) 1615 Collamer Ave., Cleveland 10, Ohio 
68 Craftint-Devoe Artists’ Oil Colors 
M. Grumbacher, Inc. BR 9-6400 
460 W. 34 St., NYC 1 
“Pre-tested” & “Finest” 
F. Weber Co. MA 7-7430 
GL 1.1225 1220 Buttonwood St., Phila. 23, Pa. 
Ohio 
9 143. pads, blocks, sketch books 
Charles T. Bainbridge’s Sons TR 5-3041 
20 Cumberland St., Bklyn. 9, N.Y. 
NO 3-0037 drawing papers—pads & sketchbooks 
The Craftint Mfg. Company GL 1-1225 
1615 Collamer Ave., Cleveland 10, Ohio 
MA 7-7430 Craftint’s complete line 
M. Grumbacher, Inc. BR 9-6400 
460 W. 34 St., NYC 1 
complete line 
ts Strathmore Paper Co. RE 6-8301 
Front St., W. Spfld., Mass. 
available thru art material dealers 
144. palettes 
The Craftint Mfg. Company GL 1-1225 
TR 5-304] 1615 Collamer Ave., Cleveland 10, Ohio 
Craftint-Devoe palettes 
's & pads M. Grumbacher, Inc. BR 9-6400 
10 4- 7080 460 W. 34 St., NYC 1 
N.J. oil color, water color, Kolor-Keeper 
iA 5- 0900 
l 
> on 145. pastels 
R 5-0482 Eagle Pencil Company WA 5-0900 
R 9-6400 Danbury, Conn.—375 Park Ave., NYC: 
60pencils & sticks in matching MU 8-2100 
L 4-081] § colors 
Faber Pencil Company, Eberhard GR 4-671] 
L 9-1583 Wilkes Barre, Pa. 
N.Y. office — 200 5th Ave. i OR 5-0482 
A 7-7430 
aques 146. pencils 
R 9-6400 Joseph Dixon Crucible Co. WO 4-7080 
Wayne & Monmouth Sts., Jersey City, N.J. 
ntrate Eagle Pencil Company WA 5-0900 
Danbury, Conn. — 375 Park Ave., NYC 
60 light proof moisture proof colors MU 8-2100 
s A. W. Faber-Castell Pencil Co., Inc. 
41-47 Dickerson Street HU 3-1997 
R 9-6400 Newark 3, New Jersey 
Faber Pencil Company, Eberhard GR 4-671] 
Crestwood Pk., Wilkes-Barre, Pa. 
Mongol colors, Colorama, colorbrite & Ebony 
M. Grumbacher, Inc. BR 9-6400 
460 W. 34 St., NYC 1 
Venus Pen & Pencil Company EL 9-1583 
U 3-1997 Lewisburg, Tennessee 


Photograph X17540 








This will make 
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Just one of the thousands of 
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UNDERWOOD & UNDERWOOD ILLUSTRATION STUDIOS, INC. 


319 East 44th St., N. Y. 17 
MUrray Hill 4-5400 

























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

















TECHNIPEN 


for ARTISTS, ARCHITECTS, 
DRAFTSMEN, ENGINEERS, 
MAP ILLUSTRATORS, ay? 


Ge 


*4.50.. 


6 interchangeable 
points, $1.50 ea. 


At your dealer or write Dept. ADC 


TALENS & SON, INC. 









HERE’S MY NEW NUMBER 


ARI SEIDEN 


DECORATIVE So/PR ILLUSTRATION 


115 W. 45th ST.,N.Y. JU 2-5083 


















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DIRECT MAIL/ SLIDES/ PRESENTATIONS 






119 











147. pens 


Cushman & Dennison 

730 Garden, Carlstadt, N.J. 
pens, felt tip 

C. Howard Hunt Pen Co. 

7th & State, Camden 1, N.J. 
Speedball! & Hunt art pens 
A. Langnickel 

115 W. 31 St., NYC 

pens, felt tip 

Speedry Products, Inc. 
Richmond Hill 18, New York 
pens, felt tip “Magic Marker” 


WE 3-2100 
WO 3-0037 
OX 5-0875 


Vi 9-9700 


148. picture frames 


Braquette, Inc. LENOX 689W 


Lenox, Mass. 


149. retouching materials 


The Craftint Mfg. Company GL 1-1225 
1615 Collamer Ave., Cleveland 10, Ohio 

M. Grumbacher, Inc. BR 9-6400 
460 W. 34 St., NYC 1 

Gamma Grays, Gamma White, brushes 

F. Weber Co. MA 7-7430 
1220 Buttonwood St., Phila. 23, Pa. 


150. retail art stores 
Crane-Gallo Artist Supplies LA 4-9476 
110 W. 31 St., NYC 12 
new address on or about Feb. Ist 1960 
173 Madison Avenue, N.Y. 16, N.Y. 

Cross County Art Center YO 3-3788 
Cross County Shopping Center, Yonkers 4,NY 
convenience, service for advertising artists 
Sam Flax MU 3-2962 
25 E. 28 St., NYC 

Lewis Artists Materials, Inc. 
158 W. 44 St., NYC 36 


JU 6-1090 


151. sketch boxes 


M. Grumbacher, Inc. 

460 W. 34 St., NYC 1 

sketch boxes & sketch-box easels 
F. Weber Co. MA 7-7430 
1220 Buttonwood St., Phila. 23, Pa. 


BR 9-6400 


152. slide rules 


A. W. Faber-Castell Pencil Co., Inc. 
41-47 Dickerson Street HU 3- 1997 
Newark 3, New Jersey 


153. watercolor materials 


The Craftint Mfg. Company GL 1-1225 
1615 Collamer Ave., Cleveland 10, Ohio 
Craftint-Devoe Academic colors, brushes, pads 
M. Grumbacher, Inc. BR 9-6400 
460 W. 34 St., NYC 1 

professional colors, papers, pads & brushes 
Triangle Color Company BR 1-0410 
1026 N. Water St., Milwaukee 2, Wisc. 

F. Weber Co. MA 7-7430 
1220 Buttonwood St., Phila. 23, Pa. 


120 


PHOTOGRAPHY 


154. aerial 


Aero Service Corporation GL 7-3000 
210 E. Courtland St., Phila. 20, Pa. 

detailed air views 

Arizona Photographic Associates, Inc. 

1330 N. 21 Ave., Phoenix, Ariz. AL 8-655] 
covering the entire southwest 

Heilpern Photographers CH 9-5874 
151 Homestead Ave., Hartford, Conn. 12 
obliques-color, Type C, b/w 


155. animals 


Mary Eleanor Browning MU 5-0240 
149 E. 40 St., NYC 16 

Walter Chandoha HA 7-8260 
Box 237, Huntington Sta., L.|., N.Y. 
specializing in cats & dogs in color, b/w 
Joyce R. Wilson AL 5-0454 
412 W. 20 St., NYC 11 


color, b/w 


156. antique arms 


Norman Fiayderman, Antique Arms TO 9-4242 
44 W. Putnam Ave., Greenwich, Conn. 
Antique arms & accessories—for rent or sale 


157. architectural 


Arizona Photographic Associates, Inc. 

1330 N. 2! Ave., Phoenix, Ariz. AL 86551 
covering the entire southwest 
Dick Cowles 

100 Strong Road, Victor, N.Y. 
western N.Y. State architect. photos 
Heilpern Photographers CH 9-5874 
151 Homestead Ave., Hartford, Conn. 12 
interior, exterior, color b/w 

Frank J. Miller 

2115 12th Ave., NE., Hickory, N.C. 
fine quality creations 

Lewis P. Watson, Commercial Photography 
1916%HillsboroSt., Raleigh,N.C. TE 2-9887 
black & white, color 
Bill Witt, Photography MA 3-0562 
554 Broad St., Newark 2, N.J. 


WA 4-444] 


DA 4-8758 


for N.J. locations /interior & exterior /design feat. 


158. birds 


Joyce R. Wilson 
412 W. 20 St., NYC 11 
color, b/w 


AL 5-0454 


159. cats & dogs 


Mary Eleanor Browning 
149 E. 40 St., NYC 16 
Walter Chandoha HA 7-8260 
Box 237, Huntington Sta., L.I., N.Y. 

color, b/w, assignment, big stock file 

Joyce R. Wilson AL 5-0454 
412 W. 20 St., NYC 11 

color, b/w 


MU 5-0240 


160. children 


Arizona Photographic Associates, Inc. 

1330 N.21 Ave., Phoenix, Ariz. AL 8-655] 
Dorothy McLaughlin specialist 
Bernice Clark 

20 Bartlett, Detroit 3, Mich. 
natural situation ads — stories 


TU 3-3912 


161. color 


Arizona Photographic Associates, Inc. 

1330 N. 21 Ave., Phoenix, Ariz. AL 8-655] 
covering the entire southwest 
Mary Eleanor Browning 

149 E. 40 St., NYC 16 

Camera, M.D. Studios 

127 E. 34 St., NYC 16 

medical and scientific photography 
Walter Chandoha HA 7-8260 
Box 237, Huntington Sta., L.I., N.Y. 

cat & dog pix — biggest file in U.S. 
Joe Clark, H.B.S.S. 

20 Bartlett, Detroit 3, Mich. 

adv. illustration, indus., human interest 

Dick Cowles WA 4-444] 
100 Strong Road, Victor, N.Y. 

western-central N.Y. State Color photos 
Heilpern Photographers CH 9-5874 
151 Homestead Ave., Hartford, Conn. 12 
covering Connecticut, transparencies, TypeC 
Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 

Siegfried/Darsey AX 4-431] 
4341 Don Tomaso Dr., L.A. 8, Calif. 

Like “L.O.E.” created by Siegfried R. Gutterman 
Lewis P. Watson, Commercial Photography 
1916%4HillsboroSt., Raleigh, N.C. TE 2-9887 
general commercial 

Robert A. Young 

116 Cleveland Ave., Colonia, N.J. 


MU 5-0240 
MU 6-3922 


TU 3-3912 


FU 1-6269 


162. consultants 


Arizona Photographic Associates, Inc. 

1330 N. 21 Ave., Phoenix, Ariz. AL 8-655] 
Herb McLaughlin, Consultant 

Dr. Egon Berka 

100 N. La Salle St., Chicago 2, Ill. 
photography & reproduction consultant 
Camera, M.D. Studios MU 6-3922 
127 E. 34 St., NYC 16 

medical and scientific photography 
Rik Shaw Associates, Ltd. 

250 W. 57 St., NYC 19 

more than 81 photographic services 


ST 2-8444 


PL 7-3988 


163. editorial 


Arizona Photographic Associates, Inc. 

1330 N. 21 Ave., Phoenix, Ariz. AL 8-655] 
Herb McLaughlin, specialist 
Camera, M.D. Studios 

127 E. 34 St., NYC 16 

medical ard scientific photography 
Joe Clark, H.B.S.S. 

20 Bartlett, Detroit 3, Mich. 
picture stories — advertising illustrations 

Dick Cowles WA 4-444] 
100 Strong Road, Victor, N.Y. 
western-central N.Y. State Edit. photos 


MU 6-3922 


TU 3-3912 








L 8-655) 
U 33912 


. 8-655] 
J 5-0240 
U 6-3922 


\ 7-8260 


) 3-3912 


t 
\ 4-444] 


s 
19-5874 
12 
TypeC 
. 7-3988 
. 4-411 
ut terman 
aphy 

; 2-9887 


| 1-6269 


. 8-655] 
2- 8444 


| 6-3922 


_ 7-3988 


B-6551 
5- 3922 


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4441 








Dorrill Photographers CE 1-0606 
-922 Pine St., St. Louis 1, Mo. 

when you need prompt attention to your needs 
Nelson B. Gilbert JA 2-366 
P.O.Box 328, Arlington 7, Va. 

pictorial story specialist/ASMP member 

Frank J. Miller DA 4-8758 
2115 12th Ave., NE, Hickory, N.C. 
assignments in the south 

Ed Nano Winton 1-3373 
3413 Rocky River Dr., Cleveland 11, Ohio 
annual reports, advertising 

Siegried/Darsey AX 4-4311 
4341 Don Tomaso Dr., L.A. 8, Calif. 

like moods created by Siegfried R. Gutterman 
Joyce R. Wilson AL 5-0454 
412 W. 20St., NYC 11 

animal illustration for advertising 

Bill Witt, Photography MA 3-0562 
554 Broad St., Newark N.J. 2 

picture stories/industrial/design featured 


164. experimental 


Dr. Egon Berka ST 2-8444 
100 N. La Salle St., Chicago 2, Ill. 
assignments &/or consulting 

Robert Crandall Associates, Inc. Cl 7-7377 
58 W. 47 St., NYC 36 

Tom Richardson Cl 7-6422 
620 5th Ave., NYC 

photograms, photo drawings, photo patterns 
Siegried/Darsey AX 4-431] 
4341 Don Tomaso Dr., L.A. 8, Calif. 

like “AiResearch” by Siegfried R. Gutterman 
Robert A. Young FU 1-6269 
116 Cleveland Ave., Colonia, N.J. 


165. fashion 


Glenn Otto Photography HO 2-4482 
5913 Hollywood Bivd., Hollywd. 28, Calif. 
California location fashion 

Robert A. Young FU 1-6269 
116 Cleveland Ave., Colonia, N.J. 


166. general 


Arizona Photographic Associates, Inc. 

1330 N. 21 Ave., Phoenix, Ariz. AL 86551 
covering the entire southwest 

Dick Cowles WA 4-444] 
100 Strong Road, Victor, N.Y. 

western-central N.Y. State Gen. photos 

Dorrill Photographers CE 1-0606 
922 Pine St., St. Louis 1, Mo. 

best choice for quality & speedy service 
Lewis P. Watson, Commercial Photography 
1916%4HillsboroSt., Raleigh, N.C. TE 2-9887 
commercial, black & white, color 

Robert A. Young FU 1-6269 
116 Cleveland Ave., Colonia, N.J. 


167. human interest 


Arizona Photographic Associates, Inc. 
1330 N. 21 Ave., Phoenix, Ariz. AL 8-6551 
covering the entire southwest 

Harriet Arnold EL 5-6848 
72 E. 56 St., NYC 22 

Human interest illus. children a specialty 





€ 


yo A Laster 


touch 


True quality is achieved through a rare blend that embraces 

skill as well as creativity. At Weco, technical proficiency is 

amplified by modern equipment, such as that used to create 

dye transfers that reflect the touch of the master craftsman. 

For your dye transfers and for all your quality requirements, 

call on Weco, for 12 years consultants and practitioners in the 14 East 39 St., New York 
photographer's art... at MU 5-1864. 


PHOTOGRAPHY / DYE TRANSFER/FLEXICHROME/TYPE C /EKTACHROME 




















VAs 
MADISON AVENUE CARTOONS 


"NA ZA 














On 
———— 
ee 


a 
i; 7 
bridgewater, 
connecticut 





1SOb-b 418}2 ‘psoyjiw mau auoyd 




































Bernice Clark 
20 Bartlett, Detroit 3, Mich. 
grownups & children — naturally 


TU 3-3912 


168. illustration 


Arizona Photographic Assoc., Inc.. AL 8-655] 
1330 N. 21 Ave., Phoenix, Ariz. 
covering the entire southwest 
Camera, M.D. Studios 

127 E. 34 St., NYC 16 

medical and scientific photography 
Joe Clark, H.B.S.S. 

20 Bartlett, Detroit 3, Mich. 
advertising, color, b/w, location or studio 


MU 63922 


TU 3-3912 


Bernard Foster, L.L.B. 2-7774 
9 Hall St., Lewiston, Maine 

fashion, pretty girls, etc. 

Siegfried/Darsey AX 4-4311 


4341 Don Tomaso Dr., L.A. 8, Calif. 
like “Douglas” humor by Siegfried R. Gutterman 


Fred Swartz A.S.M.P. WE 9-2789 
135% S. La Brea, L.A. 36, Calif. 

illustration 

Todd Walker BR 2-5006 


8826 Burton Way, Beverly Hills, Calif. 
photography, illustration 

Bill Witt, Photography 

554 Broad St., Newark 2, N.J. 
industrial illus./design featured/color, b/w 
Robert A. Young FU 1-6269 
116 Cleveland Ave., Colonia, N.J. 


169. industrial 


Arizona Photographic Associates, Inc. 


MA 3-0562 


1330 N. 21 Ave., Phoenix, Ariz. AL 8-655] 
covering the entire southwest 
Camera, M.D. Studios MU 6-3922 


127 E. 34 St., NYC 16 
specializing in pharmaceutical and medical 


Joe Clark, H.B.S.S. TU 3-3912 
20 Barlett, Detroit 3, Mich. 

annual reports — advertising 

Will Connell NO 3-0612 
335 N. Berendo St., L.A. 4, Calif. 

editorial, illustration, industrial 

Dick Cowles WA 4-4441 


100 Strong Road, Victor, N.Y. 
western-central N.Y. State indus. photos 


Dorrill Photographers CE 1-0606 
922 Pine St., St. Louis 1, Mo. 

specialists in photos on location 

Heilpern Photographers CH 9-5874 


151 Homestead Ave., Hartford, Conn. 12 
anywhere in Connecticut—color, b/w 

Keitz & Herndon LA 6-5268 
3601 Oak Grove Ave., Dallas 4, Texas 

Frank J. Miller DA 4-8758 
2115 12th Ave., NE, Hickory, N.C. 

fine quality creations 

Ed Nano Winton 1-3373 
3413 Rocky River Dr., Cleveland 11, Ohio 
facilities brochures 


Fred Swartz A.S.M.P. WE 9-2789 
135% S. La Brea, L.A. 36, Calif. 

industrial 

United Press International PE 68500 


461 8th Ave., NYC 

Lewis P. Watson, Commercial Photography 
1916% Hillsboro St., Raleigh, N.C. TE 2-9887 
in plant & on location 

Bill Witt, Photography 

554 Broad St., Newark 2, N.J. 
for N.J. indus. illus./color, b/w-design fect. 


MA 3-0562 


122 


Robert A. Young 
116 Cleveland Ave., Colonia, N.J. 


FU 1-6269 


170. interiors 


Arizona Photographic Associates, Inc. 


1330 N. 21 Ave., Phoenix Ariz. AL 8-655] 
covering the entire southwest 
Dick Cowles WA 4-4441 


100 Strong Road, Victor, N.Y. 

western-central N.Y. State Interiors photos 
Bill Witt, Photography MA 3-0562 
554 Broad St., Newark 2, N.J. 


interiors & exteriors/color, b/w-design feat. 


171. landscapes 


Arizona Photographic Associates, Inc. 


1330 N. 21 Ave., Phoenix, Ariz. AL 8-655] 
covering the entire southwest 
Dick Cowles WA 4-444] 


100 Strong Road, V ictor, N.Y. 

western N.Y. State landscape photos 

Frank J. Miller DA 4-8758 
2115 12th Ave., NE, Hickory, N.C. 

scenes of beauty & interesting places 


172. 


Arizona Photographic Associates, Inc. 


location 


1330 N. 21 Ave., Phoenix, Ariz. AL 8-6551 
covering the entire southwest 
Dick Cowles WA 4-444] 


100 Strong Road, Victor, N.Y. 

western-central N.Y. State location photos 
Dorrill Photographers CE 1-0606 
922 Pine St., St. Louis 1, Mo. 

photos for publications our specialty 

Frank J. Miller DA 4-8758 
2115 12th Ave., N.E., Hickory, N.C. 
assignments in the south 

Ed Nano Winton 1-3373 
3413 Rocky River Dr., Cleveland 11, Ohio 
equipment geared to location situations 
Siegfried/Darsey AX 4-431] 
4341 Don Tomaso Dr., L.A. 8, Calif. 

like trailer jaunts by Siegfried R. Gutterman 


Fred Swartz A.S.M.P. WE 9-2789 
135% S. La Brea, L.A. 36, Calif. 

location 

Robert A. Young FU 1-6269 


116 Cleveland Ave., Colonia, N.J. 


173. magazine photography 


Arizona Photographic Associates, Inc. 


1330 N. 21 Ave., Phoenix, Ariz. AL 86551 
covering theentire southwest 
Camera, M.D. Studios MU 6-3922 


127 E. 34 St., NYC 16 
specializing in medical and scientific areas 


Joe Clark, H.B.S.S. TU 3-3912 
20 Bartlett, Detroit 3, Mich. 

photojournalism — annual reports 

Dick Cowles WA 4-444] 


100 Strong Road, Victor, N.Y. 

western-central N.Y. state magazine photos 
Dorrill Photographers CE 1-0606 
922 Pine St., St. Louis 1, Mo. 

completely equipped-documen tary, editorial 
Nelson B. Gilbert JA 2-966 
P.O. Box 328, Arlington 7, Va. 
photojournalism/editorial /color, b/w/ASMP 


DA 4-8758 
2115 12th Ave., N.E., Hickory, N.C. 
assignments in the south 

Bill Witt, Photography 

554 Broad St., Newark 2, N.J. 
photo journalism/indus./edit/design feat. 


Frank J. Miller 


MA 3-0562 


Robert A. Young FU 1-6269 
116 Cleveland Ave., Colonia, N.J. 

174. murals 
American Blueprint Co., Inc. PL 1-2240 


7E. 47St., NYC @ 299 Madison Ave., NYC 
630 5th Ave., NYC @ 60€E. 56 St., NYC 
Arizona Photographic Associates, Inc. 


