ON BEING 14-AND

Fourteen, they say, is a difficult age with many adolescent problems—like dates, and bringing up parents, and school, and grow- ing pains. But, in the studio business at 14 years you are considered quite an adult. Dates may give trouble — meeting them, that is — but long experience handling the most difficult, offers no particular problems. And we rarely have problems with our paren- (clients) whom we dearly love and they us. For, we've known alot of them since birth. The people in our organization have been to many schools. Schools all over the world. And, they put all of this knowledge to work for you, and you've gotten many awards on many of the assignments that

=» <-« still growing

STILL GROWING

you have given to us. Monogram has grow But we've taken the pain out of growil with daily vitamin tablets that contain lar doses of talent, know-how and client undé standing. We appreciate the fact that yo helped us in growing to be a big 14 yea old. And the best way we know to say than you is to put this 14 years of experience! work for you now—with all of the fresh ide all 14 year olds have, to give all of yo promotionals and ads that young, brig look that attracts results, and helps you $4

merchandise.

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Schizophrenic is what we are. One personality is soft-sell, one hard.

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Art Direction / The Magazine of Creative Advertising / March 1960

MARCH 1960 / VOLUME XI, NUMBER 12

/ A/RT D/IRECTIO

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

strange coincidences department...

Originality has a way of multiplying itself in our creative business. New, fresh approaches spring up in several places at once. While sometimes an ad or campaign is obviously a swipe of another, at other times the appearance of the same ideas in different campaigns are so timed that imita- tion must be ruled out. What are the causes? One almost gets the eerie feeling that ideas are on special creative wave lengths and that it’s possible for more than one person to tune their antennas at the same time and pick up the same signals. At any rate, here are some of the flurries in recent months:

e eggcups— we've spotted at least three ads for different products with illustrations of eggcups.

e insiditis—cars, watches and radios are some of the products currently showing off their insides rather than their beautiful bodies, cases and cabinets.

e red-headed kids are selling everything from savings and loan services to breakfast cereals, from travel to fuel oil, from pancakes to telephones.

e chandelier photography—those overhead shots (too close-up for birds-eye views) naturally integrated with a brewer’s copy, have appeared in countless other ads and editorial illustrations.

e telephone linesman—there was also a brief flurry of linesmen in ads and illustrations during the year—and not in ads for phone companies.

e sunbursts—for West Coast versions of repeat symbols see Gene Federico’s comments in story in the West Coast show in this issue.

All this is reminiscent of the flurry of Lambrettas and ocelots of a few years ago. A model just wasn’t doing the job without an ocelot or a pair of Russian wolfhounds and in order to sell anything for about six months models had to drive Lambrettas, scooters, anything offbeat.

In this field, too many of these coincidences smack of imitation rather than creation. The big objection isn’t

(continued on page 35)

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

ibility for ipts or artwork submitted. Entered as second-class motter at the post office at New York, N. Y., with additional entry as second-class motter ot the post office at Baltimore, Maryland.

WESTERN ART/DESIGN 15th Western exhibition Pacific Northwest show Carnation's milk moustache Upcomer James Cross

DIRECTIONS International communications theme of 5th NY-ADC Conference McCann-Erickson Inc., by Stephen Baker

RESEARCH Have you checked your symbols lately? Check your ads for empathy, Dr. Irving A. Taylor

PRODUCTION BULLETIN

NEWS & VIEWS Business briefs Letters Coming events What's new Cover designer Vance Jonson News What's best—critics’ choices Editorial visual vitality Upcomer Alex Tsao Photographic Service Fees, by Roy Pinney West Coast In Philadelphia In Chicago

TRADE TALK

SERVICES Booknotes Bookshelf Ready reference classified Index to advertisers

Publisher: Don Barron ° Editor: Edward Gottsd Designer: Ken Saco ° Asst. Editor: Ann Co

Circulation: Calla White °* Advertising: William Keni

John Dohe IRA

Traffic: Yvonne Lusa

ASSOCIATE EDITORS: Atlanta, Billy 8. Tilson; Baltimore, & Woernle; Beston, Leo Harrington; go —~ E. _Lee, Chicago, Horry J. Smedley, Jr.; Cincinnati, George Tassian; C Corl Behl; Columbus, don Odwarka; Dallas-Ft. Worth, Rc Keitz; Denver, Norman Zander Fried; Detroit, Richard Yocum; Wendell Mohr; Kansas City, Thomas R. ney bes - Mitchell; Memphis, Kathryn Huckaba; jami, Peggy Stric . Wesley A. Corner; is-St. Payl, Donald

