A Tribute to Dick Cole

dick-cole-2008You will see, in the column at the left, that the “Gat­her­ings” began in 1993. At that time, we thought that it was a one-​time event, which was held in nort­hern Peta­luma. I had no idea that the group had star­ted up again by Dick Cole and some others who had atten­ded the first event. Gat­her­ing 1999 shows the Gee­zer group at a restau­rant in Sonoma, Dick’s home­town. As the atten­dance grew, the restau­rant could no lon­ger hold us. The park in Corte Madera became an easier loca­tion for the crowd.

Through the years, Dick Cole was able to share his water­co­lor pain­tings with the com­mer­cial art and the fine art com­mu­ni­ties.

This, below, is a col­lection of Dick Cole’s pain­tings that appea­red as the 2008 calen­dar for the Bank of Marin. For several years, the calen­dars were offe­red to the Bank of Marin’s account hol­ders. Each year, Dick would remove one of the twelve and add a new pain­ting from a loca­tion in Marin County. The year that the bank was no lon­ger pre­sen­ting this beau­ti­ful calen­dar, I took this 2008 calen­dar and kept using it by fin­ding the month with the cor­rect sequence of days and I’d stick on a note where I prin­ted the cur­rent month—so I could keep seeing Dick’s pain­tings. At one of our Gee­zer picnics, I told Dick that I did this-—I got one of his won­der­ful smi­les.

We will miss seeing any more new pain­tings with Dick Cole’s deft touch.
We will miss his jovial wit. We will miss his friends­hip.




Roma Wines & Chevron Campaigns

In April of this year, this pain­ting became a search, as to who was the artist ? I sent the chal­lenge out to ever­yone on our Gee­zer mai­ling list.
On Mon, 4/​18/​16, I wrote :
Sub­ject : A follow-​up for those inte­rested, it took less than a day to dis­co­ver the artist of the mys­te­ri­ous Roma Estate Wine pain­ting, There were several respon­ses, (Thank you : Kir­sten Nus­ser, Chuck Pyle, Robert Steel, Norm Nichol­son and Dick Cole.)

1-Roma Wine PaintingPhoto of Roma painting at The BuckeyePhoto of Roma pain­ting at The Buc­keye in Tam Val­ley

The ans­wer, must be this, from John Crawford—Clark Agnew ! There were simi­lar Roma Wine illus­tra­ti­ons on the web, but none that lis­ted the artist’s name. It took John with his abi­lity to iden­tify style with the artist’s name.
Clark Agnew did do other illus­tra­ti­ons for Roma Estate Wines and other adver­ti­se­ments that have a simi­lar look. I never knew the story of “the world’s lar­gest winery.”

This was an adven­ture and an edu­ca­tion for a Sun­day afternoon—thanks to Jerry Gib­bons and his que­s­ti­o­ning friend, Anna Lind­gren (who used to work at BSSP). Greg Stern (But­ler, Shine, Stern & Part­ners) joi­ned in the search.

Larry Niel­sen thought to visit The Buc­keye Road­house on Sho­re­line Highway in Mill Valley—to see the pain­ting first-​hand. Jerry Gib­bons wrote : “I’ll invite John Cra­w­ford and Greg Stern to join me at The Buc­keye.”

Ann Thompson

4-​18-​16 This, addi­ti­o­nal story, from John Cra­w­ford :
While I was pro­w­ling around the inter­net look­ing to unco­ver the illus­tra­tor respon­si­ble for The Buckeye’s Roma Wine illus­tra­tion, it occur­red to me that I had a cou­ple of gou­ache illus­tra­ti­ons for Chev­ron han­ging down­stairs, and that I’d never taken the trou­ble to find out who did them. These are lite­rally “found art.” When I was wor­king at BBD&O in the early 70’s, I par­ked my car out on Sacra­mento Street one eve­ning and ran in to get something. When I came out, I saw a trash bar­rel full of old art­work – BBD&O had obvi­ously been cle­a­ning out their art files. I grab­bed a cou­ple of color­ful pie­ces off the top of the pile and put them in the back of the car. They were illus­tra­ti­ons from the infa­mous “Chev­ron Island” cam­paign. They fea­ture Irene Tsu as a Hawai­ian hula girl on behalf of Chev­ron avi­a­tion fuel. In one, she is tug­ging on the pro­pel­ler of a piper cub, which seems like a ploy to dis­play her cle­a­vage. In the second, she is gestu­ring at the gas pump while anot­her Piper buz­zes the field. As I said, the cam­paign was infa­mous.