1330 N. 21 Ave., Phoenix, Ariz. AL 8-655] 
covering the entire southwest 
Rik Shaw Associates, Ltd. PL 7-3988 


250 W. 57 St., NYC 19 


any size, montages, also color 


175. photo agencies 
The Bettmann Archive PL 80862 
215 E. 57 St., NYC 22 
old photos, and prints, any subject 
Walter Chandoha HA 7-8260 
Box 237, Huntington Sta., L.I., N.Y. 
color or b/w pix of cats &dogs —big file 
Culver Service MU 4-5054 
660 Ist Ave., NYC 
4,000,000 photos/prints on all subj. 


Freelance Photographers Guild MU 7-0045 
110 W. 32 St., NYC 
Nancy Palmer MU 3-9310 


130 E. 37 St., NYC 16 

representing photographers around the world 
Underwood & Underwood News Photos, inc. 

3 W. 46 St., NYC 36 JU 6-5910 
all subjects: advertising & editorial 


176. photo-reporting 


Dick Cowles 
100 Strong Road, Victor, N.Y. 
western-central N.Y. state photoreportng. 


CE 1-0606 


WA 4-444] 


Dorrill Photographers 

922 Pine St., St. Louis 1, Mo. 
specialized equip. for location assignments 
Interstate Industrial Reporting Service, Inc. 


675 5th Ave., NYC MU 8-1880 
United Press International PE 6-8500 
461 8th Ave., NYC 
Wide World Photos PL 7-1111 
50 Rockefeller Plaza, NYC 

177. Printons 
Color Technology Co. TR 3-5141 


2824 E. Grand Blvd., Detroit 11, Mich. 
Printons available in quantity 
Kurshan & Lang Color Service, Inc. 

10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & industry 
Norman Kurshan, Inc. JU 6-0035 
8W. 56 St., NYC 19 

custom quality color service 

Rik Shaw Associates, Ltd. 

250 W. 57 St., NYC 19 

any size, from transparency or art 
Weiman & Lester Photoservices 
106 E. 41 St., NYC 


customized color for Pro’s, adv. & ind. 


PL 7-3988 


OR 9-1180 











_— — ae ee a. en 





\ 4-8758 


\ 3-0562 


eat. 


J 1-6269 


_ 1-2240 
e., NYC 
YC 

. 8-655] 


. 7-3988 


. 8 0862 
' 7-8260 
} 4- 5054 


} 7-0045 
} 3-9310 
world 


_ inc. 


6-5910 


4-444] 


1g. 
1-0606 


rents 


8-1880 
6-8500 


7-111 


3-514] 


7-2595 
istry 
§- 0035 


]-3988 


- 1180 








178. products 


Arizona Photographic Associates, Inc. 


1330 N. 21 Ave., Phoenix, Ariz. AL 86551 
covering the entire southwest 
Rik Shaw Associates, Ltd. PL 7-3988 


250 W. 57 St., NYC 19 
more than 81 photographic services 


179. props 
Norman Flayderman, Antique Arms TO 9-4242 


44 W. Putnam Ave., Greenwich, Conn. 
Antique arms & accessories—for rent or sale 


180. publicity 


Arizona Photographic Associates, Inc. 


1330 N. 21 Ave., Phoenix, Ariz. AL 86551 
covering the entire southwest 
Dick Cowles WA 4-444] 


100 Strong Road, Victor, N.Y. 
western-central N.Y. state publicity photos 


United Press International PE 6-8500 
461 8th Ave., NYC 
Robert A. Young FU 1-6269 


116 Cleveland Ave., Colonia, N.J. 


181. reportage 


Arizona Photographic Associates, Inc. 


1330 N. 21 Ave., Phoenix, Ariz. AL 86551 
covering the entire southwest 
Dick Cowles WA 4-444] 


100 Strong Road, Victor, N.Y. 

western & central N.Y. state reportage 
Heilpern Photographers CH 9-5874 
151 Homestead Ave., Hartford, Conn. 12 

pic. stories-newsp.-mag. exp. illus., ind. 
interiors, location, product, reportage 

Frank J. Miller DA 4-8758 
2115 12ttPAve. NE, Hickory, N.C. 


pictures telling complete stories 


182. slide films 


Admaster Prints, Inc. 

1168 6th Ave., NYC 36 
Maxwell Desser 

424 Madison Ave., NYC 17 
planning, storyboards, finished production 
Keitz & Herndon LA 6-5268 
3601 Oak Grove Ave., Dallas 4, Texas 
Kurshan & Lang Color Service, Inc. 

10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & industry 
National Studios JU 2-1926 
42 W. 48 St., NYC 

color, b/w & sound 

Rik Shaw Associates, Ltd. 

250 W. 57 St., NYC 19 

top quality, fast and economical 
Weiman & Lester Photoservices 
106 E. 41 St., NYC 

b/w & color for professionals, adv. & ind. 


JU 2-139 
PL 5-7778 


PL 7-3988 


OR 9-1180 


183. stereo 


Rik Show Associates, Ltd. PL 7-3988 


250 W. 57 St., NYC 19 





RAINBOW-BRILLANT 


WATERCOLORS 


2) 






new, inexpensive felt-tipped BRITE-LINE MARKER 
specially designed for the graphic artist 


Neat — Compact — Precision-Made 


You have a totally new and rewarding experience ea. 
in store with this unique Brite-line Marker. Fac- 
tory-filled with water-based inks in your choice of 
EIGHT DAZZLING COLORS, red, blue, green, 
yellow, orange, purple, brown and black, Brite-line 
Marker is ready for immediate use — ideal for 
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Full-color 
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Color Kit of eight Bri e-line Markers (one of 








in crystal clear — 
' CUSHMAN & DENISON ' each color) packed in crystal cle en 
§ Manufacturing Company, Carlstadt, New Jersey 4 Color Kit of four Brite-line Markers (one 
. Pipe cond deoertptize Bematare ie full Fa ot a each red, blue, green and black) in pocket 

rite-li ‘ test editi t ; at 

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a a Brite-line Markers are available singly, your 
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: Address a By the makers of the incomparable Flo- 
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ODACOLOR an 


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k or transparencies $7.50 a 
- d by Bob Lucas 






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illustration 


Cheol of Url 


CLEVELAND 3, OHIO 
send for catalog No. 22 








retouching: durwood guy studios: pl 5-5136 
123 


Art Direction / The Magazine of Creative Advertising / January 1960 











184. still life 


Charles Color Prints GR 1-7910 
2956 Bayswater Ave., Far Rockaway 91, N.Y. 
from septs. to dye transfer color prints 
Thomas Olsen YU 65711 
Milton H. Green Studio 

480 Lexington Ave., New York 17, N.Y. 
Robert A. Young FU 1-6269 
116 Cleveland Ave., Colonia, N.J. 


185. stock photos 


Arizona Photographic Associates, Inc. 


1330 N. 21 Ave., Phoenix, Ariz. AL 86551 
covering the west since 1872 
The Bettmann Archive PL 80362 


215 E. 57 St., NYC 22 
old photos, and prints, any subject 


Camera, M.D. Studios MU 6-3922 
127 E. 34 St., NYC 16 

medical and scientific subjects 

Harvey Caplin DI 4-3802 


Star Route Box 169, Alameda, N. Mex. 
scenics, Indians, cattle, catalog on req. 

Walter Chandoha HA 7-8260 
Box 237, Huntington Sta., L.I., N.Y. 

color or b/w pix of cats & dogs — big file 
Culver Service MU 4-5054 
660 Ist Ave., NYC 

4,000,000 photos/prints on all subj. 
Customlab AL 4-0078 
34 E. 23 St., NYC 10 


Texturama-surface photos for art/design/display 


A. Devaney, Inc. PL 5-7580 


227 E. 47 St., NYC 17 
Photographs for advertising & publications 


Freelance Photographers Guild MU 7-0045 
110 W. 32 St., NYC 
Harold M. Lambert Studios CA 4-1400 


2801 W. Cheltenham Ave., Phila. 50, Pa. 
Color and black and white 

Frank J. Miller 

2115 12th Ave. NE, Hickory, N.C. 
scenic, travel & human interest 
Underwood & Underwood Illustration Studios, 


DA 4-8758 


Inc. MU 4-5400 
319E. 44St., NYC —646N.Mich. DE 7-1711 
Ave., Chi., Ill. 


BM for advert-edit-promotional use 
Underwood & Underwood News Photos, Inc. 

3 W. 46 St., NYC 36 JU 65910 
all subjects: advertising & editorial 


United Press International PE 6-8500 
461 8th Ave., NYC 
Wide World Photos PL 7-1111 


50 Rockefeller Plaza, NYC 


186. trick photography 


American Blueprint Co., Inc. PL 1-2240 
7E. 47St., NYC © 299 Madison Ave., NYC 
630 Sth Ave., NYC @ 60 E. 56 St., NYC 
Robert Crandall Associates, Inc. Cl 7-7377 
58 W. 47 St., NYC 36 
Flexo-Lettering, Co., Inc. 
305 E. 46 St., NYC 17 
special effects with mathematical accuracy 
The Fotoflex Co. MU 2-1190 
214 E. 41 St., NYC 17 

specializ. in prspectvs, reproportion. & cyrves 
Photo-Lettering, Inc. MU 2-2346 
126 E. 45 St., NYC 17 

innovators in trick photography since 1936 


PL 3-4943 


124 


PHOTO REPRODUCTION 
SERVICES 


187. Anscochrome processing 


Color Technology Co. TR 3-514] 
2824 E. Grand Bivd., Detroit 11, Mich. 
Anscochrome processed for altered ASA on 
request 

Robert Crandall Associates, Inc. Cl 7-7377 
58 W. 47 St., NYC 36 

quality, consistency & service 

Kurshan & Lang Color Service, Inc. 

10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & indu stry 


Norman Kurshan, Inc. JU 6-0035 
8 W. 56 St., NYC 19 

custom quality color service 

Rapid Color Inc. CH 5-7711 


216 S. Central Ave., Glendale 4, Calif. 
complete photographic color laboratory 


Jack Ward Color Service, Inc. MU 7- 1396 
202 E. 44 St., NYC 17 
Weiman & Lester Photoservices OR 9-1180 


106 E. 41 St., NYC 


customized color for pro’s, adv & ind. _ 


188. b&w prints in quantity 


Admaster Prints, Inc. JU 2-1396 
1168 6th Ave., NYC 36 

Customlab AL 4-0078 
34 E. 23 St., NYC 10 

quality in quantity prints 

National Studios JU 2-1926 
42 W. 48 St., NYC 

Rapid Color Inc. CH 5-7711 


216 S. Central Ave., Glendale 4, Calif. 
complete photographic color laboratory 

Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 

all contact sizes up to 20" x 24" 


189. carbros 


Kurshan & Lang Color Service, Inc. 

10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & industry 

Langen & Wind PL 3-3911 
18 E. 49 St., NYC 

carbros/dup. trans/dye trans/Ektaclr./type C 


190. color assemblies 


Robert Crandall Associates, Inc. 
58 W. 47 St., NYC 36 

for those tired of sloppy work 
Kurshan & Lang Color Service, Inc. 
10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & industry 
Norman Kurshan, Inc. JU 6-0035 
8W. 56 St., NYC 19 

custom quality color service 
Ralph Marks Color Labs 

344 E. 49h St., NYC 17 
dye transfer strip-ups 

Rapid Color Inc. CH 5-7711 
216 S. Central Ave., Glendale 4, Calif. 
complete photographic color laboratory 


Cl 7-7377 


EL 5-6740 


191. color prints in quantity 


Arizona Photographic Associates, Inc. 


1330 N. 21 Ave., Phoenix, Ariz. AL 8655] 
qual ity dye-transfer 
Charles Color Prints GR 1-7910 


2956 Bayswater Ave., Far Rockaway 91, N.Y. 
quality prints at quantity prices 

Color Technology Co. TR 3-514] 
2824 E. Grand Blvd., Detroit 11, Mich 
quotations on quantity color prints on request 
Kurshan & Lang Color Service, Inc. 

10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & industry 
Norman Kurshan, Inc. JU 6-0035 
8 W. 56 St., NYC 19 

custom quality color service 
Ralph Marks Color Labs 

344 E. 49 St., NYC 17 
type C at its best 

National Studios 

42 W. 48 St., NYC 

Rapid Color Inc. CH 5-771) 
216 S. Central Ave., Glendale 4, Calif. 
complete photographic color laboratory 


EL 5-6740 


JU 2-1926 


Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 

any size, fast and economical 

Jack Ward Color Service, Inc. MU 7-139 
202 E. 44 St., NYC 17 

Weiman & Lester Photoservices OR 9-1180 


106 E. 41 St., NYC 
customized color for pro’s, adv. & ind. 


192. color separations 


Kurshan & Lang Color Service, Inc. 

10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & industry 
Norman Kurshan, Inc. JU 6-0035 
8 W. 56 St., NYC 19 

custom quality color service ° 
Peterson Color Laboratory, Inc. 

10 E. 39 St., NYC 16 

4 color for graphic arts, Dye Transfer 

Jack Ward Color Service, Inc. MU 7-1396 
202 E. 44 St., NYC 17 

Weiman & Lester Photoservices 
106 E. 41 St., NYC 

customized color for pro’s, adv.& ind. 


OR 9-7360 


OR 9-1180 


193. copy of artwork 


Admaster Prints, Inc. JU 2-13% 
1168 6th Ave., NYC 36 
Americon Blueprint Co., Inc. PL 1-2240 


7 E.47St.,NYC  @ 299 Madison Ave., NYC 
630 5th Ave., NYC e 60 E. 56 St., NYC 


Robert Crandall Associates, Inc. Cl 7-7377 
58 W. 47 St., NYC 36 

we guorantee an exact match ‘ 
Charles Color Prints GR 1-7910 


2956 Bayswater Ave., Far Rockaway 91, N.Y. 
fully masked dye transfer color prints 
Customlab AL 4-0078 
34 E. 23 St., NYC 10 

copies of line/tone/color/art /transparencies 
Kurshan & Lang Color Service, Inc. 

10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & industry 
Norman Kurshon, Inc. JU 6-0035 
8W. 56 St., NYC 19 

custom quality color service 











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e., NYC 
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7-7377 


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N, N.Y. 
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| 7-2595 
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Langen & Wind PL 3-3911 
18 E. 49 St., NYC 

corbros /dup. trans/dye trans/Ektaclr/type C 
Newell Color Lab OL 2-0930 
509 N. La Cienega Bivd., OL 5-6279 
Holl ywood 48, Calif. 

color copy prints from artwork 

Peterson Color Laboratory, Inc. OR 9-7360 
10 E. 39 St., NYC 16 

Dye Transfer, Type C, Transparency 

Rapid Color Inc. CH 5-7711 
216 S. Central Ave., Glendale 4, Calif. 
complete photographic color laboratory 

Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 

black and white or full color 

Jack Ward Color Service, Inc. MU 7-1396 
202 E. 44 St., NYC 17 

Weiman & Lester Photoservices OR 9-1180 
106 E. 41 St., NYC 

fast customized b/w &clr. of highest quality 


194. duplicate transparencies 


Admaster Prints, Inc. JU 2-1396 
1168 6th Ave., NYC 36 
Color Technology Co. TR 3-5141 


2824 E. Grand Bivd., Detroit 11, Mich. 
masked duplication of transparencies 

Robert Crandall Associates, Inc. Cl 7-7377 
58 W. 47 St., NYC 36 

the finest dupes available 

Kurshan & Lang Color Service, Inc. 


10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & industry 
Norman Kurshan, Inc. JU 6-0035 


8W. 56 St., NYC 19 

custom quality color service 

Langen & Wind PL 3-3911 
18 E. 49 St., NYC 

carbros /dup. trans/dye trans./Ektaclr/type C 
Peterson Color Laboratory, Inc. OR 9-7360 
10 E. 39 St., NYC 16 

Dye Transfer, Ektachrome, Ektacolor Type C 
Rapid Color Inc. CH 5-7711 
216 S. Central Ave., Glendale 4, Calif. 
complete photographic color laboratory 

Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 

repro quality or display units 

Jack Ward Color Service, Inc. MU 7-1396 
202 E. 44 St., NYC 17 

Weiman & Lester Photoservices OR 9-1180 
106 E. 41 St., NYC 

customized color for pro’s, adv. & ind. 


195. dye transfer prints 


Arizona Photographic Associates, Inc. 

1330 N. 21 Ave., Phoenix, Ariz. AL 86551 
quality — 4x5 to 16x20 

Charles Color Prints GR 1-7910 
2956 Bayswater Ave., Far Rockaway 91, N.Y. 
fast dependable service 

Robert Crandall Associates, Inc. Cl 7-7377 
58 W. 47 St., NYC 36 

high quality — high price 

Kurshan & Lang Color Service, Inc 


10 E. 46 St., NYC 17 "MU 7-2595 
photographic color for advertising & industry 
Norman Kurshan, Inc. JU 60035 


8W. 56 St., NYC 19 
custom quality color service 





takes pride in 
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It is an attempt to match the human eye in 
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Ralph Marks Color Labs EL 5-6740 
344 E. 49 St., NYC 17 

top quality for reproduction 
Peterson Color Laboratory, Inc. 
10 E. 39 St., NYC 16 

the height of quality 

Rapid Color Inc. CH 5-7711 
216 S. Central Ave., Glendale 4, Calif. 
complete photographic color laboratory 

Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 

any size, repro quality or quantities 

Tech Photo Labs MU 5-5052 
14 E. 39 St., NYC 16 


OR 9-7360 


Jack Ward Color Service, Inc. MU 7-1396 
202 E. 44 St., NYC 17 

Weco Studios MU 5-1864 
14 E. 39 St., NYC 16 

Weiman & Lester Photoservices OR 93-1180 


106 E. 41 St., NYC 
customized color for pro’s, adv. & ind. 


196. dye transfer prints, giant 


Kurshon & Lang Color Service, Inc. 

10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & industry 
Norman Kurshan, Inc. JU 6-0035 
8 W. 56 St., NYC 19 

custom quality color service 
Peterson Color Laboratory, Inc. 
10 E. 39 St., NYC 16 

Sizes to 30 x 40 

Rapid Color Inc. CH 5-7711 
216 S. Central Ave., Glendale 4, Calif. 
complete photographic color laboratory 


OR 9-7360 


Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 

197. Ektacolor 
Color Technology Co. TR 3-514] 


2824 E..Grand Blvd., Detroit 11, Mich. 
Ektacolor professionally processed & printed 
Gifford Color Lab TR 2-0091 
525 Bishop St., NW, Atlanta 13, GA. 
controlled quality 

Kurshan & Lang Color Service, Inc. 

10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & industry 
Norman Kurshon, Inc. JU 60085 
8 W. 56 St., NYC 19 

custom quality color service 
Ralph Marks Color Labs 

344 East 49th St., NYC 17 
Ektacolor (type C) color prints 
Newell Color Lab 

509 N. La Cienega Bivd., 
Hollywood 48, Calif. 

color prints and film processing 
Peterson Color Laboratory, Inc. 
10 E. 39 St., NYC 16 

Ektacolor prints or transparencies 
Rapid Color Inc. CH 5-7711 
216 S. Central Ave., Glendale 4, Calif. 
complete photographic color laboratory 


EL 5-6740 


OL 2-0930 
OL 5-6279 


OR 9-7360 


Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 

prints or transparencies 

Jack Ward Color Service, Inc. MU 7-1396 
202 E. 44 St., NYC 17 

Weiman & Lester Photoservices OR 9-1180 


106 E. 41 St., NYC 
customized color for pro’s, adv. & ind. 


126 


198. Ektachrome processing 


Color Technology Co. TR 3-5141 
2824 E. Grand Bivd., Detroit 11, Mich. 
Ektachrome E-2 & E-3 processed 


Robert Crandali Associates, Inc. Cl 7-7377 
58 W. 47 St., NYC 36 

quality, consistency & service 

Gifford Color Lab TR 2-0091 


525 Bishop St., NW, Atlanta 13, Ga. 

35mm and sheet film 

Kurshan & Lang Color Service, Inc. 

10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & industry 


Norman Kurshan, Inc. JU 60035 
8 W. 56 St., NYC 19 

custom quality color service 

Langen & Wind PL 3-3911 


18 E. 49 St., NYC 

carbros/dup. trans/dye trans/Ektaclr/typeC 
Rapid Color Inc. CH 5-771] 
216 S. Central Ave., Glendale 4, Calif. 
complete photographic color laboratory 


Jack Ward Color Service, Inc. MU 7-1396 
202 E. 44 St., NYC 17 
Weiman & Lester Photoservices OR 9-1180 


106 E. 41 St., NYC 
customized color for pro’s, adv. & ind. 


199. enlargements 
Customlab AL 4-0078 
34 E. 23 St., NYC 10 
quality b/w prints, all sizes/all negs 
Kurshan & Lang Color Service, Inc. 

10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & industry 
Norman Kushan, Inc. JU 60035 
8 W. 56 St., NYC 19 

custom quality color service 
National Studios 

42 W. 48 St., NYC 

any size — any quantity 
Rapid Color Inc. CH 5-7711 
216 S. Central Ave., Glendale 4, Calif. 
complete photographic color laboratory 


JU 2-1926 


Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 

quality as weil as quantity 

Jack Ward Color Service, Inc. MU 7-1396 
202 E. 44 St., NYC 17 

Weiman & Lester Photoservices OR 9-1180 


106 E. 41 St., NYC 
fast customized b/w & clr. of highest quality 


200. Flexichrome 


Robert Crandall! Associates, Inc. 
58 W. 47 St., NYC 36 

skillfully handled by top artists 
Kurshan & Lang Color Service, Inc. 
10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & industry 
Art Miltenberger AS 86192 
30-68 41 St., Astoria3, N.Y. 

flexichrome coloring & b/w retouching 


Cl 7-7377 


Tech Photo Labs MU 5-5052 
14 E. 39 St., NYC 16 

Flexichrome print, service 

Weco Studios MU 5-1864 


14 E. 39 St., NYC 16 
Flexichrome retouching 


201. montage 


Kurshan & Lang Color Service, Inc. 
10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & industry 


Norman Kurshan, Inc. JU 60035 
8 W. 56 St., NYC 19 

custom quality color service 

Rapid Color Inc. CH 5-771] 


216S. Central Ave., Glendale 4, Calif. 
complete photographic color laboratory 

Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 

direct or thru art 


202. mural color transparencies 
Kurshan & Lang Color Service, Inc. 


