A Letter, With The “Rest Of The Story”

We had a previous story about Alvin Duskin who stepped away from creating women’s wear and into San Fran­cisco poli­tics. I seem to remember from those days, that if he had not made such a fuss about the height of the planned Transamerica Pyramid, the building would have been taller than it is now. (Also more stream­lined, without the “ears” that stood out when the shorter design revealed the top of the elevator shafts.) William Pereira’s plans for the Transamerica Pyramid were changed. If the Pyramid were its orig­inal planned height – all four sides would be smooth and flat.

A 50-​year update : (DEC. 29, 2017, A few lines from the NY Times, by David Stre­it­feld).
The protests had an effect. The Transamerica Pyramid was shaved down from 1,040 feet to 853 feet. A propo­si­tion in 1971 to limit build­ings to six stories did not pass, but it was one of those defeats that is also a bit of a victory. The Transamerica Pyramid remained the tallest in the city until this year.

John Hyatt wrote to me to intro­duce himself and he added more to the story of that time.

Ann,
Thank you for responding to my email about Sam Coombs. I find the “Geezer” site to be over­whelm­ingly nostalgic. Also, your adver­tising art collec­tions and knowl­edge about what went on in San Fran­cisco in the 50s, 60s and 70s, is extra­or­di­nary. If I am reading things correctly, you seem to have been in an office at one time in Belli’s building, just across from Wilton, Coombs and Colnett on Hotaling Place. I worked at WCC as an art director fresh out of Art Center School for seven years, 1968 — 1975. Lowell Herrero did a few illus­tra­tions for me that were wonderful… typical Lowell. I didn’t realize that he had an office so close to mine, perhaps he had move by the time I arrived at WCC.

Reading some of the recol­lec­tions on the Geezer site, that I assume you wrote, I ran across the mention of Alvin Duskin. You may find a little story some­thing of interest to add to your history of San Fran­cisco. Duskin was a client of WCC when I first started working there, but quite unex­pect­edly, he quit his dress making busi­ness for what we were all told was his desire to enter poli­tics. The company was bought by a fellow named Paul Maris. I did several ads for Vogue and Women’s Wear Daily for Maris — attached is my comp and a proof of one of my favorites for Hubba Hubba (just what you need, more clutter for your collec­tions, sorry). As this story goes, head­lines in the Exam­iner and Chron­icle one morning exposed Paul Maris as a ficti­tious person whose real name was Gerald Zelmanowitz, an infor­mant for the Federal govern­ment in a case against some New York mobsters. Duskin’s company was purchased as a witness protec­tion guise to protect Maris/​Zelmanowitz and his entire family. With Maris’ iden­tity exposed, the entire company disap­peared in the blink of an eye — a WCC’s account person went to the Maris factory, south of Market, to discover virtu­ally everyone gone… doors unlocked, lights burning, phones ringing.

The attached ad was done by photog­ra­pher, John Peden. The Hubba Hubba double knit dresses looked so awful when worn by the models that we just had the girls hold the dress up as though they were looking in a mirror.

The bright colors and graphic shape made a splash against the model, reduce to gray tone (some custom four color masking done by Walker Engraving). The dresses sold like crazy. John Peden’s wife, Barbara, ran into Maris months later at a restau­rant out in the Avenues one after­noon. Barbara had been working with the Maris company as a designer. A fleeting hello was the last we ever heard of Paul/​Gerald.

John Hyatt

Amado Gonzalez

We knew Amado Gonzalez as our very good friend. I am only finding out now of his full range of illus­tra­tion which gave him a cast of impor­tant (local) clients throughout his career. These were years when local busi­nesses, food and wine indus­tries completed all of their adver­tising needs in one place. Art studios, adver­tising agen­cies, lith­o­g­ra­phers, type shops and printers were all here. There was no faster service than within our local art commu­nity. The Society of Illus­tra­tors of San Fran­cisco (Amado was pres­i­dent in 1962) – ADASF, the Art Direc­tors and Artist Club of SF – and The San Fran­cisco Copywriter’s Club had members that worked and social­ized together.