Skoro; Montreal, Edmund Laliberte; ille, Harold West; York, Edward R. Wade; Omaha, John Andrews; Ph L lo Bove; Pittsburgh, Walter Lofferty; |, Ore., Pat Richmond, Robt. R. Meacham; Rochester, Ric Rylands; St. Lovis Meyers; San Francisco, Cal Anderson; Jack R. K

, Hal Bacon; Teledo, John Richter; Toronto, Joan Chal Washington, D. C., John R. Beveridge

NSAD OFFICERS: Arthur Lougee, Detroit, President; Fred Cole, Francisco, Ist Vice President; Oren S. Frost, Miomi, ae Vice Presic Robert West, New York, SS nt » Mrs. Janet Orr, Secretory-Treasurer. NSAD Headquarters: ters: 118 E. 40 St., N. Y. 16, N. Phone: LExington 2-1366.

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business briefs

studio billings fall as experts predict boom for 1960

Record breaking productivity is forecast for most lines in 1960 by almost all business analysts. But as 1960 opened to the happy strains of their forecasts, art studio own- ers were less than happy with year-end billings drop from record-high months at summer’s end. .

Was fall-off seasonable? In 1958 billings rose at the end of the year, but this may have been due to end-of-recession stimulus. Not enough data is available to say posi- tively whether the 1959 fall-off was all or partly seasonal.

° How widespread was the billings drop? Three of every four studios felt an appreciable (average 25%) fall-off in Octobet and November from August and September highs. The remaining studios showed only slight gains (with one exception). Data is based on studies made by CAM Report among art and photo studios coast to coast.

e All eyes now are awaiting the December and January data. Last year these months were high billings months and they should be again this year if the billings are going to stack up the way the ex- perts predict.

e A big ad year seems in the cards if you look at reports of ad budgets and of early linage reports. With the steel strike set- tled there seems to be no likelihood of largescale cutbacks in the schedules, many of which represent new highs. With TV still growing but not at the dispropor- tionate pace of its earlier years, the printed media are likely to stabilize their percentage share of total ad out- lays. This spells good news for the stu- dios and services whose accounts are heavy magazine and newspaper adver- tisers. In recent years, along with radio, magazines have dropped their share of total ad budget as TV grew.

+ looking past their noses, some economists worry about another inventory build-up that could bring about another reces- sion or levelling-off period. A tremen- dous manufacturing boom in the early months could create such a buyer’s mar- ket in the second half as to cutback production and reverse the cycle once again. No one is saying for sure that will happen, to what extent, or when, but it’s typical of the caution with which the most optimistic of short-term predictions should be salted. *

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HAVE YOU CHECKED YOUR SYMBOLS LATELY ?

Have you checked your symbols lately? Overwork can

reverse their meaning...watch how TV employs form,

line,movement and direction symbolically

BY SIDNEY J. LEVY, SOCIAL RESEARCH, INC.

Professional artists now see such basic vehicles of expression as form, line, movement and direction not only as visual elements but as powerful, sales producing symbols. Some of these sym- bols are hard at work in television. And some have had too much success, have died of fatigue or have reversed their connotations.

Symbols, as an inherent part of human expression, make possible self-control and detachment. Their use implies a capacity to hold energy in abeyance, rather than to act under the immediate pressure of an impulse. Because people symbolize naturally, all behavior carries a multiplicity of meanings—and all ob- servers react interpretively.

reversible meanings...

Of the many kinds of symbols, some are known as symbols of substance. These are the best understood and most readily taken meanings, feelings, and ideas. One example is the professional salesman or “name” endorser. What these people are like, how they look and behave, the roles they play in relating to other people, develop a set of meanings; their endorsements are complex symbolic com- munications. The personality used helps people understand a product quickly. A doctor means science, health, and professional authority. When the viewer sees a white coat in a commercial he is being told that the product gives serious attention to technical matters, quality, and consumer well-being. But symbols may lose their vitality. The more current and familiar they become, the less they convey the original inten- tion. Skepticism builds up about their symbolic reference until often the op- posite enters in. White coats then be- come (at least to many cynics . . . and those cynical of advertising are on the increase) an indication of inferiority, of a non-ethical product.

An interesting dimension in the eval- uation of entertainers and professional endorsers has to do with sincerity and morality. They represent opportunities for vicarious expression of impulses and may therefore be more sexual or violent

in their behavior than would ordinary viewers. At the same time, the audience is constantly testing whether the limit of what it can tolerate in its phantas- ies is being surpassed. This process of “phantasy-testing” may lead to rejection, whether through criticism or through suppression of interest and consequent boredom.

symbol manipulation on TV...