10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & industry 


Norman Kurshan, Inc. JU 60035 
8 W. 56 St., NYC 19 

custom quality color service 

Rapid Color Inc. CH 5-7711 


216 S. Central Ave., Glendale 4, Calif. 
complete photographic color laboratory 

Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 


203. photocomposing 
Kurshan & Lang Color Service, Inc. 


10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & industry 


Norman Kurshan, Inc. JU 6-0085 
8 W. 56 St., NYC 19 

custom quality color service 

Peterson Color Laboratory, Inc. OR 9-7360 


10 E. 39 St., NYC 16 

Dye Transfer & graphic arts separations 

Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 

more than 81 photographic services 


204. gheteoungesing on 


transparencies 
Robert Crandall Associates, Inc. Cl 7-7377 
58 W. 47 St., NYC 36 
color assemblies the modern way 
Rik Shaw Associates, Ltd. 
250 W. 57 St., NYC 19 
more than 81 photographic services 


PL '7-3988 


205. photomurals 


American Blueprint Co., Inc. PL 1-2240 
7 E. 47St., NYC 299 Madison Ave., NYC 
630 5th Ave., NYC @ 60 E. 56 St., NYC - 
Arizona Photographic Associates, Inc. 


1330 N. 21 Ave., Phoenix, Ariz. AL 8-655] 
you pick the wall — we fill it 

Kurshan & Lang Color Service, Inc. 

10 E. 46St., NYC 17 ~ MU 7-2595 


photographic color for advertising & industry 
Rapid Color Inc. CH 5-7711 
216 S. Central Ave., Glendale 4, Calif. 
complete photographic color laboratory 

Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 

any size, montages, also color 





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206. reprodupe 


Kurshan & Lang Color Service, Inc. 
10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & industry 


Norman Kurshan, Inc. JU 60035 
8 W. 56 St., NYC 19 

custom quality color service 

Rapid Color Inc. CH 5-7711 


216 S. Central Ave., Glendale 4, Calif. 
complete photographic color laboratory 

Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 

more than 81 photographic services 


Jack Ward Color Service, Inc. MU 7-1396 
202 E. 44 St., NYC 17 
207. reprodye 
Kurshan & Lang Color Service, Inc. 
10 E. 46 St., NYC 17 MU 7-2595 


photographic color for advertising & industry 


Norman Kurshan, Inc. JU 6-0035 
8 W. 56 St., NYC 19 

custom quality color service 

Rik Shaw Associates, Ltd. PL 7-3988 


250 W. 57 St., NYC 19 
more than 81 photographic services 


208. reproportioning 
Flexo-Lettering Co., Inc. PL 3-4943 
305 E. 46 St., NYC 17 
halftones, line art, type, lettering, full ads 
Kurshan & Lang Color Service, Inc. 

10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & industry 


Norman Kurshan, Inc. JU 60035 
8 W. 56 St., NYC 19 

custom quality color service 

L. & B. Composition, Inc. OR 5-8933 


115 W. 23 St., NYC 11 

reproportions designed or to fit your layout 
Peterson Color Laboratory, Inc. OR 9-7360 
10 E. 39 St., NYC 16 

Stretch 5 to 17 per cent 


209. screened veloxes 


Archer Ames Associates MU 83240 
16 E. 52 St., NYC 
Customlab AL 4-0078 
34 E. 23 St., NYC 10 
rapid service 
L. & B. Composition, Inc. OR 5-8933 
115 W. 23 St., NYC 11 
veloxes — 65 to 133 screen 
Screenline Photo, Inc. OX 7-0866 
520 5th Ave., NYC 

210. slides 
Admaster Prints, Inc. JU 2-1396 
1168 6th Ave., NYC 36 
Color Technology Co. TR 3-514] 


2824 E. Grand Blvd., Detroit 11, Mich. 

slides from flat art or transparencies 
Customlab AL 4-0078 
34 E. 23 St., NYC 10 

all sizes/b&w/color trans/color neg or pos. 
Kurshon & Lang Color Service, Inc. 

10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & industry 


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a \ittle! 


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Art Direction / The Magazine of Creative Advertising | January 1960 

















TIPS ON COLOR STATS 


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Norman Kurshan, Inc. JU 60035 
8 W. 56 St., NYC 19 

custom quality color service 
Notional Studios 

42 W. 48 St., NYC 

b/w or color 

Rapid Color Inc. CH 5-7711 
216 S. Central Ave., Glendale 4, Calif. 
complete photographic color laboratory 

Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 


every size, black & white, or color 


JU 2-1926 


Jack Ward Color Service, Inc. MU 7-1396 
202 E. 44 St., NYC 17 
Weiman & Lester Photoservices OR 9-1180 


106 E. 41 St., NYC 
b/w & color for professionals, adv. & ind. 


211. strip-ups 
Robert Crandall Associates, Inc. Cl 7-7377 
58 W. 47 St., NYC 36 
specializing in precision assembly 
Kurshan & Lang Color Services Inc. 
10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & industry 


Norman Kurshan, Inc. JU 6-0035 
8 W. 56 St., NYC 19 o 

custom quality color service 

Peterson Color Laboratory, Inc. OR 9-7360 


10 E. 39 St., NYC 16 

The height of quality in Dye Transfer 

Weimon & Lester Photoservices OR 9-1180 
106 E. 41 St., NYC 

b/w & color for professionals, adv. & ind. 


212. 35mm negs. & positives 
Admaster Prints, Inc. JU 22-1396 
1168 6th Ave., NYC 36 
Kurshan & Lang Color Service, Inc. 

10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & industry 
Rapid Color Inc. CH 5-7711 
216 S. Central Ave., Glendale 4, Calif. 
complete photographic color laboratory 

Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 

more than 81 photographic services 


213. transparencies 


Admaster Prints, Inc. JU 2-1396 
1168 6th Ave., NYC 36 
Color Technology Co. TR 3-514] 


2824 E. Grand Bivd., Detroit 11, Mich. 
transparencies from art or other transp. 

Robert Crandall Associates, Inc. Cl 7-7377 
58 W. 47 St., NYC 36 

guaranteed quality 

Kurshon & Lang Color Service, Inc. 

10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & industry 
Norman Kurshon, Inc. JU 6-0035 
8W. 56 St., NYC 19 

custom quality color service 


National Studios JU 2-1926 
42 W. 48 St., NYC 

b/w or color 

Rapid Color Inc. CH 5-7711 


216 S. Central Ave., Glendale 4, Calif. 
complete photographic color laboratory 


Rik Shaw Associctes, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 


any size from transparency and art 


Jack Ward Color Service, Inc. MU 7- 1396 
202 E. 44 St., NYC 17 
Weiman & Lester Photoservices OR 9-1180 


106 E. 41 St., NYC 
customized color for pro's, adv. & ind. 


214. transparency art 
Robert Crandall Associates, Inc. Cl 7-7377 
58 W. 47 St., NYC 36 
we're proud of our artists 
Kurshan & Lang Color Service, Inc. 

10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & industry 


Norman Kurshan, Inc. JU 60035 
8 W. 56 St., NYC 19 

custom quality color service 

Newell Color Lab OL 2-0930 
509 N. La Cienega Bivd., OL 5-6279 
Hollywood 48, Calif. 

repro or presen tation prints 

Rapid Color Inc. CH 5-7711 


216 S. Central Ave., Glendale 4, Calif. 
complete photographic color laboratory 

Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 

more than 81 photographic services 
Jack Ward Color Service, Inc. 

202 E. 44 St., NYC 17 


MU 7-1396 


215. type “C” prints 


Admaster Prints, Inc. JU 2-1396 
1168 6th Ave., NYC 36 

Archer Ames Associates MU 83240 
16 E. 52 St., NYC 

Color Technology Co. TR 3-5141 


2824 E. Grand Bivd., Detroit 11, Mich. 
type C prints from neg. transp. or art 


Robert Crandall Associates, Inc. Cl 7-7377 
58 W. 47 St., NYC 36 

price & quality to fit your need 

Gifford Color Lab TR 2-0091 


525 Bishop St., NW, Atlanta 13, Ga. 

Kurshan & Lang Color Service, Inc. 

10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & industry 


Norman Kurshan, Inc. JU 6-0035 
8 W. 56 St., NYC 19 

custom quelity color service 

Langen & Wind PL 3-3911 


18 E. 49 St., NYC 

carbros/dup. trans /dye trans /Ektaclr/type C 
Ralph Marks Color Labs EL 5-6740 
344 E. 49 St., NYC 17 

for layout and reproduction 
Peterson Color Laboratory, Inc. 
10 E. 39 St., NYC 16 

from art, negatives, or color films 
Rapid Color, Inc. CH 5-771] 
216 S. Central Ave., Glendale 4, Calif. 
complete photographic color laboratory 

Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 

more than 81 photographic services 


OR 9-7360 


Jack Ward Color Service, Inc. MU 7-1396 
202 E. 44 St., NYC 17 
Weiman & Lester Photoservices OR 9-1180 


106 E. 41 St., NYC 


customized color for pro's, adv. & ind. 


216. viewgraph slides 


Admaster Prints, Inc. JU 2-13%6 
1168 6th Ave., NYC 36 
American Blueprint Co., Inc. PL 1-2240 


7E. 47St., NYC  @ 299 Madison Ave., NYC 
630 5th Ave., NYC @ 60 E. 56 St., NYC 
Color Corporation of America JU 2-4355 
43 W. 61 St., NYC 23 

the quality color service to the trade 
Customlab AL 4-0078 
34 E. 23 St., NYC 10 

rapid dependable service REF #211 

Kurshan & Lang Color Service, Inc. 

10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advertising & industry 
Norman Kurshan, Inc. JU 6-0035 
8 W. 56 St., NYC 19 

custom quality color service 
National Studios 

42 W. 48 St., NYC 

b/w or color 

Rapid Color Inc. CH 5-7711 
216 S. Central Ave., Glendale 4, Calif. 
complete photographic color laboratory 


JU 2-1926 


Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 

black & white, full color, all masks 

Weiman & Lester Photoservices OR 9-1180 


106 E. 41 St., NYC 


b/w & color for professionals, adv. & ind. 
217. color film strips 
Kurshan & Lang Color Service, Inc. 


10 E. 46 St., NYC 17 © MU 7-2595 
photographic color for advtg. & industry 


Norman Kurshan, Inc. JU 60035 
8W. 56 St., NYC 19 

custom quality color service 

National Studios JU 2-1926 
42 W. 48 St., NYC 

Rapid Color Inc. CH 5-7711 


216 S. Central Ave., Glendale 4, Calif. 
complete photographic color laboratory 


Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC.19 
masters and fine duplicates 
218. colorstats 
American Blueprint Co., Inc. PL 1-2240 


7E.47St.,NYC  @299 Madison Ave., NYC 
630 Sth Ave., NYC @ 60E. 56 St., NYC 
Kurshan & Lang Color Service, Inc. 

10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advtg. & industry 
Norman Kurshan, Inc. JU 6-0035 
8 W. 56 St., NYC 19 

custom quality color service 
Ralph Marks Color Labs 

344 E. 49St., NYC 17 
regulator hi-fi 

Rapid Color Inc. CH 5-7711 
216 S. Central Ave., Glendale 4, Calif. 
complete photographic color laboratory 

Rik Show Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 


any size, from transparency or art 


EL 5-6740 


219. copy prints 


Admaster Prints, Inc. JU 2-1396 


1168 6th Ave., NYC 36 








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PHOTO LABS. 


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American Blueprint Co., Inc. PL 1-2240 
7 E. 47St., NYC 299 Madison Ave., NYC 
630 Sth Ave., NYC e@ 60 E. 56 St., NYC 


Archer Ames Associates MU 8-3240 
16 E. 52 St., NYC 
Charles Color Prints GR 1-7910 


2956 Bayswater Ave., Far Rockaway 91, N.Y. 
dye transfers — our only service 

Coler Technology Co. TR 3-514] 
2824 E. Grand Blvd., Detroit 11, Mich. 

color copy prints 
Customlab 

34 E. 23 St., NYC 10 
HiFi copy neg/makes hifi copy prints 
Kurshan & Lang Color Service, Inc. 

10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advtg. & industry 
Norman Kurshan, Inc. U 6-0035 
8 W. 56 St., NYC 19 

custom quality color service 

Rapid Color Inc. CH 5-7711 
216 S. Central Ave., Glendale 4, Calif. 
complete photographic color laboratory 

Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 

all sizes up to 20" x 24" 


AL 4-0078 


Jack Ward Color Service, Inc. MU 7-1396 
202 E. 44 St., NYC 17 

220. ozalids 
American Blueprint Co., Inc. PL 1-2240 


7E. 47St., NYC @ 299 Madison Ave., NYC 
630 5th Ave., NYC @ 60 E. 56 St., NYC 


221. ozachromes 


American Blueprint Co., Inc. PL 1-2240 
7E. 47St., NYC @ 299 Madison Ave., NYC 
630 5th Ave., NYC e@ 60 E. 59 St., NYC 
Customlab AL 4-0078 
34 E. 23 St., NYC 10 


all 10 colors/full control on color values 


222. photostats 


American Blueprint Co., Inc. PL 1-2240 
7E. 47St., NYC © 299 Madison Ave., NYC 
630 5th Ave., NYC e@ 60E. 56 St., NYC 


223. photostats on acetate, in 
opaque black or white 


Admaster Prints, Inc. JU 2-139 
1168 6th Ave., NYC 36 
American Blueprint Co., Inc. PL 1-2240 


7 E. 47 St., NYC =» 299 Madison Ave., NYC 
630 5th Ave., NYC @ 60 E. 56 St., NYC 
Customlab AL 4-0078 
34 E. 23 St., NYC 10 

sparkling clear b/w or colors 


224. visualcast slides 


American Blueprint Co., Inc. PL 1-2240 
7E. 47St., NYC  @ 299 Madison Ave., NYC 
630 5th Ave., NYC @ 60 E. 56 St., NYC 
Kurshan & Lang Color Service, Inc. 

10 E. 46 St., NYC 17 MU 7-2595 
photographic color for advtg. & industry 


Art Direction { The Magazine of Creative Advertising | January 1960 








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130 


Rapid Color Inc. CH 5-7711 
216 S. Central Ave., Glendale 4, Calif. 
complete photographic color laboratory 

Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 

more than 81 photographic services 
Weiman & Lester Photoservices 
106 E. 41 St., NYC 

b/w & color for professionals, adv. & ind. 


OR 9-1180 


GRAPHIC ARTS 


225. acetate proofing 
Customlab AL 4-0078 
34 E. 23 St., NYC 10 
b/w all colors, rapid service 
Monsen Typographers, Inc. 

960 W. 12 St., L.A. 15, Calif. 
Monsen transparent impressions 
Monsen Typographers, Inc. 

22 E. Illinois St., Chicago 11, Ill. 
Monsen transparent impressions 
Tudor Typographers 

305 E. 45 St., NYC 17 

in all colors for telops, slides, maps 
Typography Shop TR 5-7676 
2161 Monroe Dr. NE, Atlanta 9, Ga. 

in color, b/w and grey 


RI 7-6191 
SU 7-1223 


MU 5-1042 


226. advertising presentations 


Weiman & Lester Photoservices OR 9-1180 
106 E. 41 St., NYC 

b/w & color for professionals, adv.& ind. 

the copy shop MU 3-1455 


270 Madison Ave., NYC 16 

freelance copy, concepts, campiagns—all media 
Customlab AL 4-0078 
34 E. 23 St., NYC 10 

line /tone & combinations, by contact to 20x24 
Philips Printery-Philip Saltzman AL 4-519] 
24 E. 23 St., NYC 10 

designers-creative printing 


Rapid Art Service MU 3-8215 
304 E. 45 St., NYC 

227. ad pre-prints 
Monsen Typographers, Inc. SU 7-1223 
22 E. Illinois St., Chicago 11, ILL. 
Monsen ad pre-prints 
Salley & Collins MU 4-6524 


305 E. 45 St., NYC 17 
finest quality—1 to 4 cols. 24 hrs. a day 


228. bindery 


Rapid Art Service 
304 E. 45 St., NYC 


MU 3-8215 


229. display manufacturers 


Rapid Art Service MU 3-8215 
304 E. 45 St., NYC 

Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57.St., NYC 19 


more than 81 photographic services 


230. envelope manufacturers 


H. P. Andrews Paper Company WO 6-2100 


7-11 Laight St., NYC 13 


231. gravure plates 
PL 1-1130 


Intaglio Service Corporation 


305 E. 46 St., NYC 17 


gravure engravers, publication & packaging 


International Color Gravure Inc. Cl 5-8750 
39 W. 60 St., NYC 23 

232. industrial comic books 
Johnstone & Cushing PL 3-5770 
137 E. 57 St., NYC 22 


specialists in comic art, cartoons, comic books 


233. 


Outdoors, Inc. 
103 Guitar Bldg., Columbia, Mo. 
house organ publishers, public relations 


lithography 
GI 2-9119 


Techni-Craft Printing Corp. CO 5-4114 
250 W. 54 St., NYC 19 
D. L. Terwilliger Company, Inc. MU 5-8283 


207-215 E. 22 St., NYC 10 


234. paper merchants 


H. P. Andrews Paper Company WO 6-2100 
7-11 Laight St., NYC 13 

Forest Paper Co. WA 4-1400 
87 Van Dam St., NYC 13 

Nelson-Whitehead Paper Co. WO 6-2300 
7 Laight St., NYC 

Royal Papar Corporation WA 4-3400 


1th Ave. 25 St., NYC 


235. photoengraving 


Intaglio Service Corporation PL 1-1130 
305 E. 46 St., NYC 17 

gravure engravers, publication & packaging 
McCall Photoengraving MU 6-4600 


230 Park Ave., NYC 17 


235a. photogelatin printing 


Rik Show Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 
more than 81 photographic services 

236. printers, letterpress 
Philips Printery-Philip Saltzman AL 4-519] 
24 E. 23 St., NYC 10 
designers-creative printing : 
Rapid Art Service MU 3-8215 
304 E. 45 St., NYC 
Salley & Collins MU 4-6524 
305 E. 45 St., NYC 17 


finest quality—1 to 4 cols.—24 hrs. a day 


237. 


Intaglio Service Corporation 
305 E. 46 St., NYC 17 
gravure engravers, publication & packaging 


rotogravure 
PL 1-1130 





ers 


6-210 


1-1130 


ging 
5-8750 


ks 
3-5770 
c books 


2-9119 


s 
5-4114 
5-8283 


6-2100 
4-1400 
6-2300 
4-3400 


1-1130 


ing 
5-4.600 


-3988 


1130 








238. silk screen printers 
Goither-Ferree Corporation TE 2-1628 
Box 1588, Raleigh, N.C. 
silk screen prntrs./decals/POP materials 
Masta Displays CH 2-3717 
230 W. 17 St., NYC 11 
silk screen printing, posters, displays 


Rapid Art Service MU 3-8215 
304 E. 45 St., NYC 
Rik Shaw Associates, Ltd. PL 7-3988 


250 W. 57 St., NYC 19 
more than 81 photographic services 


239. type direction 
Monsen Typographers, Inc. RI 7-6191 
960 W. 12 St., L.A.15, Calif. 
Monsen typographers 
Monsen Typographers, Inc. 
22 E. Illinois St., Chicago 11, Ill. 
Monsen typographers 
Typography Shop 
2161 Monroe Dr. NE, Atlanta 9, Ga. 
typographic design, consultation 
Richard A. Wagner PO 6-9331 
5329 Bellingham Ave., N. Hollywood, Calif. 
ads, brochures, catalogs, record albums 


SU 7-1223 


TR 5-7676 


240. type foundry 


American Type Founders EL 3-1000 
200 Elmora Ave., Elizabeth, N.J. 

foundry type & type accessories 

Baver Alphabets, Inc. OX 7-1797 
235 E. 45 St., NYC 17 

Amsterdam Continental Types & SP 7-4980 


Graphic Equipment, Inc. 
268-276 4th Ave., NYC 10 


printing types from Europe’s leading foundries 


241. typographers, A.T.A.,N.Y. 


Ad Service Company MU 2-3669 
228 E. 45 St., NYC 


Advertising Agencies’ Service Co., Inc. 