Amado was born on September 13, 1913 in Guadala­jara, Mexico and following a five-​year stay in Mexico City he arrived in San Fran­cisco in 1927. He studied at the Cali­fornia School of Fine Arts (on a schol­ar­ship) as a muralist and portrait painter under Lucien Labaudt and Ray Boynton following the influ­ences of Diego Rivera, Orozco, and Siqueiros.
(Note : In the early ‘30s, Lucien Labaudt accepted the assign­ment from the Works Progress Admin­is­tra­tion, to deco­rate the walls and stairway of the Beach Chalet located along the Great Highway at Ocean Beach, -Top two exam­ples shown below.)

Coit Tower Murals – (New Deal Agency : Public Works of Art Project (PWAP)
Lucien Labaudt, “Powell Street”, 6’x32
Ray Boynton, “Animal Force and Machine Force”, 10’x36
Until 1938, Amado worked for the WPA – assisting Lucien Labaudt and Ray Boynton on the Coit Tower murals (above).

Amado had a one-​man show of his work at the SFMOMA in 1935 and had many awards from the Society of Western Artists. Following this, Amado painted murals for the San Fran­cisco Common­wealth Club and the Bank of America. Amado then became one of many top illus­tra­tors at the very large art studio founded in 1921 : Patterson & Sullivan – 1939 : Patterson & Hall.

This first photo, below : in the 1930s – shows Haines Hall creating an illus­tra­tion for an ad for Sperry Flour.
LtoR : Gib Darling, Alton “Jack” Painter, Amado Gonzalez, Stan Galli, Haines Hall.
Stan is the model. I’ve added a portion of the printed Sperry Flour ad that was being created at the time of this photo.
2nd : Amado, close-​up.
3rd : 1960-​March 31st-​Photo of Amado Gonzalez – Reno Evening Gazette announcing a showing of Amado’s oil paint­ings completed for the Bank of America.
4th : 1961- At the preview party of the “12th Annual ADASF Exhi­bi­tion” on the fourth floor of the new Inter­na­tional Building. Amado is lifted up to greet the wife of Exhi­bi­tion Designer, Dick Moore.
5th : 1962-​Amado pictured in ADASF newsletter (Gallery West”) preparing for the “Port­folio ‘62” preview party and show.
6th : 1969, At an ADASF event, Amado pictured, also Mildred “Sophie” Porter, illus­trator.
7th : 2000s Amado at a “Black Tie” event”

Now we show, in rough sequence, Amado’s major clients and the illus­tra­tions that he created for them :
Dates and assign­ments unknown. Art samples ? Line art : ‘30s ? Halftone:’40s, Color : ‘50s
1900s – Cali­fornian Inc., “Golden Gate Bridge”, “Top of the Mark Hopkins Hotel” –tourism
1930s – Southern Pacific Hotels – tourism
1930s – California-​Stanford Foot­ball Poster/​Program – sports (P&H created many in the 20’s – 60’s.)
1931 – 1941 – Stan­dard Oil – product
1946 – Amer­ican Pres­i­dent Lines menu covers – tourism
1950 – Santa Barbara, CA – tourism
1950s – Bank of America -18 Ads for Fortune and Time maga­zines – busi­ness
1960 – US Air Force – support
1960s – The Examiner/​Chronicle-​California Living Section (69 paint­ings for Sunday Supple­ment) Later pack­aged as a set of 28.) – publi­ca­tion
1963 – Fireman’s Fund Ins. Co.– busi­ness
1965 – 1968 – Cali­fornia Wine Advi­sory Board – product

Amado’s commis­sioned posters for the Cali­fornia Wine Advi­sory Board brought a lot of atten­tion to the new quality wines devel­oping in Cali­fornia, where up to then only low esteem jug wines were known.