Of special interest to ad men are sym- bols that express primarily through form, line, movement, and direction. This type of symbolism tends to be given less study because its referents are usu- ally very implicit and viewer’s reactions tend to be less articulate. Some of these symbols have special value for television and may be called symbols of source.

approach and retreat...

Four of them are worth noting for the ways they express television communica- tion. The first is approach and retreat. This refers to the way in which people, titles, miscellaneous objects move from the background into the foreground, usually to announce or present some- thing; and they may leave by retreating into the background. This movement is used frequently and with compelling effect. It gives the monoplane tube a third dimension effect.

It represents the immediacy of the arrival or departure that is going on, a feeling that gives television some of its fascination. It says, “from out here we bring you,” or “we are leaving you,” and is therefore peculiarly personal. The “out here” is usually made abstract and mystic, either undefined and empty, or like the sky with its infinity of promise and reward of something offered from above and beyond. Like anything else it can be overdone, poorly or unimagi- natively used; stars that come swirling out of the sky are a familiar convention —the movement still says something, but the content is uninspired symbolism.

Probably one of the most effective uses of this type of movement was Jimmy Durante’s departure from his old show, as he retreated from spot-

light to spotlight, dramatizing strikingly the poignancy of his farewell to the viewer. Frank Sinatra used the same retreat, but its sense of inexplicable loneliness seemed less appropriate than for the clown tragically fading from out of sight.

rotation Television often uses rotating objects.

- Unlike approach and retreat, rotation

does not express the depth of the tele- vision medium and its possibilities for relating distant things to the immediate situation. It does imply three dimension, but in a narrower way—a well-rounded presence rather than a coming or going. At one level, rotation implies the limita- tions of television, suggesting that it must go on within the frame of the screen, self-contained, unable to move off in other directions. To some extent, then, it is a confining and frustrating symbol. However, it has some, advan- tages. Rotation, as a repetitive, endless movement, has a tendency to fix atten- tion and to hold it, lulling the audience for a moment, perhaps, before the show gets actively under way.

An important meaning of rotation is exhibitionism. The rotating object means that all sides are being shown, that many facets are on display. It is a command to look because something will be shown or revealed. It intrigues with its promise to bring the unknown into view. People who rotate imply the same things. A notable example is the way Loretta Young twirls around as she makes her entrance to introduce her show. Sh is showing off her dress to the ladies who wait for her weekly appear- ance; she says in a forthright way “Look at me, all of me,” and by implication, all that the play will reveal.

L-R progression...

A third type of movement very common in television is left to~right progression. This is less a symbol of source, since it makes no special concession or reference to the nature of television. The move- ment is quite conventional and not of unusual interest in itself. Basically, it serves as a narrative function, holding

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(continued )

attention less by dramatic impact off the movement itself, than by anticip tion of the sequence to be progressive presented. Therefore, its vatue deriveg heavily from how it is employed, and

| whether the content reasonably fits th

motion of a narrative. Some fairly cleve examples are the title presentation of What’s My Line? and the old adventures of the Happy Joe in search of a Lucky Strike.

unifying movement...

A fourth symbol of source is unifying movement, instances where fragmenta tion and re-building occur, or there is some movement from separateness to unity. This type of movement is dyna mic. It implies conflict and its resolu- tion. It develops toward the satisfaction) of a good Gestalt, and the audience “roots for” its completion in a partici- pant way. On the GE Theater, the dis) turbing electrical agitation of the iden- tifying sign before it settles into the stable familiar form sometimes seems almost unbearable in the time it takes to reassure us that GE still knows how to tame electricity.

A special case of symbols of source are symbols of sorcery. These are any visual activities that seem to be magical rather than following everyday mechanics. Like montages, they are not peculiar to tele- vision but gave it a special charm. They include sudden shifts of objects in space without intervening movement, the trans- formation of one object into another, the myriad of- gimmicks normally ac cepted as TV techniques. But they still remain astonishing; our thinking is suf- ficiently primitive so that magic lurks as a more interesting explanation—even when we “know” better.