216 E. 45 St., NYC MU 7-0590 
Artintype, Inc. JU 2-3675 
115 W. 45 St., NYC 
Associated Typographers, Inc. MU 2-1043 
227 E. 45 St., NYC 
Atlas Typographic Service, Inc. MU 7-0314 
227 E. 45 St., NYC 
Central Zone Press, Inc. MU 4-2727 
305 E. 45 St., NYC 
The Composing Room, Inc. JU 2-0100 
130 W. 46 St., NYC 
Composition Service, Inc. PE 6-1864 


229 W. 28 St., NYC 
Diamant Typographic Service, inc. WA 9-0717 
140 W. 17 St., NYC 


A. T. Edwards Typography, Inc. WI 7-4026 
209 W. 38 St., NYC 

Graphic Arts Typographers, Inc. MU 81220 
304 E. 54 St., NYC 

Huxley House MU 7-1050 
216 E. 45 St., NYC 

Imperial Ad Service JU 61437 
37 W. 47 St., NYC 

King Typographic Service Corp. LO 3-4423 
330 W. 42 St., NYC 

Linocraft Typographers, Inc. PL 6-8295 


333 W. 42 St., NYC 


Master Typo Company WI 7-6272 


461 8th Ave., NYC 


Chris F. Olsen MU 4-3570 
305 E. 45 St., NYC 
Frederic Nelson Phillips, Inc. MU 4-3940 
305 E. 45 St., NYC 
Philmac Typographers, Inc. LO 3-3170 
318 W. 39 St., NYC 
Royal Typographers, Inc. JU 2.3250 
311 W. 43 St., NYC 
Frederick W. Schmidt, Inc. MU 7-3550 
228 E. 45 St., NYC 
Harry Silverstein, Inc. PL 5-5035 
305 E. 47 St., NYC 
Supreme Ad Service, Inc. MU 7-0650 
228 E. 45 St., NYC 
Tri-Arts Press, Inc. MU 6-4242 
331 E. 38 St., NYC 
Typographic Craftsmen, Inc. MU 7-8383 
216 E. 45 St., NYC 
The Typographic Service Co. MU 6-6670 
305 E. 45 St., NYC 
Kurt H. Volk, Inc. MU 2-1840 


228 E. 45 St., NYC 


242. typographers, hand 


Abend Typographers WA 5-5600 
555 Broadway, NYC 

A-1 Typographers, Inc. PE 6-6725 
260 W. 41 St., NYC 

fine typography...sensibly priced 

Franklin Typographers PE 6-4708 
225 W. 39th St., NYC 

Haber Typographers LO 5-1080 
115 W. 28 St., N.Y.C. 1 

Lexi-Craft Typographers WA 4-5069 
111 8th Ave., NYC 

Metro Typographers WA 9-6290 
22 W. 24 St., NYC 

Monsen Typographers, Inc. RI 7-6191 
960 W. 12 St., L.A. 15, Calif. 

Monsen Typographers, Inc. SU 7-1223 
22 E. Illinois St., Chicago 11, Ill. 

Emil Popp WA 5-8844 
480 Canal St., NYC 

Progressive Typographers MU 6-0164 
305 E. 45 St., NYC 

Provident Typographers MU 8-0454 
305 E. 47 St., NYC 

Rapid Art Service MU 3-8215 
304 E. 45 St., NYC 

Rapid Typographers Inc. MU 8-2445 


305 E. 46 St., NYC 17 

intelligence, skill, attention to detail 

Royal Typographers JU 2-3250 
311 W. 43 St., NYC 
Service Typographers, Inc. 
723 S. Wells Street 
Chicago 7, Illinois 

Skilset Typographers 

250 W. 54 St., NYC 19 
night and day service 

Tri Arts Press, Inc. 

331 E. 38 St., NYC 

Tudor Typographers 

305 E. 45 St., NYC 17 

the latest type faces set 24 hrs. a day 
Typographic Service, Inc. WA 2-2715 
1027 Arch St., Phila. 7, Pa. 
Typography Shop 

2161 Monroe Dr. NE, Atlanta 9, Ga. 
the finest in the southeast 


HA 7-8560 


PL 7-2421 


MU 64242 
MU 5- 1042 


TR 5-7676 


Art Direction { The Magazine of Creative Advertising | January 1960 


243. typographers, machine 


Abend Typographers WA 5-5600 
555 Broadway, NYC 

A-1 Typographers, Inc. PE 6-6725 
260 W. 41 St., NYC 

fine typography...sensibly priced 

Franklin Typographers PE 6-4708 
225 W. 39 St., NYC 

Haber Typographers LO 5-1080 
115 W. 28 St., NYC 1 

Lexi-Craft Typographers WA 4-5069 
111 8th Ave., NYC 

Metro Typographers WA 9-6290 
22 W. 24 St., NYC 

Monsen Typographers, Inc. RI 7-6191 
960 W. 12 St., L.A. 15, Calif. 

Monsen Typographers, Inc. SU 7-1223 
22 E. Illinois St., Chicago 11, Ill. 

Emil Popp WA 5-8844 
480 Canal St., NYC 

Progressive Typographers MU 6-0164 
305 E. 45 St., NYC 

Provident Typographers MU 8-0454 
305 E. 47 St., NYC 

Rapid Art Service MU 3-8215 
304 E. 45 St., NYC 

Rapid Typographers Inc. MU 82445 


305 E. 46 St., NYC 17 


artistry, variety, complete facilities 


Royal Typographers JU 2-3250 
311 W. 43 St., NYC 

Service Typographers, Inc. HA 7-8560 
723 S. Wells Street 

Chicago 7, Illinois 

Skilset Typographers PL 7-2421 
250 W. 54 St., NYC 19 

night & day service 

Tri Arts Press, Inc. MU 6-4242 
331 E. 38 St., NYC 

Tudor Typographers, MU 5-1042 


305 E. 45 St., NYC 17 
the latest type faces set 24 hrs. a day 


Typographic Service, Inc. WA 2-2715 
1027 Arch St., Phila. 7, Pa. 
Typography Shop TR 5-7676 


2161 Monroe Dr. NE, Atlanta 9, Ga. 


lino, mono, ludlow 


244. typography, old fashioned 


A-1 Typographers, Inc. PE 6-6725 
260 W. 41 St., NYC 36 

fine typography...sensibly priced 

Haber T ypographers LO 5-1080 
115 W. 28 St., NYC 1 

Photo-Lettering, Inc. MU 2-2346 


126 E. 45 St., NYC 17 

extensive selection of ornamental alphabets 
Rapid Typographers Inc. MU 8-2445 
305 E. 46 St., NYC 17 


combining old with new to create the unusual 


245. typography, photo 


Haber Typographers LO 5-1080 
115 W. 28 St., NYC 1 
L. & B. Composition, Inc. OR 5-8933 


115 W. 23 St., NYC 11 
450 fonts, 10 pt.—84 pt., modern- traditional 


Rapid Art Service MU 3-8215 
304 E. 45 St, NYC 
Rapid Typographers Inc. MU 8-2445 


305 E. 46 St., NYC 17 
most modern facilities for photo typesetting 


131 








Typographic Service, Inc. WA 2-2715 
1027 Arch St., Phila 7, Pa. 

246. Varityping 
Alvin J. Bart CH 3- 1484 


7 W. 24 St., NYC 10 

cold type comp., ruled forms, paste-up 

L. & B. Composition, Inc. OR 5-8933 
115 W. 23 St., NYC 11 

varitype, ibm, film lettering, art camera 


OFFICE SERVICES 
247. employment agencies 


AD Employment Agency, Inc. BR 9-8900 
115 W. 42 St., NYC 36 

art, photo. & advertising personnel 

Artists & Art Directors Agency OX 7-7477 


505 5th Ave., NYC 17 
advertising art personnel exclusively 


Art Jobs Agency EX 2-2186 
622 Washington, S.F. 11, Calif. 

an employment agency for artists 

The Art Unit 

Professional Placement Center MU 8-0540 


New York State Employment Service 
444 Madison Avenue, NYC 

art placement at no fee to anyone 
Mary Campbell Agency 

165 W. 46 St., NYC 36 

art directors — artists & production 
Cavalier Art Personnel Agency 

15 W. 45 St., NYC 36 

call Sam Sherman — hundreds of artists placed 
Central Registry Agency MU 7-8550 
36 W. 44 St., NYC 36 

Bob Rich—Art & advertising exclusively 

the copy shop MU 3-1455 
270 Madison Ave., NYC 16 

freelance copy & art-per-job fees-all media 


JU 65371 


JU 2-1323 


Jobs Unlimited PL 3-4123 
16 E. 50 St., NYC 
Allan Kane Agency YU 69585 


6 E. 46 St., NYC 17 

art & advertising placements exclusively 
Henry Price (Artists) Agency Cl 5-8228 
48 W. 48 St., NYC 36 

art & production placements exclusively 


248. messenger service 
American Messenger Service PL 8-0838 
445 Pork Ave. (57th St.), NYC 22 
east side west side, we're all around the town 
Bell Messenger Service Wi 7-2700 
152 W. 42 St., NYC 36 
publicity news releases our specialty 
Lexington Messenger Service MU 7-6350 
128 E. 44 St., NYC 17 
19 years of service to the Grand Central area 


Messenger Service Company LE 2-9446 
2 Park Ave., NYC 16 

serving the 34th street area 

Mercury Messenger Service LE 2-6000 


461 Park Ave. So., NYC 16 
17 branches-America’s largest messenger 
service 


132 


ART SCHOOLS 
249. schools 


Cooper School of Art 
6300 Euclid Avenue, Cleveland 3, Ohio 
send for catalog No. 22 


REPRESENTATIVES 


250. artists representatives 


American Artist Corporation MU 2-2462 
67 W. 44 St., NYC 

Bob Fisher PL 5-2131 
15 E. 48 St., NYC 

John Rombola — decorative illus. 

Tony Saris — fine illus. 

George Shawe — men’s fashion 

Jo Freeman PL 7-2460 


130 W. 46 St., NYC 36 
See Publicity Graphics Assoc. Studio Listing 
in this issue. 


Robert Gordon PL 1-1580 
136 E. 55 St., NYC 

Graham Associates JU 2-2645 
45 W. 45 St., NYC 

Tom Holloway LE 2-1490 
40 E. 40 St., NYC 

Harvey Kahn JU 2-6890 
50 W. 53 St., NYC 

Kennedy Associates MU 7-1320-1 
141 E. 44 St., NYC 17 

cartoonists 

Frank H. Koste PL 1-1706 
65 E. 55 St., NYC 

Jane Lander LE 2-9247 


114 E. 31 St., NYC 16 

Seymour Chwast, illustration & design 

Milton Glaser, illustration & design 

Reynold Ruffins, illustration & design 
Landphere Associates DO 2-6587 
215 Kearny St., S.F. 8, Calif. 

Earl Thollander, illustration 

Don McKee, decorative cartoons & design 


Saul R. Lewin JU 2-3382 
33 W. 46 St., NYC 36 
Estelle Mandel RE 7-5062 


46 E. 80 St., NYC 21 

agent for creatv. artists, send for illus. brochure 
Wally Moos Associates PL 8-2110 
527 Lexington Ave., NYC 17 

Guy Bourdin — Whim. designy illus. 

Robert Corson — design illus. 

Jerry Schofield — fashion illus. 

Bob Leydenfrost — humorous, decorative illus. 


Neeley Associates Cl 6-3660 
45 W. 45 St., NYC 

Paterson & Simonson, Inc. DU 3-418] 
2500 W. 6th St., L.A. 57, Calif. 

Erik Simonsen Art Agency EL 5-4295 


527 Madison Ave., NYC 22 

Eugene Berman—classical paintings & drawings 

N.M. Bodecker—humorous, British type line 
drawings 

Charles Harper—modern design, industrial, 
animals 


Joseph Hirsch—painter of people 

Jane Miller—children, social satire, illustration 

Amos Sewell—Post covers, americana types 

Tom Vroman—creative, decorative graphic art 

Arthur Williams—tight & imaginative design 

Dick Martin—graphic art, 2&3 dimentional 
promotion 


Tom White Associates PL 8-1585 
145 E. 52 St., NYC 
Helen Wohiberg PL 3-5146-7 


331 E. 50 St., NYC 22 
book, magazine & advtg. illus. maps, packgng. 
cartoons 


251. copywriters’ 
representatives 


the copy shop MU 3-1455 
270 Madison Ave., NYC 16 


freelance copy, concepts, campaigns—all media 


252. photographers’ 


representatives 
American Artist Corporation MU 2-2462 
67 W. 44 St., NYC 
Dean Avery MU 8-3030 


18 E. 48 St., NYC 17 

Charles Thill, color photography 

Nickolas Muray, color photography 

Fred Remington, general, location photographer 
Bob Fisher PL 5-213] 
15 E. 48 St., NYC 

Ray Kellman 

Robert Gordon 

136 E. 55 St., NYC 

Graham Associates 

45 W. 45 St., NYC 

Len Seigler—still-life, illus. 
Tom Holloway 

40 E. 40 St., NYC 

Harvey Kahn 

50 W. 53 St., NYC 

Frank H. Koste 

65 E. 55 St., NYC 

Saul R. Lewin 

33 W. 46 St., NYC 36 


Wally Moos Associates 
527 Lexington Ave., NYC 17 
Barry Blum—reportage, illus. 
Roger Prigent—fashion 
Paul Dome Studios—food, illus. 
Neeley Associates 
45 W. 45 St., NYC 
Photographic Illustrations, Inc. 
480 Lexington Ave., NYC 
William Babero—illustration & still life 
George D. Cowdery—general 
Bernard Green—illus. industrial, products 
Erik Simonsen Art Agency EL 5-4295 
527 Madison Ave., NYC 22 
Landshoff—exper imental, people, fashion, 
landscape 
inney & Beecher—still life, trompe | 'oeil, 
food & liquor 
Tom White Associates 


145 E. 52 St., NYC 


PL 1-1580 
JU 2-2645 


LE 2-1490 
JU 2-6890 
PL 1-1706 
JU 2-3382 


PL &2110 


Cl 63660 
YU 6.4336 


PL 8-1585 





Art D 


sStration 
pes 

ic ort 
sign 

al 

8- 1585 
5146-7 


(gng. 


3- 1455 
| media 


- 2462 
3030 


gr apher 
-2131 


-1580 
-2645 


1490 
6890 

1706 
3382 


2110 


3660 
4336 


4295 


1585 





253. art studios 


ADesign GL 5-6821 
9533 W. Addison, Fklin. Pk., Il. 

Advertising Sales Promotion Art (ASPA) 

57 Gramatan Ave., Mt. Vernon, N.Y. MO 8-6465 
Advertising Techniques, Inc. UL 7-7280-1-2 
174 S. Portland Ave., Bklyn. 17, N.Y. 
Alexander E. Chaite Studios, Inc. PL 7-313] 
35 W. 56 St., NYC 


Art Department, Inc. YU 6-6050 
342 Madison Ave., NYC 

Berman-Steinhardt LO 4-4745 
1604 Chestnut St., Phila., Pa. 

Osborn Charles Associates, Inc. PL 3-7873 
145 E. 49 St., NYC 17 PL 5-2473 
Bob Clark and Friends CA 7-7227 


1008 S.W. 6th Ave., Portland 4, Ore. 


Commercial Art Bureau, Inc. LE 2-6607 
2 Park Ave., NYC 16 
Charles E. Cooper, Inc. PL 3-6880 
136 E. 57 St., NYC 22 
Curran & Hurt Associates GA 5-1012 


515 N. Orange Blossom Trail, Orlando, Fla. 


Design Advertising PR 61494 
960 Bush St., S.F. 9, Calif. 

Designers Three JU 2-5083 
115 W. 45 St., NYC 

Design Unlimited IV 3-5955 


111 Front St., Hempstead, L.I., N.Y. 


Diamond Art Studio MU 3-1418 
10 E. 40 St., NYC 16 

Douglas-Burton Studios PL 5-145] 
136 E. 57 St., NYC 

Eastern Art, Inc. GE 89178-9 
54 Park Ave., Rutherford, N.J. 

Fenga & Donderi PL 1-4760 
40 E. 49 St., NYC 17 

Ferree Studios TE 3-2707 
Box 2332, Raleigh, N.C. 

M. Gelgisser, Advertising Art MU 5-8907 
15 E. 40 St., NYC 16 

Martin D. Glanzman Studios MU 9-0887 
10 E. 40 St., NYC 

Stanley Glaubach WA 9-3359 
210 Fifth Ave., NYC 

Norman Graber Art Associates PL 3-325] 
37 W. 57 St., NYC 

The Graphic Arts Service CH 8-0175 


2349 Whitney Ave., Hamden 18, Conn. 
Graphic Presentations, Inc. GA 5-2816 
823 Virginia Dr., Orlando, Fla. 


Stephen P. Haas Studio JU 6-7528 
117 W. 48 St., NYC 
Charles Heston Associates, Inc. MU 3-1544 
6 E. 39 St., NYC 16 
Keitz & Herndon LA 6-5268 


3601 Oak Grove Ave., Dallas 4, Texas 


Lorry Kerbs JU 6-4418 
311 W. 43 St., NYC 36 

Kleb' Studio Cl 6-2847-8-9 
3W. 46 St., NYC 36 

Merlin Krupp Studios, Inc. FE 9-5517 


610 Northwestern Fed. Bldg., Mpls., Minn (3) 
Lawrence Studio, Inc. PL 8-3140 
16 E. 50 St., NYC 22 


creative 


= 


1 


service 


2 


Art Direction | The Magozine of Creative Advertising / Jonvary 1960 


w 


annual reports 


a 


brochures, folders 


cartoons 


+. 


design 


direct mail 


8 9 10 11 12 13 14 15 16 
” 
= 6 
§ oS pa — Oo 
$ ess s 
res Otis = 
Ss 2 Bees 3 8 
efzuseees 
=reegas:s> 
= © @ > 2 o 
sow € SB 6 8 Fe 
> 2 2 Bre * 
Se 82 2. Se - eo. eS 
> f SS a Ae * 


- * * * 

* * * * 

7 

* - * * * * * . 
* 

* * 7 * 


8 910 11 121314 15 16 


other services 


arch/rend/fash/ edit 


financial adv. 
slide films, package promotions 


copy, sales, promo. production 


photography 


specializing in pckg. design, 
prod. & consultation 
point-of-sale, animation 


Perspective drawings from blue- 
prints airbursh, renderings 
pho tography 


display design; consulting a/d 


complete design & production 
services 
catalogs 


copywriting, trade show displys. 
train. aid progrms. 


3rd dimensional design 


photo serv. charts, graphs, 
architect. render. 

technical illus., displ. exhibit. 
visual aids, render. color, b/w 
catalogs, record covers, photo- 
graphy, book jackets, Flexichrome 
Flexichromes, displays, pt. of 
sls & slide presentations 


sales promotion; creative & f ollow 
thru; graphic arts 
photography...point of purchase 
displays 


comprehensives, spots, scratchbd., 
labels, caricatures 


133 








Mayshark & Keyes CO 5-6460 
125 W. 45 St., NYC 

Minnotte Studios PL 1-4888 
247 E. 50 St., NYC 

Monogram Art Studio PL 3-8974 
515 Madison Ave., NYC 

Muller Associates EL 5-3518 


405 E . 54 St. (Penthouse Tower), NYC 22 


Charles W. North Studios, Inc. MU 6-5740 
79 Madison Ave., NYC 16 

Obata Studio, Inc. CH 1-3431 
215. N. 11 St., St. Louis 1, Mo. 

Carry A. Parschall, Inc. PL 9-2860 
136 E. 57 St., NYC 

Pastornack Associates YU 6-5335-6 
480 Lexington Ave., NYC 17 

Pasteups Unlimited CO 5-8688 
200 W. 58 St., NYC 

Paterson & Simonson, Inc. DU 3-418] 
2500 W. 6 St., L.A. 57, Calif. 

Penthouse Studios PL 7-5310 
989 8th Ave., NYC 

Promotion Arts UN 6-2126 


4900 Bergenline A ve., Union City, N.J. 


Publicity Graphics Associates PL 7-2460 
130 W. 46 St., NYC 36 

Push Pin Studios LE 2-9247 
114 E. 31 St., NYC 16 

Sanford Associates MU 6-2068 
343 Lexington Ave., NYC 

Racepis @ Sipp Inc. CH 4-3215-6 
566 7th Ave., NYC 18 

Rapid Art Service MU 3-8215 
304 E. 45 St., NYC 

Mel Richman Inc. OX 7-6650 
485 Lexington Ave., NYC 

Mel Richman Inc. TR 8-5500 


15'N. Presidential Blvd., Bala-Cynwyd., Pa. 


Ross Art Studio MU 4-4240 
1261 Broadway, NYC 

Lester Rossin Associates, Inc. MU 3-9729 
369 Lexington Ave., NYC 17 

Horace Sadowsky & Associates OV 1-6550 


23 W. John St., Hicksville, L.I., N.Y. 


Rudolf Schaefer Studios WI 7-1281 
500 5th Ave., NYC 36 
Shorge! Advertising & Art OX 6-2646 


P.O. Box 1202, Perry Annex, Whittier, Calif. 


Sorensen Studios, Inc. WA 2-9346 
220 S. State St., Chicago 4, Ill. 
Stephens-Biondi-DeCicco PL 1-6555 
375 Park Ave., NYC 

Stoessel Studios Cl 63968 
21 W. 45 St., NYC 

Studio Art Associates, Inc. CH 1-6330 
229 E. 6th St., Cincinnati 2, Ohio 
Vogue-Wright Studios MO 4-5600 
469 E. Ohio St., Chicago 11, Ill. 

Chuck Weber Advertising Art MU 7-2744-5 
11 E. 44 St., NYC 17 

Whitoker-Guernsey Studio WH 4-6809 


444 E. Ontario St., Chicago 11, Ill. 


* creative 


* service 


* 


w 


* annual reports 


* brochures, folders ™ 


* 


* cartoons 


+ design 


+ direct mail 


» illustration 


: 


9 


» layout 


10 11 


» lettering 
« mechanicals 


* 
* 


12 


packaging 


. 


13 


» Posters 


. 


14 


» Presentations 


* 


15 


» retouching 


16 


TV art 


16 


Photography 
a top art staff from package design 


to presentations 


industrial design, exhibits, displys, 
P.O.P., Photo studio 
beauty field & industrial specialists 


Printing 


point of sale 


technical data books, prod. fine 
prntg. in every process 

design of periodicals, complete 
design & production 


drug cartons & labels 


creative photography + unusual 
thinking & conceptns. for all 
phases of advtg. art also comp serv. 


charts, graphs, sales portfolios 
trademarks 

airbrush, simple animation, 
directories, engrossing 
technical illustration, cutaway 
illustrations 

display & point-of-sale 
completecolor, b/w & photo- 


graphy service 


point of sale art, displays, charts 


-_ 





> design 


displys, 


>cialists 


fine 


lete 


val 


mp serv. 


ay 


harts 








254. photo studios 


Arizona Photographic Associates, Inc. 