From 1966 and on for 28 years, Amado was a part-​time instructor in the commer­cial art depart­ment at City College of San Fran­cisco. CCSF was the loca­tion of one of Diego Rivera’s major murals. Amado could often see the work of the artist that inspired him so many years earlier.

In 1972, Amado returned to painting portraits. 16 are at many loca­tions at UCSF Hospital and many are at private homes. He contributed his talents and was a member of the Family Club and the Bohemian Club.

Amado and Mary and family lived on Delmar Street, just a few blocks from Buena Vista Park. Mary was Greek– they were a lively couple. As salt and pepper can enhance a meal, these two added so much to any party or club occa­sion.
Memo­ries are wonderful. I see them, still.

Ann Thompson

Bruce Hettama added :
An inter­esting note, I inter­viewed Amado just before he passed away (at 94 years). He was still sharp as a tack. When he died his kids took over his house and tossed his port­folio in the DUMP ! Fortu­nately, an art student found it and they tracked me down. I bought one (bathing suit lady), and scanned all the others.

We credit : Bruce Hettama who created the website : P&H Creative Group.
(You can easily access the site at our link found at the column at the left, titled : Places We Like.) The video there, http://​phcre​ative​.com/​h​i​s​t​o​r​y​v​i​d​e​o​.​h​tml covers P&S’s and P&H’s adver­tising history in San Fran­cisco. We thank him for many of his personal scans of Amado’s orig­inal artwork and prints and for his support for the Geezers­Gallery.

Note :
Other than the images, sent by Bruce Hettama, the source of the other images that I have shown are from infor­ma­tive websites and online selling sources. Luckily, many posters and prints are avail­able !

Working Toward a Career

If you know of students in high school, who are wondering which path to take, tell them that there are many choices that can lead to their final desti­na­tion.

An Art Student’s Port­folio (Early 60’s) In today’s art scene, my port­folio would be laughed at. The art tools changed through the years and now I know the beauty of the digital advan­tages. There is today, no need for that huge black port­folio – just a small thumb-​drive would do the job. But the generosity of time that was given to students in the past seems to have disap­peared. Resumes are required and pre-​interview selec­tions are made before personal meet­ings. It is not now, as friendly as it was.

FAMOUS ARTISTS SCHOOL My first art samples for my port­folio came from what I had learned from the “Famous Artists Schools” corre­spon­dence art course that I started while in my senior year of high school.

My family’s move from Santa Rosa to West­lake, Daly City, before my last year in high schooI, left me with no connec­tions with my previous five years of classes or friends. I created “my art studio” in our family’s garage and I put all my spare time and efforts in drawing and completing the FA lessons, which were mailed to West­port, Connecticut. The lessons empha­sized illus­tra­tion. These correc­tions to my endeavors, shown below, were an obvious “eye-​opener” for my growth toward commer­cial art. The “Simple Simon” lesson gave me a lot of notes to follow when I later re-​drew to subject in line only. In the “circus” assign­ment, I was taught that a painting is not an illus­tra­tion.

PACIFIC TELEPHONE When I grad­u­ated from high school, at age 17, I was still mailing my FA lessons but I was far from able to find employ­ment as an artist. My mother suggested that I pay rent – “Rent?” “But I live here!”

Soon, with a personal connec­tion from my aunt from her WWII long-​distance oper­ator job – I found a job at 3rd & Channel (San Francisco’s longest building) where Pacific Tele­phone Co.’s direc­tory was produced. In those days, banana boats came through the (lifted) Lefty O’Doul Draw Bridge. Work friends and I would sit along the building’s south side eating our lunches, watching the bananas being loaded ashore.

The direc­tory job taught me proof­reading marks. I knew at the time, that the “yellow pages” were produced on the next floor above and small spots of artwork went into some list­ings. But I never took the elevator up to see what might be possible for my level of art training. Thinking, now, of the whole different direc­tion that my life would have taken, I am glad that my inse­cu­rity, held me back.

