A/RT DIRECTION

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

Detroit goes stereo

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

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

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

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

This confusion has been an unforeseen result of powerful

(Continued on page 91)

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

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

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

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

DIRECTIONS

How Coca-Cola reaches mass and class

markets with same ad, Stephen Baker 98

IN EUROPE 54 TV

The Rounded Corner, by Steve Frankfurt 28 RESEARCH

Aimed Design, Dr. Irving A. Taylor 16

NEWS & VIEWS

Business briefs 6

Coming events 10

Letters 13

News a

Chandelier photography 49

What's best 50

Detroit's student conference 60

In Chicago 79

In Philadelphia 83

West Coast 84

What's new 85

Cover designer 85 TRADE TALK 86 SERVICES

Bookshelf 94

Ready Reference, classified 96

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

Advertising: Robert Miller

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

IRECTORS

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Sottschall nn Cohen ie Lusard

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business briefs

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

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

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

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

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

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EARL C. EDGAR, CREATIVE SUPERVISOR, CUNNINGHAM & WALSH, INC., NEW YORK

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ALEXANDER ROBERTS: PRESIDENT ano GENERAL MANAGER

Scuttling the Scuttlebutt

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

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

hiev

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

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

hieving an Ideal

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

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

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

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

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

calendar

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

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

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

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

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

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

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

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

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

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

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

Change of Address. Please send an address stencil impression from a _ recent issue. Address changes can be made only if we have your old, as well as your new address. Art Direction, Circulation office, 19 W. 44th St... NYC 36.

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

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BILLINGS Billings Engraving

BINGHAMTON S. J. Kelley Engraving

Statesman Printing

BRIDGEPORT

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Swan Engraving BROOKLYN

Boro Offset Corporation BUFFALO

Niagara Photoengraving Rapid Service Engraving

CANTON

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

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CHICAGO

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Newsprint Engraving

CINCINNATI

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Chapman & Rapp Photo-Engravers

Kenand Photo nies

CLEVELAND

Art Gravure tion Cadillac Litho- Cleveland

— Duluth Herald & News-Tribune Duluth Photo Engraving

DURHAM Durham Herald

Pazder Art , ELGIN, I.

David C. Cook Publishing & PASO

The White House — EMPORIA, Ken.

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

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

Dakota Photo Engraving

FLINT Flint Graphic Service Flint Johnson Engraving

FT. SMITH, Ark.

Graphic Arts Engraving

FT. re. ore, Ind. Lincoln Engravers

FRESNO, Calif.

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GALVESTON

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Hughes Newspaper ving

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MILWAUKEE Milwaukee Journal Milwaukee Sentinel MINNEAPOLIS Bureau

Printing Minneapolis Star & Tribune Weston Engraving

MOBILE

Gulf States ving Mobile Press Register

MODESTO, Calif. Modesto Bee

OGDEN Western Arts Photo

Bomac Electrotype

Jones Photo — Rapid, Grip & Batten PENSACOLA

Pensacola Engraving PEORIA, Ill.

Hagel Artcraft Engraving Peoria Engraving

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

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

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

Colorado Engraving RALEIGH News and Observer

REGINA, Conede TriGraphic Engravers

RENO Silver State Press

RIVERSIDE, Calif. Rubidoux Printing

Roberts Engraving Southeastern Engraving ROCHESTER

Franklin Engraving SACRAMENTO

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Sterling Engraving

SAN JOSE, Celif. Coast ving

San hee ene Herald SAN MATEO, Celif. Premier vers

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

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SCRANTON Advertisers Engraving

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

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

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

ST. PETERSBURG St. Petersburg Times Southern Engraving

Liberal Engraving West Coast Engravers TAMPA

Johnston Printing Tribune Company

TOLEDO Toledo Blade

TOPEKA

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Topeka Engraving

TORONTO, Canada

Bomac Engravers

Photo Engraving & Electrotypers Rapid Grip & Betten TRENTON

Leader Photo Engravers

TUCSON Hollis Photo-Engravers

TULSA Southwestern Engraving

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

Vancouver Province Zenith Engraving

VICTORIA, Cenade Flynn Engraving Island Engravers waco

Alco Engraving Austin Engraving WATERBURY, Conn. American-Republican

WHEELING Wheeling News

WICHITA, Ken. Wichita Beacon

Wichita Eagle WICHITA FALLS, Tex. Story & Company

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YOUNGSTOWN Photo Reproductions Youngstown Arc Engraving

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

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letters

Let’s give the designers credit...

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

Karl Fink,

President,

Package Designers Council

the good old mixup...

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

James Secrest,

President, Type Directors Club

You're welcome...

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

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

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

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

=n = Oo Go =< Or

Art Direction / The Magazine of Creative Advertising / July 1959

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Art Direction / The Magazine of Creative Advertising / July 1959

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inside the corporate image

DR. IRVING A. TAYLOR

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

The corporate image contains a self- contradiction. It is at once a dynamic (changing) and a stereotypic (unchang- ing) image.

The flood of articles, talks, and con- versations about it reveal an overcon- cern which significantly expresses the self-consciousness and contradictions of the conformity pattern of today.

Images are nothing new. We have al- ways had them. What is new is our sudden awareness of them. Today we are not only self-conscious of our images, corporate and otherwise, but we are beginning to question them, to doubt them.

We put our images on public view and scrutinize them questioningly, as with the indulgences of “The Affluent Society” composed of “other oriented” persons in “The Lonely Crowd” of which Galbraith and Reisman write.

Psychologically, the corporate image is to the consumer what the appearance of a prospective employee is in the per- sonnel office, and mere appearance, of course, can be overdone. Symbolically, the image (and the prospective em-

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Art Di