1330 N.21 Ave., Phoenix, Ariz. AL 86551 
Joseph Balbuza GL 4-8357 
521 E. 13 St., Erie, Pa. 
New York, 230 E. 52 St. 
Wesley Bowman Studio, Inc. CE 6-0233 


360 N. Michigan Ave., Chicago |, Ill. 


Camera, M.D. Studios MU 6-3922 
127 E. 34 St., NYC 16 
Harvey Caplin DI 4-3802 


Star Route Box 169, Alameda, N. Mex. 
Creative Photographers, Inc. KE 6-7585 
108 Massachusetts Ave., Boston 15, Mass. 


Customlab AL 4-0078 
34 E. 23 St., NYC 10 

Dorrill Photographers CE 1-0606 
922 Pine St., St. Louis 1, Mo. 

Toni Ficalora MU 7-0356 
28 E. 29 St., NYC 

Martin D. Glanzman Studios MU 9-0887 
10 E. 40 St., NYC 

Larry Gordon Studios YU 64141 
480 Lexington Ave., NYC 

Milton H. Greene Studio YU 6-5711 


480 Lexington Ave., New York 17, N.Y. 


Hazick Reporting Service TR 6-5877 
P.O. Box 7331, Atlanta 9, Ga. 

Gene Heil TR 9-4436 
418 E. 71 st., NYC 

Irving Kaufman MU 7-8343 
19 W. 44 St., NYC 36 

Keitz & Herndon LA 6-5268 


3601 Oak GroveAve., Dallas 4, Texas 


Wm. Langley, Inc. RI 7-2557 
1400 Slocum St., Dallas 7, Texas 
Frederic Lewis MU 2-7134 


36 W. 44 St., NYC 36 

Ed Nano Winton 1- 33 73 
3413 Rocky River Dr., Cleveland 11, Ohio 
Glenn Otto Photography HO 2-4482 
5913 Hollywood Bivd., Hollywd. 28, Calif. 


Wingate Paine MU 4-6477 
6 E. 39 St., NYC 

Rik Shaw Associates, Ltd. PL 7-3988 
250 W. 57 St., NYC 19 

Walter Sarff JU 6-6085 
13 W. 46 St., NYC 36 

Siegried/Darsey AX 4-431] 


4341 Don Tomaso Dr., L.A. 8, Calif. 


Skelton Photography OR 3-8930 
1550 California St., S.F. 9, Calif. 
Studio Art Associates, Inc. CH 1-6330 
229 E. 6th St., Cincinatti 2, Ohio 
Studio Associates, Inc. TO 1-0148 


517 Huron Rd., Cle veland 15, Ohio 


Fred Winchell—Photography JA 3-3172 
1955 Richmond, Houston 6, Texas 
Vogud-Wright Studios MO 4-5600 


469 E. Ohio St., Chicago 11, Ill. 

Lewis P. Watson, Commercial Photography 
1916% Hillsboro St., Raleigh, N.C. TE 2-9887 
Weco Studios MU 5- 1864 
14 E. 39 St., NYC 16 


children 


+ 


Art Direction { The Magazine of Creative Advertising / January 1960 


fashion 
food 


illustration 


* 


industrial 


interior 


* 


location 


* 


motion pictures 


Product 


reportage 


slide films 


still life 





other services 


medical & scientific-advertising 
ph otograp hy to microscopy 
stock. photos, color, magazine, 
editorial 

surface photography Texturama 
Editor., Documntry. staff of 
experts, prompt reliable serv. 


specialists in color still life, 
illus. 


unlimited field photography 


case histories from the southeast 


stereo tape record facilities 


film strips 


stock 


Executive Portraits 
on location 


circus 


“Ph.D”-like “photo directions” 
by Siegfried R. Gutterman 


complete art service 


10,000 w’sec strob 


F lexichrome specialists 









Palmer Werner —P hotography UN 3-8226 
15734 Wyoming, Detroit 38, Mich. 
Whitaker Guernsey Studio, Inc. WH 4-6809 
250 E. Illinois St., Chicago 11, Ill. 

FU 1-6269 


Robert A. Young 
116 Cleveland Ave., Colonia, N.J. 


255. copy studios 


the copy shop MU 3- 1455 


270 Madison Ave., NYC 16 


INDEX OF LISTEES 


A 
Abend Typographers 242, 243 
AD Employment Agency 247 
253 


ADesign 
Admaster Prints, Inc. 182, 188, 193, 194, 210 
212, 213, 215, 216, 219, 223 

Ad Service Company 241 
Advertising Agencies’ Service Co., Inc. 241 
Advertising Sales Promotion Art (ASPA) 253 
Advertising Techniques, Inc. 1, 3,5, 9, 13 
24, 28, 30, 32, 66, 253 


Aero Service Corporation 27, 41, 154 
American Artist Corporation 250, 252 
American Blueprint Co., Inc. 174, 186, 193 


205, 216, 218, 219, 220, 221, 222 


223, 224 
American Messenger Service 248 
American Type Founders 240 


Ames Associates, Archer 94, 95, 96, 99, 101 
209, 215, 219 


Amsterdam Continental Types & Graphic 
Equipment, Inc. 240 


Andrews Paper Company, H.P. 230, 234 
A-1 Typographers, Inc. 242,243, 244 
Apkarian, Paul K. 25, 83 
Arizona Photographic Assoc., Inc. 154, 157 


160, 161, 162, 163, 166, 167, 168, 169, 170 
171, 172, 173, 174, 178, 180, 181, 185, 191 
195, 205, 254 


3 
¢ 2 
. .) i & S.. ete 
= # PeSesesege Rs = 
=fzS 3s 8 £38 2 = 
433222332 ¢2 3 
7 * * _ * * * * * 
a ae ee oe ee ee ee a eS 
4 v P 
2 & 2, § ¢ S 
3 é § 3 So 3 é w é 2 oe 
2=>2 § 2° we FEF FE 
- % 2 - @Vs = & = 
ogee: E >~Z2 922 328% 
S- © FOF. SERS EF 
Sa 2c eaese¢eaeaas?? ss & 
= ef = o £ «2 o a 3 . 4 - 2 
os 8S 3s a2 Skee ESE BS 
Arnold, Harriet 167 
Art Department, Inc. 253 
Artim, A. A. E., John 1,79 
Artintype, Inc. 241 
Artists & Art Directors Agency 247 
Art Jobs Agency 247 
Art Unit, The 247 
Associated Typographers, Inc. 241 
Atlas Typographic Service, Inc. 241 
Avery, Dean 252 
B 

Bainbridge’s Sons, Charles T. 123, 125, 135 

138, 143 
Balbuza, Joseph 254 
Bart, Alvin J. 246 


= S, 4 9 
26, 30, 33, 37, 46 


Bastrup, Associates, Len 


Bauer Alphabets, Inc. 240 
Bellis, Ted 92, 94, 98,99, 100 
Bell Messenger Service 248 
Berka, Dr. Egon 162, 164 
Berman-Steinhardt 233 


Berube-Salkin Studio 1, 9, 36 
Bettmann Archive, The 45, 55, 63, 70, 74, 175 


185 
Bliok, Leo 12 
Borshanian, Charles 12 
Bourges Color Corp. 122 


> 
- 
color, commercial, architectural 
13 
8 
> 
$ 
8 
8 
Vv 
La 
= other services 
Vv 
° freelance sub-contractors: 
copy, concepts, campaigns—all 
media 
Bowman Studio, inc., Wesley 254 
Braquette, Inc. 148 
Browning, Mary Eleanor 155, 159, 161 
Buctel, Gearge 1, 27, 57 


C 


Camera, M.D. Studios 32, 55, 70, 161, 162 

163, 168, 169, 173, 185, 254 
Campbell Agency, Mary 247 
Cannon, James R. 12, 25, 62 


Caplin, Harvey 185, 254 
Carroll, Studio of, E.J. 81 
Cartoon Advertising 12, 65 
Cavalier Art Personnel Agency 247 
Central Registry Agency 247 
Central Zone Press, Inc. 241 
Chaite Studios, Inc., Alexander E. - 2 
Chandoha, Walter 155, 159, 161, 175, 185 
Charles Associates Inc., Osborn 1, 7,9, 18 


19, 24, 25, 26, 28, 30, 253 

Charles Color Prints 184, 191, 193, 195,219 
Charles, lrene 7 
Clark, Bernice 160, 167 
Bob Clark and Friends 1, 7, 9, 12, 22, 25, 33 
35, 36, 48, 62, 65, 71, 83, 104 

106, 110, 169, 253 

Clark, H.B.S.S., Joe 161, 163, 168, 169, 173 
Commercial Art Bureau, Inc. 4, 13, 14, 25, 28 
48, 66, 79, 83, 98, 99, 100, 102, 253 





= = os aoe 


rermertm rte 


re cy 


mmomm«&nm 


ral 


254 
148 
9, 161 
27, 57 


1, 162 
5, 254 

247 
25, 62 
5, 254 


12, 65 
247 
247 
241 
253 

}, 185 

9, 18 

), 253 

}, 219 

7 


), 167 
5, 33 
}, 104 
), 253 
), 173 
5, 28 
|, 253 





Composing Room, Inc., The 241 
Composition Service, Inc. 241 
Con!in Company Inc., The 128 
Connell, Will 169 
Continental Exchange 120 
Cooper, Inc., Charles E. 233 
Cooper School of Art 249 


9, 13, 22, 36, 226 

247,251, 255 

157, 161, 163, 166, 169, 170 
171, 172, 173, 176, 180, 181 
Craftint Mfg. Company, The 84, 85, 86, 116 
117, 120, 124, 125, 126, 131, 133 

134, 136, 142, 143, 144, 149, 153 

Crandall, Associates, Robert 164, 186, 187 
190, 193, 194, 195, 198, 200 
204, 211, 213, 214, 215 


copy shop, the 


Cowles, Dick 


Crane-Gallo Artist Supplies 150 
Creative Photographers, Inc. 254 
Crescent Carboard Company 123, 135 
Cross County Art Center 150 
Culp, Donald H. ] 


Culver Service 


45, 52, 55, 63, 70 
74, 175, 185 


Curran & Hurt Associates 253 
Cushman & Dennison 147 
Customlab 185, 188, 193, 199, 209, 210 


216, 219, 221, 223, 225, 226, 254 


D 

Davidson, R.J. 51, 56, 58, 114 
Davidson Corporation 87 
de Raad, Maraten 1, 8, 24, 25, 26, 30, 31, 32 
35, 39, 46 

Design Advertising 253 
Design Directions Inc. 7, 30, 46 
Designers Three 253 
Design Unlimited 1, S, 7,9. 08, 22, 26 
30, 33, 46, 253 

Deutsch, Clarence 1, 7, Qa. oe 
Devaney, Inc., A. 185 
Diamant Typographic Service, Inc. 241 


Diamond Art Studio _1, 3, 5, 7, 9, 10, 11, 12 
13, 14, 15, 16, 17, 18, 22, 24, 25, 26 

27, 28, 30, 31, 32, 35, 36, 42, 44, 46 

48, 51, 58, 61, 62, 64, 66, 67, 253 
Displaycrafters, The 19 
Dixon Crucible Co., Joseph 138, 146 
Donovan, Jere 14, 27 
Dorrill Photographers 163, 166, 169, 172 
173, 176, 254 

Douglas-Burton Studios 253 
Dratz, Edward 9, 26, 23, 44, 58 
Dreyer * Art Service; CharlesF. 1, 7,27, 28 
37, 44, 46, 47, 62, 69 


E 
Eagle Pencil Company 130, 131, 138 
145, 146 
Eastern Art,. Inc. 253 
Ebert, Donald 1 
Edwards Typography, Inc., A.T. 241 
Ewing, Eleanor W. 83 


F 


A.W. Faber-Castell Pencil Co., Inc. 127, 128 
129, 130, 141, 146, 152 


Faber Pencil Company, Eberhard 127, 129 
130, 131, 138, 145, 146 


Fenga & Donderi 253 
Ferree Studios 253 
Ficalora, Toni 254 
Fiedler, Hal 83 
Fischer, Bob 250, 252 
Flax, Sam 150 


Flayderman, Antique Arms, Norman 18, 19, 38 
72, 112, 156, 179 


Flexo-Lettering Co., Inc. 83, 89, 111 

186, 208 
Fluorographic Sales Division 97, 132 
Flynn, J. Walter 7 
Forest Paper Co. 234 
Foster, Bernard 168 
Fotoflex Co., The 88, 186 
Franklin Typographers 242, 243 
Freelance Photographers Guild 175, 185 
Freeman, Jo 250 
Friedman Associates, Estelle 103 

G 

Gaither-Ferree Corporation 238 
Gehring, Louis 34 
Gelgisser, Advertising Art, M. 253 
General Exhibits, Inc. 18, 19 
Gifford Color Lab 197, 198, 25 
Gilbert, Nelson B. 163, 173 
Glanzman Studios, Martin D. 253, 254 


Glaubach, Stanley 253 
Goldman Assocs., Inc., Neal 18, 19, 30, 37 


Goldsmith, Simon 35, 36, 44, 83 
Gordon Studios, Larry 254 
Gordon, Robert 250, 252 
Gorham, John A. 9 
Graber Art Associates, Norman 253 
Graham Associates 250, 252 
Graphic Arts Typographers, Inc. 241 
Grainger Productions, Sam 104, 108, 114 
Graphic Arts Service, The 253 
Graphic Presentations, Inc. 253 


Greene Studio, Milton H. 184, 254 
Grumbacher, Inc., M. 116, 117, 119, 120 
121, 123, 124, 125, 127, 131, 135, 136 
138, 139, 140, 142, 143, 144, 146, 149 


151, 153 
H 

Haas Studio, Stephen P. 253 
Haber Typographers 242, 243, 244, 245 
Haimov itz, Herman 42 
Hawthorne, Robert 7 
Hazick Reporting Service 254 
Headliners, Inc., The 88 
Heil, Gene 254 
Heilpern Photographers 154, 157, 161 

169, 181 
Hertz, Jr., Louis O. 104 
Herz, Kurt 12, 44, 58 
Herzog III Studio, Charles 12, 60 
Heston Associates, Inc., Charles 253 
Holloway, Tom 250, 252 
Horton Studios, Roy 24, 28, 30 


44, 47, 59, 73 


1, 5, 7, 9,22,25 
32, 35, 36, 46 


Howard, H. David 
Howard, Inc., Hoyt 


Art Direction { The Magazine of Creative Advertising / January 1960 


Hunt Pen Co., C. Howard 136, 141, 147 


Huxley House 241 
l 

Imperial Ad Service 241 

Ingersoll Studios 30 

Intaglio Service Corporation 231, 235, 237 

International Color Gravure, Inc. 231 

Interstate Industrial Reporting Service, 

Inc. 176 
Issacson Associates, Robert 30 
J 
Jobs Unlimited 247 


2, 12, 16, 17, 232 
5, 27, 00, 66, 79 


Johnstone & Cushing 
Junker, Bruno 


K 

Kahn, Harvey 29, 252 
Kane Agency, Allan 247 
Kaufman, Irving 254 
Keitz & Herndon 104, 106, 108, 114 

169, 182, 253, 254 
Kennedy Associates 250 
Kerbs, Larry 1, 5, 9, 13, 253 
King Typographic Service Corp. 241 
Kleb Studio 253 
Kommel Productions, Marvin 88, 111 
Koste, Frank H. 250, 252 
Krautkopf, S. 129 
Krupp Studios, Inc., Merlin 253 


Kurshan & Lang Color Serv., Inc. 107, 113 
177, 182, 187, 189, 190, 191, 192, 193 

194, 195, 196, 197, 198, 199, 200, 201 

202, 203, 205, 206, 207, 208, 210, 211 

212, 213, 214, 215, 216, 217, 218, 219, 224 
Kurshan, Inc., Norman 107, 113, 177, 187 
190, 191, 192, 193, 194, 195, 196, 197 

198, 199, 201, 202, 203, 206, 207, 208 
210,,211, 213, 214, 215, 216, 217, 218, 219 


L 
Lambert Studios, Harold M. 185 
Lander, Jane 250 
Landphere Associates 250 
Langen & Wind 189, 193, 194, 198, 215 
Langley, Inc., Wm. 254 
Langnickel, A. 120, 130, 147 
Lawrence, Phenis J. 1 
Lawrence Studio, Inc. 253 


L. & B. Composition, Inc. 13, 14, 22, 24, 44 
82, 83, 111, 208, 209, 245, 246 


Lewin, Saul R.. 250, 252 
Lewis Artists Materials, Inc. 150 
Lewis, Frederic 254 
Lexi-Craft Typographers 242, 243 
Lexington Messenger Service 248 
Linocraft Typographers, Inc. 241 
M 
MacArthur, Thomas F. 31 
Macdonald Porter, Jean 40 
137 





Mandel, E stelle 3, 5, 8, 9, 20, 21, 27, 39 
31, 32, 34, 35, 39, 44, 48, 49, 51, 53 

54, 56, 57, 58, 60, 62, 63,,68, 73, 75 

76, 78, 250 

3, 14, 34, 60, 62, 66 
70, 71, 79, 102 

190, 191, 195, 197 
215, 218 

238 

241 

182 

43, 50 


Markevics, Otto E. 
Marks Color Labs, Ralph 


Masta Displays 
Master Typo Company 
Maxwell, Desser 
Mayorga, Gabriel 
May shark & Keyes 253 
McCall Photoengraving 235 
Merckenich, Melanie 35 
Mercury Messenger Service 248 
Messenger Service Compa ny 248 
Metro Typographers 242, 243 
Metzig, William 24, 26, 30, 46 
Miller, Frank J. 157, 163, 169, 171, 172 
173, 181, 185 
200 
253 
30, 37, 41 
253 
27, 116, 225, 227 
239, 242, 243 
Moos Associates, Wally 250, 252 
Muller Associates 30, 36, 253 
Museum Books, Inc. 1 


N 


Miltenberger, Art 
Minnotte Studios 
Mobley Company, Edward L., The 
Monogram Art Studio 

Monsen Typographers 


Nano, Ed 163, 169, 172, 254 
National Studios 103, 105, 109, 113, 115 

182, 188, 191, 199, 210, 213, 216, 217 
Neeley Associates 250, 252 
Nelson-Whitehead Paper Co. 234 
Newell Color Lab 193, 197, 215 
New York State Employment Service 247 
Nobema 138 
Nonnast, Paul E. 33, 52, 56, 62, 76 
North Studios, Inc., Charles W. 253 


0 


Obata Studio, Inc. 
Olsen, Chris F. 

Olsen, Thomas 

Otto Photography, Glenn 
Outdoors, Inc. 


254 
175 
253 
253 
253 


Paine, Wingate 
Palmer, Nancy 
Parschall, Inc., Carry A. 
Pastarnack Associates 
Pasteups Unlimited 
Paterson & Simonson, Inc. 250, 253 
Penthouse Studios 253 
Perkins, Enid Eder 81 
Peterson Color Laboratory, Inc. 192, 193 
194, 195, 196, 197, 203, 208, 211, 215 
Phillips, Inc., Frederic Nelson 241 
Philips Printery-Philip Saltzman 22, 37, 80 
226, 236 
Philmac Typographers, Inc. 241 
Photographic Illustrations, Inc. 252 
Photo-Lettering, Inc. 80, 88, 89, 111, 115 
186, 244 
Planos cope Corporation 90 
Popp, Emil 242, 247 


138 


Price (Artists) Agency, Henry 
Progressive Typographers 
Promotion Arts 

Provident Typographers 
Publicity Graphics Associates 
Push Pin Studios 


R 


Rapecis @ Sipp Inc. 253 
Rapid Art Service 13, 14, 18, 19, 35, 105 
106, 112, 113, 114, 115, 226, 228 

229, 236, 238, 242, 243, 245, 253 

Rapid Color Inc. 187, 188, 190, 191, 193 
194, 195, 196, 197, 198, 199, 201, 202 

205, 206, 210, 212, 213, 214, 215 

216, 217, 218, 219, 224 

Rapid Typographers Inc. 111, 242, 243 
244, 245 

Reiman, Jack 83 
Remington, Roger R. 9 
Richardson, Tom 1, 7, 25, 30, 35, 164 
Richman Inc. Mel 253 
Rik Shaw Associates, Ltd. 18, 19, 33, 36, 93 
94, 96, 99, 100, 103, 105, 106, 107, 109 

110, 113, 114, 161, 162, 174, 177, 178 

182, 183, 188, 191, 193, 194, 195, 196 

197, 199, 201, 202, 203, 204, 205, 206 

207, 210, 212, 213, 214, 215, 216, 217 

218, 219, 224, 229, 235a, 238, 254 

Rines, Norman 6 
Robertson/Montgomery 7 
Ross Art Studio 253 
Rossin Associates, Inc., Lester 253 
Royal Paper Corporation 234 
Royal Typographers, Inc. 241, 242, 243 
Royt, Mary 56, 57 


Saaty, Wallace 62 


5, 7, 26, 30, 36 

39, 46 
Sadowsky & Associates, Horace 253 
Salley & Collins 227, 236 
Salpeter, Robert 58 
Samerjan, George 1, 5, 7, 9, 13,20, 25, 30 

46, 68, 75, 77, 78, 105 

Sandford, Lloyd 51 
Sanford Associates 253 
Sanford Ink Co. 117, 127, 141 
Sarff, Walter 254 
Schaefer Studios, Rudolf 253 
Schmidt, Inc., Frederick W. 241 
Schwartz, Maxwell 67 
Screenline Photo, Inc. 209 
Service Typographers, Inc. 242, 243 
Sharge! Advertising & Art 253 
Siegfried/Darsey 161, 163, 164, 168, 172, 254 
Silverstein, Inc., Harry 241 
Simonsen Art Agency, Erik 250, 252 
Skelton Photography 254 
Skilset Typographers 242, 243 
Sklar, H. Raymond 61 
Snyder, Seymour 
Sorensen Studios, Inc. 
Speedry Products, Inc. 
Srofe, Jesse 
Stephens-Biondi-DeCicco 
Stoes se! Studios 


Saco Associates, Inc., Ken 


6, 18, 20, 61, 67, 68 


Strathmore Paper Co. 123, 125, 126, 135, 143 
Studio Art Associates, Inc. 253, 254 
Studio Associates, Inc. 254 
Suchomski, C. F. 
Summers, James R. 
Supreme Ad Service, Inc. 
Swartz, Fred (A.S.M.P.) 