CITY COLLEGE of SAN FRANCISCO After eleven months at Pac Bell, my mother found a 3 line announce­ment in one of San Francisco’s news­pa­pers offering a “night, adver­tising class” at Lincoln High. There, I met William Davis who was about to join the faculty at City College of San Francisco’s adver­tising curriculum. He convinced me to quit my job and sign-​up at CCSF. The wages that I had saved covered the amount that I owed to my parents for the FA lessons, my on-​going rent, and the art supplies and books that were needed.

CCSF offered lessons in figure drawing, lettering and type design, graphic design, pack­aging, art history, slide and film presen­ta­tion and finally, an intro­duc­tion to art produc­tion and guid­ance in creating a port­folio to show my work. One of my final art assign­ments was a pack­aging concept. Mine was one of three designs that were reported in the college’s news­paper.

(Note : Only as I was scan­ning this college paper did I, for the first time, read this other story in the paper. Never following sports in those days, I found this, an insight into the early life of Mohammad Ali. Appar­ently he took in laundry.)

I had a class assign­ment where the students were to mimic a famous painter to adver­tise a product. I chose Henri Rousseau. I lost my painted rendering of the product that was placed at the bottom-​left of a 2” white panel with just a few copy lines and the Weil logo.

The college had events and art students could donate their art and get a printed sample.

Another lesson learned was that printing on a colored stock, required that the paper had to be lighter than the inks – unless there was the budget to print, in this case, many passes of white and yellow. The impact of my orig­inal sketch was lost, but I did get a printed sample for my port­folio. The lettering class taught all aspects of type and how to “comp it” in a layout.

The figure drawing class was my favorite. Besides drawing with char­coal, conté crayon and pencil this was my first time using a Flo-​master pen. The trick was to keep the nib fairly dry.

ACADEMY OF ART In 1961, CCSF awarded me a (June-​July) summer schol­ar­ship at the Academy of Art on Sutter Street (then, its only loca­tion) with classes in fashion, oil painting, figure drawing and on-​location sketching. One loca­tion was Tele­graph Hill and the instructor was Richard “Pappy” Stevens, the school’s “founding father”. The three sketches below are from one morning’s class. Then, near noon, our class would retire to a coffee shop (where Scoma’s now stands) and “Pappy” would “hold court”. I have no other samples from the summer classes. The value then, of the summer schol­ar­ship, was $150.

IMAGINATION, INC. Several of Mr. Davis’s students and I had a chance to work part-​time as an cell-​painters for Imag­i­na­tion, Inc.’s animated commer­cial for Chevron. The loca­tion was on Kearney Street and it was exciting to have an art job and arrive early to work. Also there was a tempo­rary job with an animator, Milt Kerr, who had rented space in Gabriel Moulin Studio on Second Street.

FIRST INTERVIEWS I had grad­u­ated from CCSF. This was when I began looking for work in adver­tising art. It was June of 1963 and I was twenty-​one. Was I an illus­trator, a graphic designer ? Did I have a creative talent in adver­tising for an ad agency – to create slogans, create layouts ? Should I inter­view with ad agen­cies or art studios ? I tried both.

The large black port­folio that I carried as I searched for work consisted of samples of my efforts rendered in oil paint, water­color and gouache, ink, graphite pencil and pastels (chalks). It was diffi­cult rendering sharp edges with pastels. At that time, felt-​tip color markers did not exist in a large range of colors. The first Magic Markers were uncom­fort­able – a small bottle with a felt-​tip and metal cap.

(In the column at the left, is a “favorite site”: Lou Brooks Museum of Forgotten Art Supplies.)

The collec­tion below shows the usual black port­folio, a story­board and three ad concept samples. There were also 17 addi­tional subjects from which I would choose a small selec­tion that would be of certain interest to an ad agency – concepts, copy, and layout styles for an ad agency­ – or items that were more illus­tra­tive directed toward an art studio job.