There had been a wri­ter at BBDO, Bill Dom­brow­ski, who wor­ked on this cam­paign and who later ended up at Y&R in New York, where they had an annual com­pe­ti­tion for “Worst Ad I Ever Did.” Every year, Bill would enter the Chev­ron Island cam­paign and every year it would win. A lot of this could be explai­ned by the fact that Herb Ham­mer­man, the noto­ri­ous Direc­tor of Mar­ke­ting at Chev­ron, had a fix­a­tion on Irene Tsu, which resul­ted in her being fea­tu­red in a lot of unli­kely sce­na­rios invol­ving tires, tiki gods, etc. (I don’t mean to imply any­thing other than an inno­cent infa­tu­a­tion – Irene Tsu was, for several years, the live-​in gir­lf­riend of Frank Sina­tra and would have had little time for Herb Ham­mer­man.)

(BTW—Wikipedia : Irene met Frank in Flo­rida while she was fil­ming “Chev­ron Island” and he was fil­ming “Tony Rome.”) 1968-​1969.

The late Floyd Yost used to tell a story about being assig­ned to cre­ate an out­door board fea­tu­ring Irene Tsu dan­cing the hula on top of the Chev­ron gas pumps. Floyd attemp­ted to explain the com­po­si­ti­o­nal chal­len­ges invol­ved : gas pumps = strong ver­ti­cal ele­ment ; Irene Tsu dan­cing atop gas pumps = very strong ver­ti­cal ele­ment ; out­door board = strong hori­zon­tal ele­ment. This see­med to be lost on Ham­mer­man. Floyd was bund­led into a cab with Bob Hil­ton, the mana­ging direc­tor of BBD&O, and Ham­mer­man to view the pre­miere of the out­door board on Van Ness Ave­nue. Ham­mer­man was irate : “I can’t see Miss Irene’s face ! It’s too small!” Floyd again attemp­ted to explain the com­po­si­ti­o­nal dif­fi­cul­ties, whe­reupon Ham­mer­man said, “Well, make her HEAD big­ger!!” Floyd said, “Herb, you could have been Walt Dis­ney.” Ham­mer­man : “What?” Floyd : “That was Disney’s big inno­va­tion – he made the heads big­ger.” The cab drove off, lea­ving Floyd on Van Ness Ave­nue, and when he got back to BBD&O, he was no lon­ger employed there.

Chevron outdoor Irene on top of gas pump

Out­door board—Irene on top of gas pump by Char­lie Allen

As a sur­prise birt­hday pre­sent many years ago, my wife had the Chev­ron illus­tra­ti­ons fra­med for me. In the pro­cess, the tis­sue over­lays had been dis­car­ded. This com­pro­mi­sed their his­to­ri­cal value, since the tis­sues had ori­gi­nal Ham­mer­man client nota­ti­ons. (e.g. “more spar­kles on teeth!” “fix hair!”) Any­way, I have found that these illus­tra­ti­ons were the work of Char­lie Allen, one of the great Pat­ter­son & Hall illus­tra­tors, who pas­sed away in 2011. I’m sure many of you will recall him. He was a much more gif­ted artist than Clark Agnew, who did very well on the east coast, but could never have got­ten in the door at Pat­ter­son & Hall. I should have dug a little dee­per into that BBD&O trash. There was a lot of dis­car­ded genius in there.

John Cra­w­ford

This is the final ad for the art above


I enjoyed the recent sto­ries on ROMA and Chev­ron. Here’s anot­her from the P&H archi­ves. I remem­ber chat­ting with Char­lie about these ads. He thought it was a silly con­cept, but was glad for the work. And, boy could he paint a pretty girl.
Bruce Het­tema

Anot­her piece from the cam­paign


I’ve found a few exam­ples of ROMA in our archi­ves. It looks like they did more or the pro­duct illus­tra­ti­ons of bott­les and glas­ses, but I did find a Bruce Bom­ber­ger B&W ad.


Roma-artist-unknnown Roma-Bruce-Bomberger

For Love And Money

Our pre­vi­ous col­lection pre­sen­ted pos­ters that were done with “Love”, for no pay. Now I show this col­lection done for vari­ous reasons—and, for money. Assig­n­ments had chal­len­ges, someti­mes very dif­fi­cult, but I don’t remem­ber any illus­tra­tor or graphic desig­ner who didn’t love cre­a­tive work. There were always many com­mer­cial needs for posters—as large as out­door boards and some even small in size, which had mes­sa­ges worthy to be tac­ked up on a wall.

The cre­a­tive talents in the San Fran­cisco Bay Area were well known. The “Rock Pos­ters” iden­ti­fied a new cul­ture in the area. The cul­ture was shown in the “cos­tume” of the day. Levi’s men’s wear chan­ged dra­ma­ti­cally. Chris Blum, at Honig-​Cooper & Har­ring­ton cre­a­ted over 75 Levi’s pos­ters for Levi Strauss & Co from 1967 to 1984, hiring a num­ber of local artists.