T 


79 

44, 51, 56, 58, 59 
241 

168, 169, 172 


Taylor, Ill, Jack P. 
Taylor, Marjorie E. 

Tech Photo Labs 
Techni-Craft Printing Corp 
Terwilliger Company, Inc., D.L. 
Thayer & Chandler 

Triangle Color Company 
Tri-Arts Press, Inc. 

Tudor Typographers 

Turner, Luis A. 
Typographic Craftsmen, Inc. 
Typographic Service, Inc. 242, 243, 245 
Typographic Service Co., The 241 
Typography Shop 88, 89, 225, 239,242, 243 


J 


Underwood & Underwood Illus tration 
Studios, Inc. 

Underwood & Underwood News 62, 63 
Phots, Inc. 175, 185 

United Press International 169, 176, 180, 185 


V 


3, 28, 71 

1, 21, 36, 44, 58 
195, 200 

233 

233 

118 

153 

241, 242, 243 
225, 242, 243 
1, 18, 30, 37, 46 
241 


185 


Varigraph Co. 91, 137 
Venus Pen & Pencil Company 138, 146 
Vizbara, Victor V. 8 
Vogue-Wright Studios 253, 254 
Volk, Inc.,, Kurt H. 241 
Vosburgh, Leonard 63 


W 
Wagner, Richard A, 239 
Walker, Todd 168 
Ward Color Service, Inc., Jack 187,191, 192 
193, 194, 195, 197, 198, 199 
206, 210, 213, 214, 215, 219 
Watson, Lewis P. 157, 161, 166, 169, 254 
Weber, Advertising Art, Chuck 253 
Weber Co., F. 101, 120, 124, 125, 129, 131 
136, 138, 142, 149,, 151, 153 
Weco Studios 195, 200, 254 
Weiman & Lester Photoservices 177, 18, 187 
191, 192, 193, 194, 195, 197, 198, 199 
210, 211, 213, 215, 216, 224, 226 
Werner, Palmer—Photography 
Whitaker-Guernsey Studio 
White, Don 
White Associates, Tom 
Wide World Photo 
Wielgos, Marianne 8, 24, 80 
Wilson, Joyce R. 155, 158, 159, 163 
Winchell, Fred—Photography 254 
Witt, Bill, Photography 157, 163, 168 
169, 170, 173 
250 


176, 185 


Wohlberg, Helen 
Y 


161, 164, 165, 166, 168 
169, 172, 173, 180, 184, 254 


Young, Robert A. 





5, 143 
3, 254 
254 


58, 59 
241 
9, 172 


28, 71 
44, 58 
5, 200 
233 
233 
118 
153 
2, 243 
2, 243 
37, 46 
241 
3, 245 
241 
2, 243 


185 
62, 63 
5, 185 
30, 185 


N, 137 
8, 146 


3, 254 


GEOGRAPHIC 


INDEX 


Arizona, Phoenix 


Arizona Photographic Associates, Inc. 


California, Beverly Hills 
Walker, Todd 

California, Glendale 
Rapid Color Inc. 
California, Hollywood 
Newell Color Lab 

Otto Photography, Glenn 
California, Los Angeles 
Connell, Will 

de Raad, Maarten 

Monsen Typographers, Inc. 
Paterson & Simonson, Inc. 
Siegfried/Darsey 

Swartz, Fred (A.S.M.P.) 
California, N. Hollywood 
A. Wagner, Richard 
California, Pasadena 
Continental Exchange 
California, San Francisco 
Art Jobs Agency 

Design Advertising 
Landphere Associates 
Robertson /Montgome ry 
Skelton Photography 
California, Santa Barbara 
Fluorographic Sales Division 
Gorham, John A. 
California, Whittier 
Shargel Advertising & Art 
White, Don 

Connecticut, Bridgeport 
Conlin Company Inc., The 
Connecticut, Danbury 
Eagle Pencil Company 
Connecticut, Greenwich 
Flayderman, Antique Arms, Norman 
Cc ticut, Hamd 
Graphic Arts Service, The 
Connecticut, Hartford 
Heilpern Photographers 
Connecticut, Westport 
Dratz, Edward 
Connecticut, Wilton 
Bastrup, Associates, Len 
District Columbia, Washington 
Perkins, Enid Eder 
Florida, Jacksonville 
Lawrence, Phenis J. 
Florida, Orlando 

Curran & Hurt Associates 
Graphic Presentations, Inc. 
Georgia, Atlanta 

Gifford Color Lab 

Hazick Reporting Service 
Hertz, Jr., Louis O. 
Typography Shop 





Illinois, Bellwood 

Sanford Ink Co. 

Illinois, Chicago 

Berka, Dr. Egon 

Bowman Studio, Inc.,,Wesley 
Crescent Cardboard Company 
Displaycrafters, The 
Monsen Typographers, Inc. 
Service Typographers, Inc. 
Sorensen Studios, Inc. 
Thayer & Chandler 
Vogue-Wright Studios 
Whitaker-Guernsey Studio 
Iinois, Franklin Park 
ADesign 

Indiana, New Castle 
Cannon, James R. 

Maine, Lewiston 

Foster, Bernard 

Maryland, Baltimore 
Haimovitz, Herman 
Massachusets, Boston 
Creative Photographers, Inc. 
Wielgos, Marianne 
Massachusets, Jamaica Plain 
Rines, Norman 
Massachusets, Lenox 
Braquette, Inc. 
Massachusets, W. Springfield 
Strathmore Paper Co. 
Michigan, Detroit 
Borshanian, Charles 

Clark, Bernice 

Clark, Joe 

Herzog III Studio, Charles 
Palmer Werner-Photography 
Michigan, Highland Pk. 
Merckenich, Melanie 
Minnesota, Minneapolis 
Krupp Studios, Inc., Merlin 
Minnesota, St. Paul 
Deutsch, Clarence 
Missouri, Columbia 
Outdoors, Inc. 

Missouri, St. Louis 

Dorrill Photographers 
Obata Studio, Inc. 

New Jersey, Camden 

Hunt Pen Co., C. Howard 
New Jersey, Carlstadt 
Cushman & Dennison 

New Jersey, Colonia 
Young, Robert A. 

New Jersey, Elizabeth 
American Type Founders 
New Jersey, Fair Lawn 
Sandford, Lloyd 

New Jersey, Jersey City 
Dixon Crucible Co., Joseph 


New Jersey, Newark 


Faber-Castell Pencil Co., Inc., A.W. 


Bill Witt, Photography 
New Jersey, N. Plainfield 
Vosburgh, Leonard 

New Jersey, Rutherford 
Eastern Art, Inc. 

New Jersey, Union City 
Promotion Arts 

New Mexico, Alameda 
Caplin, Harvey 

New Mexico, Santa Fe 
Flynn, J. Walter 


Art Direction { The Magazine of Creative Advertising / January 1960 


New York, New York City 

Abend T ypographers 

AD Employment Agency, Inc. 

Admaster Prints, Inc. 

Ad Service Company 

Advertising Agencies’ Service Co., Inc. 

American Artist Corporation 

American Blueprint Co. 

American Messenger Service 

Ames Associates, Archer 

Amsterdam Continental Types & Graphic 
Equipment, Inc. 

Andrews Paper Company, H.P. 

A-1 Typographers, Inc. 

Artintype, Inc. 

Arnold, Harriet 

Art Department, Inc. 

Artists & Art Directors Agency 

Art Unit, The 

Associated Typographers, Inc. 

Atlas Typographic Service, Inc. 

Avery, Dean 

Bart, Alvin J. 

Balbuza, Joseph 

Bauer Alphabets, Inc. 

Bellis, Ted 

Bell Messenger Service 

Berube-Salkin Studio 

Bettmann Archive, The 

Bliok, Leo 

Bourges Color Corp. 

Browning, Mary Eleanor 

Camera, M.D. Studios 

Campbell Agency, Mary 

Carroll, Studio of, E. J. 

Cartoon Advertising 

Cavalier Art Personne! Agency 

Central Registry Agency 

Central Zone Press, Inc. 

Chaite Studios, Inc., Alexander E. 

Charles Associates Inc., Osborn 

Charles, lrene 

Commercial Art Bureau, Inc. 

Composing Room, Inc., The 

Composition Service, Inc. 

copy shop, the 

Crandall Associates, Inc., Robert 

Crane-Gallo Artist Supplies 

Culver Service 

Customlab 

Design Directions, Inc. 

Designers Three 

Desser, Maxwell ‘ 

Devaney, Inc., A. 

Diamant Typographic Service, Inc. 

Diamond Art Studio 

Donovan, Jere 

Douglas-Burton Studios 

Dreyer * Art Service, Charles F. 

Eagle Pencil Company 

Edwards Typography, Inc., A.T. 

Ewing, Eleanor W. 

Fenga & Donderi 

Ficalora, Toni 

Fiedler, Hal 

Fischer, Bob 

Flax, Sam 

Flexo-Lettering Co., Inc. 

Forest Paper Co. 

Fotoflex Co., The 

Franklin Typographers 

Freelance Photageephers Guild 








Freeman, Jo 

Friedman Associates, Estelle 
Gehring, Louis 

Gelgisser, Advertising Art, M. 
Glanzman Studios, Martin D. 
Glaubach, Stanley 

Goldman Associates, Inc., Neal 
Goldsmith, Simon 

Gordon Studios, Larry 

Gordon, Robert 

Graber Art Associates, Norman 
Graham Associates 

Graphic Arts Typographers, Inc. 
Greene Studio, Milton H. 
Grumbacher, Inc., M. 

Haas Studio, Stephen P. 

Haber Typographers 
Headliners, Inc., The 

Heil, Gene 

Herz, Kurt 

Heston Associates, Inc., Charles 
Holloway, Tom 

Horton Studios, Roy 

Howard, H. David 

Howard, Inc., Hoyt 

Huxley House 

Imperial Ad Service 

Inger soll Studios 

Intaglio Service Corporation 
International Color Gravure Inc. 


Interstate Industrial Reporting Service, Inc. 


Jobs Unlimited 
Johnstone & Cushing 
Junker, Bruno 

Kahn, Harvey 
Kaufman, Irving 


Kane Agency, Allan 

Kennedy Associates 

Kerbs, Larry 

King Typographic Service Corp. 
Kleb Stud io 

Kommel Productions, Marvin 
Koste, Frank H. 


Kurshan & Lang Color Service, Inc. 


Kurshan, Inc., Norman 

L. & B. Composition, Inc. 
Lander, Jane 

Langen & Wind 

Langnickel, A. 

Lawrence Studio, Inc. 
Lewin, Saul R. 

Lewis Artists Materials, Inc. 
Lewis, Frederic 

Lexi-Craft Typographers 
Lexington Messenger Service 
Linocraft Typographers, Inc. 
Mandel, Estelle 

Markevics, Otto E. 

Marks Color Labs, Ralph 
Masta Displays 

Master Typo Compmy 
Mayorga, Gabriel 

Mayshark & Keyes 

McCall Photoengraving 
Mercury Messenger Service 
Messenger Service Company 
Metro Typographers 

Metzig, William 

Minnotte Studios 

Monogram Art Studio 

Moos Associates, Wally 
Muller Associates 


Museum Books, Inc. 

National Studios 

Neeley Associates 
Nelson-Whitehead Paper Co. 
New York State Employment Service 
Nobema 

North Studios, Inc., Charles W. 
Olsen, Chris F. 

Olsen, Thomas 

Paine, Wingate 

Palmer, Nancy 

Parschall, Inc., Cary A. 
Pastarnack Associates 
Pasteups Unlimited 

Penthouse Studios 

Peterson Color Laboratory, Inc. 
Philips Printery-Philip Saltzman 
Phillips, Inc., Frederic Nelson 
Philmac Typographers, Inc. 
Photographic Illustrations, Inc. 
Photo-Lettering, Inc. 
Planoscope Corporation 

Popp, Emil 

Price (Artists) Agency, Henry 
Progressive Typographers 
Provident Typographers 
Publicity Graphics Associates 
Push Pin Studios 

Rapecis @ Sipp Inc. 

Rapid Art Service 

Rapid Typographers Inc. 
Reiman, Jack 

Richardson, Tom 

Ross Art Studio 

Richman Inc., Mel 

Rik Shaw Associates, Ltd. 





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Roya! Paper Cor poration 
Royo! Typographers, Inc. 
Saaty, Wallace 

Saco Associates, Inc., Ken 
Salley & Collins 

Samer jan, George 

Sanford Associates 

Sarff, Walter 

Schaefer Studios, Rudolf 
Schmidt, Inc., Frederick W. 
Screenline Photo, Inc. 
Silverstein, Inc., Harry 
Simonsen Art Agency, Erik 
Skilset Typographers 
Snyder, Seymour 
Stephens-Biondi-DeCicco 
Stoessel Studios 

Summers, James R. 
Supreme Ad Service, Inc. 
Techni-Craft Printing Corp. 
Tech Photo Labs 


Tri-Arts Press, Inc. 

Tudor Typographers 
Typographic Craftsmen, Inc. 
Typographic Service Co., The 


Studios, Inc. 


United Press International 
Volk, Inc., Kurt H. 

Ward Color Service, Inc., Jack 
Weber Advertising Art, Chuck 
Weco Studios 


Rossin Associates, Inc., Lester 


Terwilliger Company, Inc., D.L. 


Underwood & Underwood Illus tration 


Underwood & Underwood News Photos, Inc. 


Weiman & Lester Photoservices 


White Associates, Tom 

Wide World Photo 

Wilson, Joyce R. 

Wohlberg, Helen 

New York, Bronx 

Salpeter, Robert 

New York, Brooklyn 

Advertising Techniques, Inc. 
Bainbridge’s Sons, Charles T. 
Davidson Corporation 

Krautkopf, S. 

Schwartz, Maxwell 

New York, Astoria 

Miltenberger, Art 

New York, Cambria Htgs. 

Vizbara, Victor V. 

New York, Elmont 

Davidson, R. J. 

New York, Far Rockaway 

Charles Color Prints 

New York, Long Island, Hicksville 
Sadowsky & Associates, Horace 
New York, Longlsland, Hempstead 
Design Unlimited 

New York, Long Island, Huntington 
Taylor, Marjorie E. 

New York, Long Island, Huntington Station 
Chandoha, Walter 

New York, Glens Falls 

Remington, Roger R. 

New York, Mt. Vernon 

Advertising Sales Promotion Art (ASPA) 
New York, New Rochelle 

Buctel, George 

Royt, Mary 

New York, Richmond Hill 


Speedry Products, Inc. 
New York, Troy 
MacArthur, Thomas F. 
New York, Victor 

Cowles, Dick 

New York, White Plains 
Macdonald Porter, Jean 
New York, Yonkers 

Cross County Art Center 
North Carolina, Charlotte 
Grainger Productions, Sam 
North Carolina, Hickory 
Miller, Frank J. 

North Carolina, Raleigh 
Ferree Studios 
Gaither-Ferree Corporation 
Watson, Lewis P. 

North Carolina, Winston-Salem 
Taylor, Il, Jack P. 

Ohio, Bay Village 
Hawthorne, Robert 

Ohio, Cincinnati 

Srofe, Jesse 

Studio Art Associates, Inc. 
Ohio, Cleveland 
Apkarian, Paul K. 

Cooper School of Art 
Craftint Mfg. Company, The 
Nano, Ed 

Ohio, Cleveland 
Suchomski, C. F. 

Studio Associates, Inc. 
Chio, Wadsworth 


Mobley Company, The Edward L. 


Oregon, Portland 
Bob Clark and Friends 


(continued on page 147) 






















































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philadelphia area: 15 n. presidential blud., bala-cynwyd, pa., trinity 8-5500 





new york area: 485 lexington avenue, new york 17, new york, oxford 7-6650 


court decision 





(continued from page 38) 


“The arguments of counsel ap- 
parently concede that the exclu- 
sions would not reach out to the 
doctor, the dentist, or the lawyer 
consulting clients at home; that no 
distinction can be drawn for the 
purposes herein involved between 
these professions and those of the 


musician, artist, or teacher.” 

It is apparent from the foregoing, 
even though it was dictum, that the 
Court of Appeals at least felt that 
artists were professional people. Nor 
is there any reason to distinguish be- 
tween artists and commercial artists 
for present purposes. 

It has been held that under an ap- 
plication of this type the taxpayer has 
the burden of proving his right to ex- 
clusion. But the Court of Appeals has 
also held in the above case: 


“A statute which levies a tax is 
to be construed most strongly 
against the government and in 
favor of the citizen. The govern- 
ment takes nothing except what is 
given by the clear import of the 
words used, and a_ well-founded 


doubt as to the meaning of the act 
defeats the tax.” 


In view of the holding that an artist 
is a professional man, and, in view 
of the fact that the Court of Appeals 
has “held that the term ‘profession’ in- 
cluded a landscape architect (Matter of 
Geiffert v Mealey, 293 N.Y. 583), and 
an industrial designer (Matter of 
Teague v Graves, 261 App. Div. 652, 
aff'd 287 N.Y. 549)”, it is certainly 
reasonable to assume that the status 
of a commercial artist, if not clearly 
a professional as claimed by the tax- 
payer, is at least clothed with sufficient 
doubt as contemplated by the Court of 
Appeals to establish his right to an 
exclusion under Section 386 of the Tax 
Law. 

The Court of Appeals, in the same 
case, in referring to the status of Mr. 
Voorhees as a musical director held that 
he ‘comes nearer to practicing a profes- 
sion than one pursuing many of the 
following occupations which the State 
Tax Commission has determined were 
professions: Accounting; certified short- 
hand reporting; chiropody; dental 
hygiene. .... 2 





It is respectfully submitted that the 
status of an artist certainly comes at 
least as near to being a profession as a 
landscape architect, an industrial de. 
signer, a certified shorthand reporter, 
or a dental hygienist. 

In the case of Steinbeck v Gerosa, 
decided by the Court of Appeals on 
May I, 1958, the Court stated: 


“A ‘profession’ has been defined 
as a ‘vocation, calling, occupation 
or employment involving labor, 
skill, education, special knowledge 
and compensation or profit, but 
the labor and skill involved is 
predominantly mental or intellect- 
ual rather than physical or man- 
ual.” 


It is respectfully submitted that by 
every standard set forth in the fore- 
going definition the plaintiff's occupa- 
tion constitutes a profession. 


summation 

It is respectfully submitted that 
the taxpayer’s application should be 
granted. ° 


















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trade talk 


ART DIRECTORS ——e Assisting 


D S. Arthur Nel- 
son at Norman Malone Associates is new 
asst. AD Glenn F. Harley, with the agency 
since 1956, and before that a designer with 
Sun Rubber Co. . . . BLOOMINGTON, ILL.: 
Miguel Palazon has joined Kane Advertising 
as art supervisor. He had been with Grant 
Advertising, Chicago, and D’Arcy, in St. 
Leuis .. . CANTON: Design chosen as theme 
for Canton’s first Festival of Arts was by AD 

, Joe Shorr, Frease & Shorr agency : 
CHICAGO: Francis W. Goessling, formerly 
AD U. S. Gypsum Co., now affiliated with 
DeForest Sackett & Associates, 200 S. Michi- 
gan. Sackett represents Estelle Mandel & 
Co. and their artists in the midwest .. . 
Hy Hoffman, advertising and sales promo- 
tion supervisor, Kimberly-Clark Corp., Nee- 
riah, Wis., was named second vice chair- 
man, International Design Conference for 
1960. Burton Cherry was named secretary 
and Morton Goldsholl, treasurer. On the 
executive committee: Albert Kner, Herbert 
Bayer. Bruce Beck . . . Ernst C. Allen has 
opened an office at 333 N. Michigan Ave. 
He had been AD with Needham, Louis & 
Brorby and Tatham-Laird . . . Jack M. An- 
thony. vp Y & R, came here to give history of 
OAI's special Drake’s Cookies poster exhibit 
for American Bakers’ Assn. meeting .. . 
CINCINNATI: Noel Martin doing the ads for 
Plant Engineering magazine's campaign in 
New Yorker and marketing trade journals. 
By Farson, Huff & Northlich for Technical 
Publishing Co. . . . CLEVELAND: Dave Lan- 
don, now exec AD with Griswold-Eshleman, 
came from Wyse Advertising . . . DETROIT: 
McNamara Bros.’ new sales mor.: Don 
Schneider, new rep.: Marvin Pearson .. . 
LOS ANGELES: Jack Lynah, now AD of W. 
B. Geissinger, came from Riley-Nelson, San 
Diego, where he was vp/AD . . . Vp/AD 
Jules Kopp won a tv set for his addition to 
Key Club honor roll of Erwin Wasey, Ruth- 
rauff & Ryan. He joins agency personnel 
with 10 years or more service. Art dept. 
secretary Betty Craigie also honored... 
MIAMI: Bishopric/Green/Fielden won six 
awards in the ADC exhibition: Three firsts 
and two seconds to group creative director 
John S. Brown and a second to AD William 
S. Bodenhamer .. . NEW HAVEN: Langelar- 
Stevens in Orange added AD Edmond P. 
Sullivan, formerly with Ted Sommers, Bridge- 
port. Also, to L-S art dept.: George De 
Crosta, from Remsen Advertising, and Ann 
Goodhue, from Western Prtg., New York... 
NEW YORK: Clark Robinson. formerly of FSR 
& McCann-Erickson, Cleveland, and former 
NSAD vp, now with Cunningham & Walsh 
here . . . Gene Federico left Douglas D. 