I made very many appoint­ments. The top art direc­tors and artists, in those days, would give a personal inter­view and offer a critique of a student’s port­folio. A few that viewed my port­folio were : Herb Briggs, Sam Hollis, Tom Gleason (ad agen­cies)– and Richard Evans and Lowell Herrero (art studios). Given allowance for being young and a student, everyone was very kind, but I didn’t find employ­ment.

WELLS FARGO BANK Then in September of 1963, with a refer­ence from my sister and her friends, I became first a clerk and then a stop-​payment clerk for Wells Fargo Bank on Grant and Market Streets. In my off hours, I kept clip­ping refer­ence and styles for the “morgue” (a scrap file) that was suggested in the FA instructions­ – and I kept prac­ticing art styles. I wasn’t very disap­pointed being at the bank, because I was improving my skills at home and I still made contacts with profes­sionals.

LAST INTERVIEW After four months at the bank, again Bill Davis nudged me into a step that put me on the best path for my future. Butte, Herrero & Hyde at 722 Mont­gomery Street (where I had inter­viewed previ­ously) had employed two artists, Chuck Wertman and Mike Bull, who had decided to free-​lance. I showed my port­folio, but BH&H needed studio skills from me – which was all that I needed to learn to run a successful studio. (I never presented my port­folio again.) A year later when I was 22, BH&H dissolved their part­ner­ship and I started my self-​employment at 728 Mont­gomery Street, renting space from Bill Hyde. I was able to be an illus­trator and an art director, both !

GOOD TIMING AND BAD In my search for employ­ment there was one big lesson : timing.
When I had to step off-​track from my ambi­tious goal, taking other employ­ment–

I kept growing by improving my skills and most impor­tantly, I stayed open to the sugges­tions from others ; my aunt (Pac Tel), my mother (the Lincoln High night class), Bill Davis (CCSF), my sister and friends (WFB), Bill Davis, again (BH&H) and Butte, Herrero & Hyde supporting me into self-​employment.

Each choice I made took me in a new direc­tion. Whether it is a “fork in the road” or the “up- button in an elevator”, a person’s life will change. If you know a young student in need of a sugges­tion, if you see or know some­thing, say some­thing.

Like my mother, I still clip oppor­tu­ni­ties from the news­paper and now, also, from the web.

Ann Thompson

EARTHQUAKE, Feel The Pulse !

At 5:04pm, October 17, 1989, I was in my room on the second floor at One Lombard Street when the words in my hand : “Feel the pulse of the City by the Bay”, described the shaking under my feet ! It was a 6.9 magni­tude EARTHQUAKE !
Growing up in Cali­fornia, the rule that I was taught was to stand in a doorway. My room with windows to the street had an exit only through sliding glass doors.
I had been working on a Vicom Asso­ciates assign­ment that was an invi­ta­tion for the AAD “Recep­tion for Resi­dents” hosted by Syntex. (Syntex Corpo­ra­tion was respon­sible intro­ducing oral contra­cep­tives and anti-​inflammatory drugs.)
I had used markers for my layout, but then I thought to see how it could be accom­plished on the Apple that we had at home. At that time, large pixe­lated art would be the result. I was surprised when the agency went for the idea – as it would show only what was possible at that time !
Being left-​handed and uncom­fort­able grip­ping a square mouse with the long tail, I attempted to develop some “computer chops”. The mouse was attached to the right of the keyboard so I even tried using my right hand. Either way I was pretty clumsy. My first attempt shows the general elements. Then I devel­oped each section of the illus­tra­tion. The computer gave me the oppor­tu­nity to piece these sections into the one full image. Back at the agency, a nega­tive was made. I was returning to my room with the photo­stat, when the earth­quake hit. You can see that the photo­stat is wrin­kled, where I clutched it as I stood within the frame of the open sliding glass doors.