1970s, “3 Leg­ged Levi’s,” Artist : Vic­tor Moscoso, Let­te­ring : Tony Naga­numa
1971, “Cow­boy,” Artist : Char­les White III, Let­te­ring : Tony Naga­numa
1971, “18 Wheeler Truck,” Artist : Michael Schwab
1974, “Levi’s Shadow,” Artist : Bruce Wolfe
1980, “1980 Olympics-​Cycling,” Artist : Nico­las Sidja­kov


My intro­duction to pos­ter design :

1-​In 1967, as I was still in the Belli Buil­ding, this Cali­for­nia Uni­ver­sity Class Reu­nion pos­ter was assig­ned to me through ADS Adver­ti­sing. Appa­rently someone from the “Class of ‘42” knew someone in the agency and the assig­n­ment came to my free-​lance stu­dio. The most dif­fi­cult part of the job was spa­cing and cementing the indi­vi­dual alumni names fra­ming the art­work.

2-​1969-This, small and inex­pen­sive flyer/​poster was for the night clas­ses that were offe­red at the deYoung Museum. I was then free-​lancing at 680 Beach Street and I would drive to the museum at night and “throw pots on the wheel”!

3-​In 1970, A.Carlisle & Co. asked me to cre­ate two layouts for Levi’s. This tied into fashion change at that time. One design was to be cho­sen for a pos­ter and sales fol­der. I was hired often to cre­ate layouts when several prin­ting hou­ses and art stu­dios were com­pe­ting with each other.

4- From Sep­tem­ber 1975 to Sep­tem­ber 1978, I wor­ked for the San Fran­cisco Bal­let.
I lear­ned a lot about this bal­let com­pany in those years because I was invol­ved with pos­ters, bro­chu­res, direct mail pie­ces and news­pa­per ads. By just chan­ging the colors and the type, this Winter/​Spring Sea­son pos­ter adap­ted well for the addi­ti­o­nal pos­ter for the spe­cial guest per­for­man­ces of Valery & Galina Panov.

5- In May of 1979, Ayer /​Pri­ti­kin & Gib­bons asked me to cre­ate a sim­ple B&W line illus­tra­tion of Mai­den Lane (their loca­tion) to be used on the cover of fol­ders for inter­nal use in that agency. On each of the prin­ted fol­ders, I was instructed to hand-​paint only the area of their sign—as I show here (I don’t remem­ber, now, the actual colors). Weeks after I was paid, I stop­ped by the agency and found that the art had been enlarged—larger than a pos­ter— to the height of their wall in their recep­ti­ons area !

6- Again I was hired only for a layout, its pur­pose was to get appro­val for the ele­ments of a pro­po­sed design. For the 1979 pos­ter for the San Fran­cisco Opera, La Gio­conda (pre­vi­ously assig­ned to Bruce Wolfe) I was instructed by Cather­ine Flan­ders, at D’Arcy-MacManus & Masius, to cre­ate a layout of a car­ved, stone (mar­ble?) lion with the scene of a “ship on fire” in its mouth. The type was alre­ady sty­led. The SF Opera appro­ved this layout and then Bruce Wolfe cre­a­ted the finis­hed art.

7- Since the early ‘70s, I wor­ked often with “medi­cal agen­cies” such as Vicom Asso­ci­a­tes. In 1982 at 901 Bat­tery Street, I was asked to imi­tate George Mont­go­mery Flagg’s image for their client, IVAC.

8- In 1985, again with Vicom & Asso­ci­a­tes, I had the chance to cre­ate the layout and the finis­hed art for a pos­ter for Cut­ter Bio­me­di­cal. Pre­vi­ous to the accep­ted layout, I pre­sen­ted 30 “thumbnail” ske­t­ches at 4”x 5”, as pos­si­bi­li­ties.

9- Skate Ame­rica Inter­na­ti­o­nal ’91 The full color art for this pos­ter and B&W ver­sion for news­pa­per ads were for art direc­tor, Gail Perry John­son,


The fol­lo­wing is a col­lection of pos­ters by vari­ous artists wor­king in the San Fran­cisco Bay Area.