Simon for Benton & Bowles where he is art 


Art Direction / The Magazine of Creative Advertising / January 1960 








On getting ahead 
as an artist 


BY ROBERT FAWCETT 


T has been my 
experience, for 
more years than I like 
to remember, that the 

men who get ahead 
in our profession have 
done it only one way 
— by acquiring the 
new knowledge and 
techniques that our 
profession constantly 
demands. After all, it 
is this professional 
thinking and 
knowledge of how to 
produce creative 
pictures that has 
always separated the men from the boys in 
advertising and editorial art. 


You may well ask “How can a busy artist 
acquire this added knowledge and skill that 
will ultimately lead him to top drawer 
success?” You certainly can’t spare the time 
traveling to and from art classes or observe 
their rigid schedules. And the hours spent 
with a morgue and clips — trying to figure out 
how the name artist did it — has never made 
the brilliant performer. 


That is why I sincerely feel that home 
study with the Famous Artists Schools makes 
so much good sense for the ambitious artist 
who really wants to move up. Within the 
limits of the precious time you have to spare, 
you can study art right in your own home 
or studio. But most important — you can 
learn the techniques and benefit from the 
creative know-how, the skill, and the rich 
experience of America’s Twelve Most 
Famous Artists. 


We don’t work overnight miracles — but 
we have helped a lot of artists all over the 
country move into a considerably higher 
status and greater earning power in our 
profession. Perhaps we can do the same 
for you. 


If you would like to earn a better living 
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143 








trade talk 


group head. Replacing him at DDS is Peter 
Hirsch. who was asst. AD . .. Murray Kahn. 
AD with Al Paul Lefton since 1944, has been 
named a vp . . . Joseph Columbo. who had 
been managing AD Bryan Houston for 12 
years, now AD with Gaynor & Ducas ... 
BBDO group AD John Lynch is new 
business manager of the art dept. ... 
Mort Rubenstein has been appointed cre- 
ative director, Advertising & Sales Promo- 
tion dept., CBS Television Stations. He's 
been AD since May 1958 . . . Jack Spiro 
left vp/AD post with Wexton Co. to open his 
own consulting AD studio, 420 Madison, PL 
§-2231 And Paul Kuzman came to 
Wexton as exec AD, from Smith/Greenland 
. . . Michael de Leo named a vp at Hocka- 
day .. . Alfred Sembrich. now with Kudner, 
had been with Maxon . . . William B. Johns 
now with Alfred Auerbach Associates, from 
Aubrey C. Bury . . . New associate AD at 
David J. Wenger is Saverio J. Carino, form- 
erly with Y & R . . . Upped to vp at Geer, 
DuBois & Co.: Rea Brown . . . Einson-Free- 
man has appointed Alexander Stauf its chief 
AD. He's been there 15 years as AD, won 
more than 30 national awards. Philip Kap- 
lan, 20 years an AD at the company, was 
named supervising AD . . . Robert B. Clark 
from AD to SPM, Cluett, Peabody & Co. ... 
Grey: Bob Farber. from Irving 
Serwer, and Ken Duskin, from Mervin & 
Jesse Levine . . . Dick Gertner is Serwer 
exec AD. He’s been there 11 years... 
Irene Charles, vp/exec AD Osborn Charles 
Associates, heads staff of OCA and the 
Astarita Associates’ packaging design 
studios, latter acquired by OCA . . . Bourges 
Color Corp. moved exec offices to penthouse 
at present address, 80 Fifth Ave... . Alex- 
ander Roberts, president of Interstate Indus- 
trial Reporting Service, Inc., spoke to Assn. 
of Advertising Men & Women on “How to 
get better photography into industrial adver- 
tising,”’ his 40th speech to as many groups 
in the U. S. and Canada during the past 
two years . . . Wally Moos, 480 Lexington, 
now exclusive rep for Milton H. Greene 
photegraphy studio. Also photographers Tom 
Olsen. still life, and Carmen Macedonia. 
fashion . . . Electronic Design, only trade 
pub of its kind to win in the 1959 Photoen- 
graved in New York contest, is ADed by 
Ray Schulze Little Blue and Little 
Yellow is new children’s picture book in 
six colors, written and illustrated by Leo 
Lionni . . . PHILADELPHIA: New members 
of ADC are Robert O. Bach, Henry T. Dayer. 
Jr.. Victor S. Kraft, Robert J. Miller, Nathan 
Polsky, Paul Rieser, Julius Sarosy, Alex Stil- 
lano Antonio Frasconi was recent 
speaker for the ADC .. . A. Van Hollander, 
display director of Gimbels-Philadelphia, de- 


Now at 


144 


signed the 60th anniversary exhibition of 
Federation of Jewish Agencies . . . ST. 
LOUIS: Bob Atkinson, now AD of Datche 
Advertising, from Ralston Purina where he 
was art editor of two publications, Checker 
Links, and Checker Grafs . . . 


ART & DESIGN BALTIMORE: George 


Menkle is on tempo- 
rary service with U. S. Navy as an artist; 
he's AD at Arthur Thompson . . . David 
Levy. now with Major & Keesey Studio, was 
with Martin... W. H. Buddemeier & Co. 
moved to 916 N. Charles St. . . . Frank 
Ryan, member of the art dept. at Jos. Katz 
Co. for 14 years, left commercial art for 
portraiture. Repped by Bendann Galleries 
. .. Bob Ramsay, now with Kern Devin. Ed 
Gold and Fred Worthington at Barton-Gillet, 
had been asst. AD at VanSant Dugdale... 
CANTON: Dale Harsh has been added by 
H M. Klingensmith. He holds a BFA from 
Ohio State . . . New at Canton Art Service: 
Ronald L. Patterson, formerly at Pittsburgh 
Ad Art, and Michael Huchok, formerly with 
Graphic Studios, Pittsburgh . . . Mary Jane 
Walker is new member of Pro-Arits .. . 
Jim McDonald teaching drawing/painting at 
Louisville Art Center . . . CHICAGO: Prizes 
won by the Golden 30 and Copywriter of 
the Year, at Chicago Copywriters Club's 
third annual Spotlight Dinner, included origi- 
nal paintings by: Jack Amon, NL&B; John 
Bruenig. FC&B; Ann Carnahan and Rudi 
Klimpert. Leo Burnett; Bob Dunn, BBDO; Al 
Schmid, Tatham-Laird; Bill Silet and Fred 
Boulton, JWT; also original Ad Age cartoons 
by Bob Taylor. JWT; original Kraft fruit 
photographs, donated by photographer 
James Braddy: a Ludwig Bemelmans origi- 
nal, given by Hiram Walker; a Jon Whit- 
comb original, given by Kimberly-Clark; a 
Bernard Brussel-Smith original, donated by 
George Baier, JWT; a personalized sample 
reel, given by Fred Niles Productions .. . 
Richard Koehler. creative director for Cuneo 
Press, won third prize in recent Call to the 
Colors ADs Contest, sponsored by American 
Assn. of Newspaper Representatives ... 
F. W. Priess. mgr. packaging/product de- 
sign, Montgomery Ward, was one of three 
winners of 1959 Alcoa Industrial Design 
Awards. The others: Charles Eames, Venice, 
Calif; and Peter Muller-Munk, Pittsburgh 
. . . DETROIT: Carman Leo Skidmore now 
with Stephens Biondi DeCicco, 625 Hunter 
Blvd. . . . Charles E. Meyer. new member 
of art dept., Michigan State University, was 
junior curator at Detroit Institute of Arts .. . 
Burke Bartlett Co. now in own building, 
26311 Woodward Ave., Royal Oak ... 





Crowell Carton Div. of St. Regis Paper Co., 
Marshall, sponsoring statewide packaging 
design contest for students. Prizes and ex- 
hibi early this year. Judges: AD packaging 


design consultant, Sam Shire, Kalamazoo 
Vegetable Parchment Co.; AD Alf Nelson, 
Crowell Carton; Harry Bull. packaging coor- 
dinator, Dow Chemical; William Betts, pro- 
motion planning maor., Post Cereals Div., 
General Foods . . . LOS ANGELES: Carl 
Critz. illustrator formerly with New Center 
Studio, Detroit, now repped here through 
Russ Harte Studios MORRISTOWN, 
N. J.: Long Vineis White, new ad/marketing 
agency, at 10 Pine St., specializes in phar- 
maceutical. Norman D. Vineis. one of three 
principals, was an organizer of Monogram 
Art Studios. Since 1955 he operated Norman 
Associates . . . NEW YORK: Will Burtin 
has been named special advisor by BBC 
for its two-hour telecast, Basis of Life .. . 
Fenga & Donderi, Inc. have taken additional 
space—more floors—at present adresss, 40 
E. 49th St. Also added to staff, designer 
Douglas Montross, formerly EWRR, and re- 
toucher Charles Whitcomb .. . Arthur B. 
Lee moved to 22 W. 45 St. . . . Illustrator 
Art Seiden now with Designers 3, 115 W. 
45 St. JU 2-5083 .. . Bem Smolen Associates 
at larger quarters, 19 W. 44 St. ... Paul 
Junker, back from four years in Navy and 
with Marines as a corpsman, now does con- 
tact and mechanicals for his father Bruno 
Junker, 17 W. 44th St., and himself, too... 
Photographer Toni Ficalora’s studio is now 
at the new location—28 East 29th Street .. . 
Langen & Wind have new office and labs 
at 420 Madison Ave., PL 2-0424 . . . Mono- 
gram Art Studio appointed Leonard Levy 
asst. production mgr. He had been AD of 
Daniel Jaffe Advertising . . . Jim York now 
repping John Carl, still life photography; 
Marion Doenges. children's fashion illustra- 
tion; Jan Gary. fashion illustration; Ron 
Harris. fashion photography; Margaret Yak- 
ovenko, decorative illustration. All from 1275 
Third Ave., LE 5-0355 . . . Leonard Jossel 
now at 211 E. 53 St., PL 8-2550 . . . Otto 
Markevics, forrtherly of American Electric 
Service Corp., now associated with Paul 
Peck, 430 E. 63 St. Markevics is a member 
of Artists Guild . . . R. J. Davidson’s car 
cards for Coca-Cola introduced new look to 
the campaign with cartoon art. The “smiling 
boy” poster for Coca-Cola was chosen 
Poster of the Month by Natl. Assn. of Trans- 
portation Advertising. Designed by AD Tom 
Davenport. Marschalk & Pratt . . . Typog- 
raphy Lab is new ad composition service 
offered by longtime type expert Albert 
Schiller. 216 E. 45, MU 7-7296 . . . Richard A. 
Krall now mgr. of art dept., S. R. Leon Co. 

. Alex Steinweiss moved to 1175 York 








xper Co., 
ackaging 
and ex- 
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ES: Carl 
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Norman 
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by BBC 
Me... 4 
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Jesigner 
and re- 
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lustrator 
115 W. 
sociates 

. Paul 
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9eS con- 
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too... 
is now 
eet... 
nd labs 
. Mono- 
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AD of 
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nember 
n’s car 
look to 
smiling 
chosen 
 Trans- 
.D Tom 
Typog- 
service 
Albert 
ard A. 
on Co. 
5 York 














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trade talk 


Ave., TE 8-3812 . . . New corporate image 
for Robert Zeidman Associates is the icosa- 
hedron, a 20 sided mathematical figure dis- 
covered by Pythagoras Jerry Roth 
moved to 333 E. 46 St., MU 7-3390 ... 
Rodgers Studios has doubled its space at 
65 E. 55 St... . Stam Fraydas now at 300 
E. 57 St., EL 5-5450. He’s been appointed 
instructor at NYU .. . Design Directions 
now at larger quarters, 307 Fifth Ave., MU 
9-2966 . . . Ernst Reichl ADed Spectrum; 
The World of Science, published by Holt 

. New Walt Kelly book. by Simon & 
Schuster, is Ten Ever-Lovin’ Years with Pogo 
... A. L Friedman was honored by Artists 
Materials industry at their annual dinner for 


Federation of Jewish Philanthropies .. . | 


Portraitist Linn Ball commissioned by Sharon 
Steel Corp. to do a series of leading indus- 
trialists. A former president of the Artists 
Guild, he is a member of Society of Illus- 
trators and the Salmagundi Club ... DMAA 
has added Ruth Lowen Laguna, in charge 
of library, information and placement. She 
had managed her father’s company, Walter 
Lowen Placement Agency, until it was di- 
solved . . . Second edition of Illustra, dis- 
tributed by Techni-Craft, features Robert 
Blanchard, a winner in the 1958 Graphic 
Arts Competition for Fine Arts, sponsored by 
Techni-Craft . School of Visual Arts 
offers six scholarships to high school seniors. 
Candidates are to appear Jan. 9, 1l am, 
with a sample portfolio and take a test. 
Details from SVA, 254 E. 23 St., MU 3-8397 

Cover and 30 illustrations by Gil 
Walker are in reissue of Sir Arthur Conan 
Doyle’s The Lost World, distributed by Ran- 
dom House . . . A watercolor by Herbert 
Danska, Autumn in New York, is featured 
in recent issue of Home & Highway maga- 
zine, policyholder publication of Allstate In- 
surance ... AIGA offers traveling shows: 
The major exhibits are Printing for Com- 
merce, 50 Ads of the Year, Graphics in 
Packaging. Smaller shows are work by 
Paul Rand. Ben Shahn, Herbert Lubalin, 
Louis Dorisman, Bradbury Thompson, and 
an exhibit of Private Press, work of 65 
private printers. Details from MU 3-3568, or 
write AIGA, 5 E. 40 St. . . . OAKLAND: 
Jim DeWitt. now with Kaiser Graphic Arts, 
came from Detroit and before that Art Center 
School PHILADELPHIA: Charles F. 
Wilkinson has opened Wilkinson Studio, 
Main Line Professional Bldg., Narberth. He’s 
been an art exec with McKee & Albright, 
and with Gray & Rogers ... John W. 
Reilly. artist with TV Guide's natl. sub- 
scription promotion dept., won his second 
$2000 grant from Louis Comfort Tiffany 
Foundation, New York. His prize was 
awarded for three oils. He's a graduate of 


Art Direction {| The Magazine of Creative Advertising / January 1960 





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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 


199. Planning for Better Imposition. 

H. Wayne Warner. Pointers on how to 
save money and time on any print job. Sim- 
ple explanations, diagrams. Includes a sec- 
tion of printed sheet lays. $10. 


200. Mlustrators ‘59. Editor in chief, Arthur 
Hawkins. Permanent record of the 
Society of Illustrators’ first annual show. 


Here are some 350 pieces shown big, usually 
about 4 to a double spread, with established 
names as ‘well as younger talent repre- 
sented. A few of the pieces are shown in 
color. Jury chairman in each of the show's 
five sections analyze the work. Also: articles 
and illustrations by a group of well known 
names. Designed by Robert Hallock. $12.50. 


ANNUALS 


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. 


194. Penrose Annual 1959. Edited by Allan 

Delafons. Emphasis is on advancements in 
production and reproduction, how these affect 
artists. Lots of attention, too, fo type design and 
lettering. And interesting sidelights: Graphic Art 
in Belgium; 19th Century Illustrators and Others, 
a study of English book illustrators; Gamblers’ 
Printed Art, playing cards from the 14th century 
to the present; The Talking Book, sound is added 
to type and illustration in a Japanese invention; 
A Graphic Arts Bibliography, 1958 international 
listing. $12. (Also available, Penrose Annual 1958, 
$11.50, order number 176). 


195. Graphis Annual 1959/60. Edited by Walter 

Herdeg. More than a third of the pieces 
shown in this year's international review are by 
American ADs, artists, designers and photog- 
raphers. Representation includes the south and 
midwest as well as both coasts. Associate editor 
Charles Rosner, in his introductory notes, pays 
special attention to the work of a group of Ameri- 
cans. $14.50. 


196. Advertising Directions. Edited by Edward 

M. Gottschall and Arthur Hawkins. Trends 
in visual advertising—where they originated, how 
they are being applied, what the future direction 
is— discussed, interpreted by 30 advertising and 
ad art leaders. Analyses of kinds of advertising— 
product categories, corporate techniques, media. 
Also, a reference section including data on 
salaries, studio billings, competitions, develop- 
ments in the graphic arts, new typefaces, new 
books. Indexed. $10. 


189. 


197. New York Art Directors’ 38th Annual. 

Edited by Edward R. Wade. Some 500 
pieces shown off to the full, with book's own 
design a subservient showcase for the show. 


146 


Uusually four or five pictures to a double spread, 
with one a full page or full bleed. Easy to see and 
study reference with a clean open look. Illustration 
section has art big, then reduced in advertising 
applications. About 330 pages, including six pages 
of cross reference, and articles on the club's high- 
lights this year. Designed by Edward P. Diehl. $15. 
(Also available: the 37th Annual, $12.50, order 
number 182; the 36th Annual, $12.50, order num- 
ber 165; the 35th Annual, $12.50, order number 
146.) 


198. Packaging, An International Survey of 

Package Design. Edited by Walter Herdeg. 
This first international survey of packaging includes 
1022 illustrations, 34 in color, of packages 
selected from over 11,000 entries. Fully captioned 
with technical, other details, the material is 
shown in 15 categories for easy reference. In- 
cluded: a special illustrated section on package 
construction, a check list for package planning, 
list of packaging competitions, indexes. Articles 
by Will Burtin, Albert Kner, André Harley, Wil- 
liam Longyear, W. M. de Majo, Norbert Dutton, 
J. K. Fogleman, Charles Rosner, Saul Bass, Milner 
Gray, Ladislav Sutnar, R. S. Caplan, S. Neil 
Fujita. $18. (Published at $17.50, plus 50c postage.) 


ART 


155. Art Directing. Nathaniel 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. 


164. Rendering Techniques for Commercial Art 

and Advertising. Charies 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. 


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 mago- 
zines, 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 
a how to book, but rather a how-it-was-done book 
—outstanding contemporary advertisements, pro- 
motions and campaigns are case-historied to illus- 
trate author's points. About 1000 illustrations. 342 
pages. $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 
apptication of the medium, by leading artists. 
250 pages, $15. 


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 te 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. 


192. The Status Seekers. Vance Packard. Ex- 
ploration of class society in America, and 
a more carefully documented less popularized 
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. 





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


146 155 160 164 165 
189 192 193 194 195 





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


Amt. Encl. $ 
174 175 176 182 187° 
196 197 198 199 200 


All orders shipped postpaid. No C.O.D.'s. Add 3% sales tax with orders for 











ve New York City delivery. Payment must be made with order. Add 5% per title 
for delivery outside USA, except APOs. 4 

Nome 

Firm. 

Addr 

City Zone State 








if you want a beok not listed, send your order and we will try te get it fer yeu. 











n readers 
Ss written 
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-ommittee 
his is not 
one book 
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per title 








trade talk 


the Pennsylvania Academy of Fine Arts... 
SAN FERNANDO: New arch for Eden Me- 
morial Park has mural—bas relief mosaic— 
by Los Angeles artist Joseph Young. 12 
all marble and gold mosaic precast panels 
weigh over 500 lbs. each. SAN FRAN- 
CISCO: Stevenson Graphics, 40 Gold S&t., 
repping Jim Riggs, specialist in photo process 
art . . . Armin. Muller, formerly of Lippin- 
cott & Margulies, New York, now with Land- 
phere Associates, heading design and pack- 
aging dept. . . . Earl Thollander has 225 
pen and ink drawings of his three month 
trip to Russia, Yugoslavia, Czechoslovakia, 
and Scandinavia . . « Assn. of Railroad Ad- 
vertising Managers sponsors its 9th annual 
competition open to any organization other 
than railroads. Ads in any media, to be 
should promote “better under- 
standing and appreciation’’ of railroads. 
Send proofs to Albert L. Kohn, chairman, 
ARAM Advertising Awards Committee, 
Southern Pacific RR., 65 Market St., SF 5, 
deadline is Jan. 15. 


eligible, 





(continued from page 141) 


Turner, Luis A. 
Pennsylvania, Bala-cynwyd 
Richman Inc., Mel 
Pennsylvania, Doylestown 
Nonnast, Paul E. 
Pennsylvania, Erie 
Balbuza, Joseph 
Pennsylvania, Havertown 
Issacson Associates, Robert 
Pennsylvania, Philadelphia 
Aero Service Corporation 
Berman-Steinhardt 

Ebert, Donald 

General Exhibits Inc. 
Lambert Studios, Harold M. 
Sklar, H. Raymond 
Typographic Service, Inc. 
Weber Co., F. 
Pennsylvania, Wilkes-Barre 
Faber, Eberhard Pencil Company 
Pennsylvania, Yardley 
Artim, A.A.E., John 
Pennsylvania, Y ork 

Culp, Donald H. 
Tennessee, Lewisburg 
Venus Pen & Pencil Company 
Texas, Dallas 

Keitz & Herndon 

Langley, Inc., Wm. 