The elec­tricity in the agency was off. Only some outside phones (land­lines) were working. The rooms that had these phones were without windows so you had to light a match to see the keypad of the phone. There was the smell of gas outside in the streets, but only faint in the agency. My calls were to my home and family and then to my aunt who lived out in the “Avenues”, the Sunset district. The next calls were to my friends that our after-​work “Birthday Get-​together” was off. Almost everyone had left the building. (There was a young single guy in the agency, (telling this later) who found himself stuck as a refrig­er­ator momen­tarily pinned him against a side wall. There was another employee in the kitchen at that time and he said that he thought : “Here I am and the last face I see, will be hers”!)
There is much to read of the destruc­tion in various parts of San Fran­cisco. My route, if I had gone home, would have been past the fire and smoke in the Marina district.

Heading out to stay with my aunt, I got my car from the rooftop parking, then down three levels and south to the Broadway tunnel. “Strange” I thought, “no traffic in the tunnel (?!)”. This was not a smart choice, but after­shocks were yet to happen. I stayed overnight with my 74-​year-​old aunt. The next morning, after listening to the news of the exten­sive damage with on-​going rescues, we decided to (of all things) leave her place and visit the earth­quake exhibit at what was then the Stein­hart Plan­e­tarium in Golden Gate Park. As we stepped up on the plat­form that repli­cated the shaking of a strong tremor– the next in line was a young father telling his little boy : ”Don’t be afraid, see those two old ladies can do it!”

When I was back in the agency, thinking that the word, “pulse” (“earth­quake”) might scare off the invited, I asked if the title of the invi­ta­tion should be changed. Again, I was surprised by their deci­sion– “Go with it, as is”.

Ann Thompson

St. Patrick’s Day Layout Lesson

When I was just out of high school and enrolled in the Famous Artists Course, the Spring 1960 issue of their maga­zine was sent to me. Two pages described various approaches in arranging a set of five elements for a layout of a news­paper ad. The lesson offered nine different arrange­ments of size and alter­ation of the elements. There was an expla­na­tion of each of the versions – and the reason for choosing #8.

I never referred to that lesson. Years later, as I produced many layouts, a client often empha­sized the impor­tance of each element or the format, size and length of head­line or columns of type – all influ­enced the choices that were possible. Some ads converted to other sizes, one page, double page, two columns, etc. and each had to carry the basic “look” of them all.
The biggest variety of choices, I found, was when there was full freedom in illus­trating in-​and-​around the needed parts. I was never sure of the best choice. I felt that if I explored as many possi­bil­i­ties that I could in the time allotted, I could leave it to the client to make the choice.
These very rough full-​sized “thumb­nails”, below, were presented to the San Fran­cisco phar­ma­ceu­tical agency of Rain­oldi, Radcliffe & Bolles on November 10, 1980 for an invi­ta­tion needed for a gath­ering in Boston, on St. Patrick’s Day, March 22, 1981. Client : Cutter Labo­ra­to­ries.
Here are the 25 possi­bil­i­ties and the last one shown is the printed invi­ta­tion.

And – you will see, I had been showing four-​leaf-​clovers ! Sham­rocks have only three leaves.
(Just now, I looked up “sham­rock”. I found out that the sham­rock was the image used by Saint Patrick to illus­trate the doctrine of the Trinity and it comes from the Irish word : seamróg.)
Every St. Patrick’s Day, I had seen the deco­ra­tive three-​leaf sham­rocks. I might have noticed my mistake before presenting my sketches or did the agency catch my error ?
If the four-​leaf-​clovers had been spotted only when I submitted my finished art, I would have been required to correct that area with a patch. IF the error, unno­ticed, went to print – it would have been a very expen­sive re-​do. Lucky for me, this lesson in layouts taught me to ques­tion if I had the correct image of every element required.

Ann Thompson