A- Paci­fic Northwest, Uni­ted Air­li­nes, Artist : Stan Galli, Art Direc­tor : Eugene Raven, 1958

B- Ship­stad & John­son Ice Fol­lies, Artist : Larry Green. I remem­ber this pos­ter in color, but I could only find this, as shown in the 1964 ADASF Annual Show publi­ca­tion. This pos­ter was a big depar­ture from the usual “ice fol­lies” tra­di­ti­o­nal style. This was art directed by Jack Kee­ler at Campbell-​Ewald, 1964

C- Moby Grape /​Jack the Rip­per /​Big Brot­her & The Hol­ding Co., Artist : John Lich­ten­wal­ner, 1967

D- “The Silent Majo­rity”, Artist : Primo Angeli, 1969

E- Cliff House, Artist : Ste­phen Hai­nes Hall

F- SF Jazz Fes­ti­val, Pre­sen­ted by Ame­ri­can Air­li­nes, Artist : Ward Schu­ma­cher, 1994


San Francisco’s Art Clubs 1958 – 1984

In 1958, the 10TH Annual Exhi­bi­tion of San Fran­cisco Adver­ti­sing Art was a part­ners­hip of The Art Direc­tors Club and the Society of Desig­ners & Illus­tra­tors. In 1962, the San Fran­cisco Society of Illus­tra­tors was foun­ded. Some time before 1964, the San Fran­cisco Art Direc­tors And Artists Club was esta­blis­hed. Then Bill Hyde desig­ned the new logo and it became, in 1965, the Art Direc­tors And Artists Club Of San Fran­cisco.

In 1971, after copy­wri­ters and other graphic talent joi­ned the club, the title became the San Fran­cisco Society of Com­mu­ni­ca­ting Arts. In 1984, SFADC, the San Fran­cisco Art Direc­tors Club was loca­ted at Fort Mason.

Mem­bers Con­tri­bute Their Talents
Con­tri­bu­ting to the success of these clubs, were the many mem­bers who offe­red their exper­tise, time and energy.
The 1967 ADASF Exhi­bi­tion Annual (6”x 6”)
These pho­tos (cre­dit for pho­tos is una­vai­la­ble) show just some of those who con­tri­bu­ted their assis­tance for the success of the 1967 event. (Adele Smith was paid, but she con­tri­bu­ted much, much, more than her job des­crip­tion.)

Pos­ters And Mai­lers
For annual exhi­bi­ti­ons, spe­cial events and mem­bers­hip dri­ves — vari­ous mem­bers cre­a­ted the design for each pro­mo­tion and enlis­ted the gene­rous help from copy­wri­ters, typo­grap­hers and lit­ho­grap­hers. Here are just a few as exam­ples.

1 1966 ADASF “CALL FOR ENTRIES” for the 17th Exhi­bi­tion
Cre­a­ted by : Chris Blum, Typo­graphy : Timely Typo­graphy, Lit­ho­graphy : Gor­don Dett­ner Prin­ters

1967 ADASF “LUV-​IN” Sur­prise Party for the club’s secre­tary, Adele Smith
Cre­a­ted by : Bill Hyde, Copy by : Alice Harth /​Har­riet Hun­ter, Typo­graphy : Rear­don & Krebs, Lit­ho­graphy : NAVH San Fran­cisco Prin­ters

1967 ADASF “A NOBLE ‘GESTURE’” Mem­bers­hip Offer
Cre­a­ted by : Ann Thompson, Typo­graphy : Rear­don & Krebs Lit­ho­graphy : Dob­son, Inc.

1968 ADASF “eureka ! a mini­a­ture gold rush!”
Cre­a­ted by : Gerald Mel­cher, Typo­graphy : Head­li­ners & Falk Typo­graphy, Lit­ho­graphy : Paci­fic Lit­ho­graph, Co.

Cre­a­ted by : Mike Bull, (No other cre­dits avai­la­ble)

Cre­a­ted by : Ann Thompson, Copy­wri­ter : Larry McDer­mott, Typo­graphy : Rapid Typo­grap­hers,
Lit­ho­graphy : Lei­sen­ring Prin­ting

7 1969 ADASF & SF WRITERS CLUB “The 1969 Com­mu­ni­ca­ti­ons Fair”, twelve page bro­chure
Cre­a­ted by : Jerry Huff (show chair­man), Five full page illus­tra­ti­ons : Ed Taber, Typo­graphy : Reprotype Stu­dio, Lit­ho­graphy : Peter Wells Press

8 1970 SAN FRANCISCO AD CLUB Request for avant-​garde sub­mis­si­ons
Cre­a­ted by : Primo Angeli (Inclu­ded in a col­lection of “Ima­ges Of An Era : The Ame­ri­can Pos­ter” spon­so­red by Smith­so­nian Insti­tu­tion, 1976)

1969 ADASF “GENISIS 1” FILM EVOLUTION (An Exci­ting Col­lection of Stu­dent Films)
Cre­a­ted by Mike Bull, (No other cre­dits lis­ted)

Cre­a­ted by : A.D. Perry Gor­chov, Design & Illus­tra­tion & Hand-​lettering : Dugald Ster­mer, Co-​Design : Ron Chan, Lit­ho­graphy : Can­non Press /​Char­les Doug­las Litho


Log In