Texas, Houston 

Fred Winchell-Photography 
Virginia, Arlington 

Gilbert, Nelson B. 
Wisconsin, Madison 
Varigraph Co. 

Wisconsin, Milwaukee 
Triangle Color Company 











Cover designer 

Arnold Varga was the 12th winner of 
the annual NSAD Award for outstanding 
accomplishment by an art director. As 
designer of retail newspaper advertising 
for Cox's, specialty store in McKeesport, 
Penna., he’s had ADs and ad artists coast 
to coast watching his use of newscolor 
for the past five years. He’s also creative 
art supervisor for Pittsburgh’s Ketchum, 
MacLeod & Grove where he ADs AL- 
COA's Forecast series. * 


INDEX TO ADVERTISERS 


Admaster Prints, Ie. .............ccccccccccsceseereereeee 8 
Allied Paper .......... : i 






package design and sales promotion 


GRAPHICMARK 


48 East 29th St. New York 16, N.Y. 
LExington 2-1975 





American Artists Corp. . 
American Blueprint Co. 
American Wood Type 
Ames Associates, Archer 
Amsterdam Continental Types and Graphic 








I TIN iacatilininiaceishinacsteneienbgscseneedoien 104 
Andrews Paper Co., H. P. Dy 
Applied Graphics 47 
Art Department Inc. 22 
Artiste Guild of Chicago 103 
Artists Guild of New York niaibideateatcaanid 149 
Authenticolor (Colorstat Corp.) .... aaiieeas’ ae 
Bainbridge’s & Sons, Charles T. .................0008 $1 
Balbuza of Erie ....... SPP ELI, $2 
Bauer Alphabets Inc. i ee 
Bebell & Bebell Color Laboratories opleueieteaacad "a 
Berlin, Inc., Irving ae 
Berube-Salkin ........... 


Bettmann Archive, The 
Bienfang Paper Co. 

Boro Typographers, Inc. 
Bundy-F reiday Studios, Inc. 
Camera Hawaii ........ 

Chaite Studios, Alezander E 
Cicero, Ray .......... 

Bob Clark & Friends . 
EE 
Color-Aid Co. ......... iol 
Comart Associates ............ 
Connelly, George L. ......... 
Cooper School of Art ....... 
Crescent Cardboard Company 
Culver Service ........ 
Cushman & Denison Mio. ‘Co. 
Delta Brush Mfg. Co. . 
Designers 3 

DiF ranza- Williamson Associates 
Eagle Pencil Co. .......... 
Eastman Kodak Co. ..... 
Evans Color Labs . 

Fairgate Rule Co. . . 
Famous Artists Schools, Inc. 
Faraghan Studio, George 
Fenga & Donderi, Inc. 
Ficalora, Toni .............. 
Flayderman, Norman 
Flezo-Lettering Co., Inc. 








Art Direction /{ The Magazine of Creative Advertising / January 1960 





ATTENTION 
SPACEMEN! 


Art directors, production men, printers and 
many others agree that Fairgate SCALERULE 
is out of this world. Quick and easy to use, 
accurate SCALERULE proportions, transposes 
and measures. It’s 12” long, made of flex- 
ible white plastic with black markings. 


Here’s the count-down: 
204) —Proportions photos, artwork, copy blocks 


coe —tTransposes inches to picas, inches to 
agates, picas to agates, vice versa 


wee —Measures inches, picas, agate lines 
e222 —Shows squares & square roots 


only $275 


ase 1 ~biast off and buy one... 





Me 


‘hn “we 
rlitily 
mitt 

* 


Me ‘h Me 2 | 

| ili! tty] iNy'stile 
my ! ' 
: 


idals detested 
ite) 


iif 


“” 
| Ii! 
<i» '' Tet 
Ye M “ua”% 


Scaler Bl reid 


THE FAIRGATE RULE Co. 
COLDSPRING 33, N. Y. 








147 





Britain's Best 
. favoured everywhere 
Superfine quality 


“DERWENT” 


COLOUR PENCILS 


in a matchless variety of 72 
accurately repeated shades, 
made to the most exacting 
specifications. 
Similar outstanding 
range 
in Colour Blocks. 


We also feature Mitchell Pens, 
King’s Own 
Drawing Pencils. 


( Frances 


M-Moore 


















“PERMISSION TO 
COME ABOARD 
GRANTED!” use 

the SILHOUETTE 
MARK Il in your 
advertising at 
the cost of a 
mere credit 
line! 


if the deep bive sea is — you're Lol = 
that ad, include this popular sloop in 
ative plans. The The famous oer pritish built S$ thouette 


Mike Bruno, Publicity Director, 
SILHOUETTE MARINE LTD., Dept. 1G, 
150 Spring Street, New York 12, N.Y. 





3 dimensional interpretation of your. 


idea and production run. Fine hand 
assembly and finishing. Plaques, 
medallions, figurines. 


SCULPTURAL PROMOTIONS INC. 
441 LEXINGTON AVENUE 


New York 17, N. Y MU 7-1369 





ready reference 


to have your firm listed call YUkon 6-4930 


ART MATERIALS 


Lewis Artists Materials inc. 
Sole distributor of Mercury Products 


158 W. 44 St., N. Y. 36 JU 6-1090 


COLORSTATS 


Ralph Marks Color Labs 
Low cost, full color reproductions from color 
transparencies and opaque copy. 


344 E. 49 St., N.Y. C. 17 EL 5-6740 


HISTORICAL PRINTS 
The Bettmann Archive 
Old time prints and photos, any subject. Events, 
Industries, Fashion, Decors. Ask for folder 6A. 
215 E. 57th St., N. Y. 22 PL 8-0362 


ILLUSTRATION 
Steven Vegh, Jr. 
Aeronautical & Marine (Figures Included) 
1262 Brook Ave., New York 56 LUdlow 8-1740 


PHOTO EMPLOYMENT SERVICE 


Prestige Personnel Agency 
Experienced and trainees—all phases 
Careful screening—no charge to employer © 


130 W. 42 St., New York 36 BR 9-7725 


PHOTO SERVICES—COLOR 


Robert Crandall Associates, Inc. 

Duplicates, retouching, assemblies, photocompos- 
ing, processing. 

58 W. 47 St., N. Y. C. 36 Cl 7-7377 
Ferrara Color Studios, Inc. 

Creators of Colorsemblies 

Ektas assembled, retouched, duplicated 


112 W. 48 St., NYC 36 Plaza 7-7777 


Kurshan & Lang Color Service, Inc. 

Reproduction quality dye transfers. 

Ektacolor prints & duplicate transparencies. 
Quantity color prints & slides. 

Professional color film processing same day & 
overnight service. Reputation based upon finest 
custom quality color for past 10 years. 
10 East 46th Street, N. Y. 17, N. Y. MU 7-2595 
Norman Kurshan Inc. Color Service 

Quality dye transfers, C-prints & stats. 

Duplicate transparencies, art copies, slides. 

24 hour custom color processing. 

Call Norman Kurshan directly at 


8 West 5éth St., N. Y. 19, N. Y. 
Ralph Marks Color Labs 


Dye Transfer prints for reproduction: 
gang-ups, special effects. 

Ektacolorprints: Reproduction 
quantity prints 
344 E. 49 St., 


JU 6-0035 


strip-ins, 
quality and/or 


NYC 17 EL 5-6740 


Podell & Podell Color 
Quality Type C Processing . . . any size at the best 
rates in town. . . out of town inquiries invited. 


505 Sth Avenue, N. Y. C. MU 7-0866 


Jack Ward Color Service, Inc. 
Type “'C"’ prints—duplicates—dye transfer prints 
Color processing— 


202 East 44th Street MuUrray Hill 7-1396 


PHOTO SERVICES—B&aW 


Modernage Photo Services 
480 Lexington Ave. 
YU 6-8343 


319 E. 44 St. 
LE 2-4051 
New York 17, N. Y. 

Prints for reproduction in grey scales to meet 

exacting requirements of all printing processes. 

@ Developing by inspection 

@ Custom printing for magazines and industry 

@ Copying of artwork and prints to size 

@ B&W negatives from color transparencies — 
color corrected 


RETOUCHING 


Color Transparency Retouching Studio 
Finest Retouching and Assembling 
58 West 47 St., NYC 36 


Robert Crandall Associates, Inc. 

Transparency retouching and assembling by 
experts. 

58 W. 47 St., 


Cl 7-7377 


N. Y. C. 36 Cl 7-7377 
Davis * Ganes 

Color correction/retouching—Transparencies, 
Dye Transfers, Carbros. Flexichrome ‘'C"’ Prints. 
516 Sth Ave., N. Y. 36 MUrray Hill 7-6537 


Tulio Martin Studios 
Transparencies 


58 W. 57th St., N. Y. 19 Cl 5-6489 
Frank Van Steen 
Color Retouching. 
370 Lexington Ave., N. Y. C. LE 2-6515 


SALES PRESENTATIONS 


Robert Crandall Associates, Inc. 
Projection duplicates of excellent quality. 
58 W. 47 St., N. Y. C. 36 Cl 7-7377 


Presentation Department 
* Visual Aids * Promotional Material ® Silk Screen 
4 W. 40th St., N.Y. C. LOngacre 4-4590 


Rapid Art Service, Inc. 

Creative Art Studio ¢ Silk Screen © Typesetting & 
Letterpress ¢ Bookbinding ¢ Charts and Maps ¢ 
Exhibits & Displays * All under one roof, with 50 
craftsmen and 15,000 sq. ft. of space to give you 
the fastest service in New York. 

304 E. 45th St., NYC 17 MUrray Hill 3-8215 


Wiener Studio 
Charts © Posters * Slides * Hand Lettering 
12 East 37 St., N. Y. C. MU 6-0656 


SILK SCREEN PROCESS 


Jaysee Display Advertising, Inc. 
Quality reproduction. Posters and displays. 


12 E. 12th St., N. Y. 3 OR 5-7280 
Masta Displays Inc. 

20 years leadership in silk screened 

posters and displays 

230 W. 17th St., N. Y. C. CH 2-3717 


Rapid Art Service, Inc. 

Midtown's largest silk screen shop 

highest quality — fastest service sg 

304 E. 45th St., NYC 17 MUrray Hill 3-8215 


Sidney Gold 
Renderer of merchandise, jewelry, all mediums. 
673 Fifth Ave., New York 22 TEmpleton 2-8876 


Walter Chandoha 
Animal Photography—Specializing in Cats & Dogs 
Box 237, Huntington Station, L. |. HAmilton 7-8260 











Ar 


E. 44 St. 
2-4051 


to meet 
rocesses. 


industry 
e 
rencies — 


Cl 7-7377 


ibling by 


Cl 7-7377 


incies, 
C’’ Prints. 
dill 7-6537 


Cl 5-6489 


LE 2-6515 


ty. 
Cl 7-7377 


silk Screen 
cre 4-4590 


esetting & 
d Maps ¢ 
>f, with 50 
> give you 


Hill 3-8215 


ring 
MU 6-0656 


ays. 
OR 5-7280 


CH 2-3717 


Hill 3-8215 


mediums. 
ston 2-8876 


ats & Dogs 
Iton 7-8260 





Underwood & Underwood Illustration Studios, Ine. 
Reserve illustrations for advertising . . . Editorial 
& promotional use. Not connected or associated 








witn_any other company using the Underwood & 
Underwood name. See our advertisement pg. 119. 
319 East 44th St., N. Y. 17 . MU 4-5400 

646 North Mich. Ave., Chicago 11, Ill. DE 7-1711 


Underwood & Underwoed News Photos, Inc. 
All subjects: Historical, Industrial, Scenics, 
Agricultural, Geographical, Personalities, etc. 
Also Transparencies. Ask for Free Listing. 


3 W. 46th St., N. Y¥. C. 36 JU 6-5910 
TELEVISION SERVICES 

Edstan Studio 

Slides, Telops, Flips, in b/w and color 

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


National Studios 


Hot Press, Slides, Telops, Filmstrips, Flips, etc. 
42 W. 48 St., N. Y. 36, N. Y. JU 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. 


WANTED TALENTED ARTISTS and photographers, 
nationally known artists and photographers repre- 
sentatives. Confidential. Box GG, Art Direction, 
19 W. 44 St., NYC 36. 


REPRESENTATIVE for top photographic studio spe- 
cializing in food and interiors. Art background 
helpful but must be thoroughly familiar in dealing 
with advertising agencies. State background. Box 
JJ, Art Direction, 19 W. 44 St., NYC 36. 


DESIGNER'S ASST., ARTIST—Gal Friday; layout, 
comps, type spec., mechli, production .follow-thru, 
client and supplier liaison, receptionist, typing, 
shorthand and billing, 8 yrs. exp. $125. Box C-2, 
Art Direction, 19 W. 44 St., NYC 36. 





Mt 


“HIRE 


through 


art personnel 


KANE 


PLACEMENT AGENCY 


6 E 46 ST. Yukon 6-9585 








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 West 
44th Street, New York 36, N.Y. 




















Freel Photographers Guild 54 
Friedman Artists Supplies, A. I. 48 
Friedman, Estelle .0...............00000000 = 
DRED in BH. OD. BD Bh. Ge. oncicsccccstesiorserecenies 149 


General Pencil Co. 
Gifford Animation Inc. a 
Graphiomashe oo..........0ccccccccccesseee 
Grumbacher, Inc., M. ............. 
Guy Studios, Durwood . 
Haberule Co., The ..... 








Hazick Reporting Service - 180 
Headliners, Inc., The ................... eds on 
Henschel & Co., Inc., John ... vn ——— 
Higgins Be III... ccsenestiesansissesiabbiliiceanstions 10 
Hi Pahlat® & A Sa #, 26 





Hunt Pen Co., C. Howard ............ 
International Paper CO. .o...........cccccccceeeveseeeeeeee 99, 40 
Interstate Photographers, a Division of Inter- 
state Industrial Reporting Service, Inc.....5, 6,7 
, ree « OF 
Johnst & Cushing orton -. 185 
Junker, Bruno ............... SS adecenennaae ition: 
Kane Agency, Alan ...... ioe 
Kaufman, Irving ........ saeieapaeeinal cone 155 












Kennedy Associates .......... » a 
Kerlee, Inc., Charles ........ ahaa 45, 46 
Kimberly-Clark Corporation wom ae 
_  G “7S ae 28 
Kurshan & Lang .. 34 
Kurshan Color Service, Norman , 24 


Lacey-Luci Products Co. omnis te 145 
Langnickel, A. ...... ss 


Lanston Monotype Co. senaal ie 38 
Lucygras Mig. Co. ...........cccccceee 100 
Luzo Lamp Corp. .............00 105 
Mailers, Ine. ............... eal — 
Marks Color Labs, Ralph sein ie — 
Mask-O-Neg .............. peeeese: oes: 
McCall Photoengraving saieakaseaaatie “ 
Miller Advertising Production, William ... 104 
Monogram Art Studios, Inc. slicetalactilliiladee i) 
Moore Co., Frances M. sienalSebiipelaniaisienacs AE 
I I onic soncsacsconsccensetsiimanneania 105 
Natienal Card, Mat & Board Co. sesiebileeaae 32 


National Studios 
Near-North Guild 

Neeley Associates ; RES 
New York State Employment Service 
North Studios, Charles W. .................... 
Nu-Type Service .... 
Pergament Color Lab 
Permo White Company 
Philadelphia Art Supply 
Photolettering, Inc. a 
Price Personnel Agency, Henry .......... — 
Printing Arts Research Laboratories 
Progress-Hanson-Progressive Group 
Rapid Art Service, Inc. 
Richman, Inc., Mel 
Roberts, H. Armstrong 
Ross Art Studio 

Russo Photographic Service 
Samerjan, Peter James 
Saral Paper Co. 

School of Visual Arts 

Scott Screen Prints Co. 
Sculptural Promotions 
Seiden, Art .... es 
Service Typographers, Inc. ........... 
Shaw Associates, Rik 

Shiva Artist’s Colors 
Silhouette Marine Lid. .......... 
Skilset Typographers 
Statmaster Corp. ..... am 
Stephens-Biondi-DeCicco Inc. 
Stoessel Studio 
Sudler, Hennessey & Lubalin ..... 
Talens & Son, Inc. . 

Tech Photo Labe ......... ie 
Terminal Display Art Service 
Underwood & Underwood Illus. Studios, Inc... 119 
Union Rubber & Asbestos Co. 
United Artist Materials Co. 
Volk Jr., Art Studio, Harry ....... 
Weber Company, F. .......... 
Weco Studios . ssmalalnaei 
White Associates, “Tom shai 
Winsor & Newton 
tS 














Art Direction /{ The Magozine of Creative Advertising / January 1960 









A PLACEMENT SERVICE 
FOR COMMERCIAL ARTISTS 


MUrray Hill 8-0540 


PROFESSIONAL PLACEMENT CENTER 


WEW YORK STATE EMPLOYMENT SERVICE 











Staff Artists! 


) 

| interested in improving your present job? 
Looking forward to free-lancing in the 

| future? Form new contacts at the Artists 
Guild. Meet prominent people in your 
field. Hear interesting talks by name 
artists. All at monthly meetings 
of the Artists Guild. 


| 
For further information, write for booklet 








ART SALESMEN: Call KI 8-5442 between 
7:00 and 10:00 p.m. Confidential. 


WELL STAFFED ART studio interested merg- 
ing with another studio or taking on 
salesman with good volume. Hanson 
JU 2-4368. 


COMMERCIAL ART SALESMEN I have an ex- 
cellent staff, superior service and pa 
more money. Strict confidence assure 
Box 1M, Art Direction, 19 W. 44 St., 
NYC 86, or phone LE 2-6720. 











Saco 1068 


For Artists’ Needs 
PHONE 


E. H. & A. C. FRIEDRICHS CO. 


Artists Materials Since 1868 
40 EAST 43rd STR 
Murray Hill 2-2820 

140 WEST 57th STREET 
Circle 7-6608 

363 LEXINGTON AVE. 
Lexington 2-0300 


H. Taws, Inc. 
alnut Street 


a. 1$27 
Phi i 
mee Rittenhouse 6-8742 








& 


Art directors have always admired the 
advertising spouting forth from the art 
department of Doyle Dane Bernbach. 
To many a frustrated artist, their ads 
represented a miracle, manna from 
heaven above Madison Avenue; it was 
hard to believe such things could still 
happen. Art directors about to jump 
out of their office windows now serious- 
ly considered living, and there was a 
slight decrease in the consumption of 
liquor among the creative breed. Ap- 
parently not all hope was lost. 

For many years, however, art di- 
rectors’ enthusiasm over the DDB ap- 
proach was tempered by those who 
prided themselves on their hard-headed 
approach to advertising. It was fashion- 
able to admit that the Doyle Dane 
Bernbach stuff was creative, yes, but a 
little too much so for the man on the 
street, whoever he may be. It was all 
right for the avant garde, but too cute 
for Big Time business. Again the art 
directors were put in their places; their 
argument that highly imaginative art- 
work could possibly sell was dismissed 
with a patient, condescending smile. 


While arguments about the validity 
of their advertising philosophy raged 
on, up and down Madison Avenue, life 
at DDB went on smoothly and happily. 
The gush of creative stuff continued to 
pour forth. Nobody in the agency shared 
the concern of outsiders whether the ads 
“sold” or not; the sales figures were avail- 


150 


~ 


DIRECTLONS 


4 


doyle dane bernbach, inc. 


able to them; they knew that almost all of 
their campaigns, “too creative” as they 
might have been for the middle-of- 
the-road advertisers, sold a_ fantastic 
amount of goods. And new business, 
probably attracted as much by the 
agency’s sales record as creative prowess, 
kept asking to be admitted. The agency 
grew almost as fast as the clients whose 
business they handled. Still, the art 
department changed none of its philo- 
sophy; one could not help wondering 
if the art directors here were working 
for money or just to have a good time. 


Now even the most ardent skeptics 
have to admit that the “Doyle Dane 
Bernbach approach” works. Art di- 
rectors can breathe easier; their point 
has been proven, thank God, by a 
group of restless and fortunate men. 
Art directors can now make with the 
big picture, the simple typography, the 
modern layout, the “cute” photo- 
graphy, and wave DDB proofs trium- 
phantly in front of account executives 
and such to clear all doubts once and 
for all. 


A word of caution should be uttered, 
however. 


DDB advertising is successful not 
only because of the art treatment of 
its print and television campaigns. 
Those deeply involved in_ graphics 
often tend to argue the effectiveness 
of DDB ads on the basis of layout, 


typography and the choice of models 
used in illustrations. To be sure, all 
these ingredients had a lot to do with 
the success of the agency’s ads. Deeper 
analysis reveals other secrets, such as: 


1. Every DDB ad has a “big idea” 
behind the facade of the visual. The 
big idea shows itself either in copy or 
art; it’s so strong one can almost des- 
cribe it without showing the ad. 

2. “Idea” is..not big picture or short 
copy. These are techniques, not ideas. 
Many DDB ads feature long copy. 

3. DDB ads may look entertaining. 
Behind the hoopla-ho is a deadly seri- 
ous purpose: information about the 
product. 


4. All DDB ads start with a selling 
point of the product. There are no 
exceptions to this. 

An art director who suddenly decides 
to emulate the “DDB approach” in his 
layouts may find himself in the posi- 
tion of an eager hen laying a great 
many eggs. It takes more than an art 
director to come up with ads like 
that; it takes a whole team. There 
really isn’t such a thing as a “Doyle 
Dane Bernbach Jlayout.” There is 
“Doyle Dane Bernbach advertising.” 


Next month a few words about the Ted 
Bates Agency. Following that: McCann- 
Erickson, Young & Rubicam, Ogilvy, Ben- 
son & Mather. @
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