Recently, it was announced that a Church of England commission con- cluded that human illness caused by demons could be possible. Similarly, the demons of television who can turn a man onto his head, or create a wide array of animated tricks are a delight because they testify that man’s imagi- nation transcends his human condition. The symbols of sorcery are attractive because they imply power and control of unusual kinds, and for the moment the viewer, seeing them made visible for his benefit, can believe he too shares in this magic. The use of television magic, of visual symbols that emphasize technique, admits that there is a play- ing with reality, that the viewer doesn’t have to take it too seriously. With his participation he is able to maintain a sense of detachment and integrity. ©

commiunicat ions

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A CONFERENCE for all persons engaged in reaching people’s minds through the eyes . . . to encourage inter- national visual creative thinking . . . to help prepare the individual for a decade of opportunity in a jet-age world . . . to open minds to the unlimited horizons of the spiraling sixties.

A PROGRAM presenting a group of internationally recognized speakers who will probe the “differences” in

people — as well as their over-riding “samenesses.” PRESENTED by the Art Directors Club of New York as a contribution to the advancement of communica- tions among nations.

RESERVATIONS are restricted to five hundred and will be honored in the order of their receipt . . . write the Art Directors Club, 115 East 40th St., New York 16. Conference fee, including luncheons: $60.00.

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calendar

Through March 11 . . . NYADC local 38th, High School of Music & Art.

Through March 11 . . . AIGA New York, 115 E. 40. Paperbacks USA, an exhibition of covers. Textbook show opens March 31.

March 4-27 . . . 24th Rochester International Salon of Photography, Memorial Art Gallery.

March 5-19 . . . Baltimore ADC, NYADC's 38th. March .. . 10 Designers from Milan, at

Gallery 303, Composing Room, 130 W. 46, NYC.

March 15-21 . . . Toronto ADC show, Art Gallery of Toronto. Awards luncheon, March 16, Granite Club.

March 21-25 . . . Boston's 6th, Copley Gal- “leries, Newberry St. Awards luncheon, March 22.

March 24. . . 28th Natl. Competition of Out- door Advertising Art, sponsored by ADC Chicago. Awards luncheon, Sheraton.

March 27-30 . . . Natl. Paper Trade Assn, convention and show, Waldorf-Astoria.

March 28-30 . . . Advertising Essentials & Natl. Sales Aids Show, Hotel Biltmore, New York.

March 28-April 8 . . . NYADC’s 38th at Mc- Cann-Marschalk, 335 Euclid, Cleveland; de- tails AD Dan Gallagher.

April 9-16 . . . 3rd annual, Dallas-Ft. Worth, Sheraton-Dallas. Awards dinner, April 9.

April 11 . . . NYADC shows previews, Astor gallery. Opens to public April 12. Awards luncheon, April 12, Waldorf.

April 13-14 . . . Visual Communications: In- ternational, NYADC Sth Conference.

April 22 . . . Exhibit/seminar, 2nd Natl. Ad- vertising Photography, co-sponsors Profes- sional Photographers of America, and Art Direction Magazine, Rochester, N. Y.

April 28-May 15 . . . ADC of Milwaukee, Annual Exhibition, at War Memorial Center. Awards dinner, exhibit preview, April 27.

May 10. . . 7th annual Natl. Visual Presen- tations Assn. awards presentation.

May 26 . . . Awards dinner Detroit ADC. June .. . Annual, Montréal ADC.

Jume ... Poster Exhibit, St. Louis ADC. October, 3rd Annual Exhibition.

November .. . 25th Exhibit, Philadelphic ADC.

Nov. 21...

Annual, Chicago ADC.

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CREATIVE ADVERTISING MANAGEMENT

a new newsletter service for all art and photographic me executives who must know prices / salaries / business volume /buying trends tax developments /legal data /ethical problems

Art

rch lf you make decisions — about ad art/photography/design — CAM Reports is for you. Whether you buy or sell, you'll want this twice-a-month crisp reading report. For the first time, art and photographic executives will

ral- have facts where there have been no facts. Now you can be in-the-know on what's happening in your city

™ and around the country in art and advertising.

oe CAM REPORT WILL:

save you time. Its lightning fast readability gives you basic you at the peak of its significance. = data, unavailable up to now, in a few minutes reading. alert you to buying trends. Accurate, prompt reportage of trends, fads, swings in art, photography and business practice

save you money. By familiarizing you with industry trends con meon the difference of hundreds of dollars to you.

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law may save you — in dollars, time and aggravation — many, give you factual bases of comparison. Dota tables on Many times the value of the year's subscription.

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h studio operation factors (selling expense, rent, talent, etc.) will CAM Report, written exclusively for you, is $20.00 per year for enable you to see where your breakdown fits into the general 94 issues. Each issue contains a wealth of material edited to help practice. you save money, conduct your business affairs better. UNCON-

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