When a very “cool” campaign turned very cold.
I first planned to show this collection of the artwork of which I felt quite proud. Now, I feel that I should explain why I was so very sad (not about my loss of work) when the educational campaign ended.
The “cool” campaign :
From1978 to 1986, I worked with many pharmaceutical /healthcare agencies on assignments from Cutter Laboratories. I knew nothing about the Cutter Laboratories, and in those days and I would have found it difficult to do research. I was interpreting the copy of many agency copywriters for Cutter Biological—presenting various patient educational media for hemophiliac patients and their families.
First, there was a kit of 14 exercise cards. These were drawn in black line and printed with overlays of acetate for areas of color.
“Inside A Bleeding Joint”, a 20 minute color slide presentation with cued sound, included two presentations which were offered to educate about the hemophilia condition : “A few words from Harold as you start your home care program“ (more than 50 slides) and heredity : “Harold talks about how he inherited hemophilia” (more than 70 slides). Saving time and money, the two full slide shows were illustrated with felt markers.
Because a slide projector would show a patch or any corrections of the art—if I made a mistake, I would have to start over.
Below are two examples of the art for slides. The two take-home brochures, that used some of the slide art, were used in sequence with the presentation. I also show the box that held the slide tray and audio cassette.
There were three, 24 page, storybooks, each needing 10 full-page illustrations. There were three matching 16 page coloring books using just the black line art. All of these were for the young patients to read and learn about coping with their physical problems. The game, folded to fit with the books was offered also. For the finished painted art, I used Dr. Ph. Martin’s Radiant Concentrated Watercolors. I was able to paint in my studio at home.
The storybooks were written by : Nan Friedlander /Designed and Illustrated by : Ann Thompson, 1978-1980. The pharmaceutical /healthcare agencies for all of the above jobs : 1977, Barnum Communications /1978, Vicom Associates /1979 &1980, Bachrach Ketchum
ECHO—Education and Communication for Hemophiliacs and Others.
These assignments came to me from various pharmaceutical ad agencies.
The 19 issues of the publication, “Echo” had many informative articles and reports for the family and patients of hemophilia.
This center spread, “Just For Fun”, was for the youngsters who had the condition. There were letters from families, sent back to the publication with thanks for the two pages of interest for their child. The finished art was rendered in markers. There were 19 assignments for this publication. In 1981, I got the first assignments from Bachrach Ketchum /Ketchum Medical. In 1983 “ECHO” moved to NYC to Gross Townsend Frank Inc.—and then in June of 1984 to Rolf Werner Rosenthal, Inc.—and in 1985 to World Health. There were various art directors and writers. I was never informed of the change of agency, the jobs just appeared, by phone and mail, in time to produce by the next issue. I would send (by mail) the subjects as a layout showing how the type would fit. When OK’d, I would send the art areas in place for the agency to prepare it for the publication.
Assignments for the ECHO “Just for Fun” pages : 1981-1983, Botsford Ketchum /1983, Gross, Townsend Frank, Inc. /1984, Rolf Werner Rosenthal /1985 &1986, World Health
turned very cold :
I had felt that my illustrations helped educate and support those with hemophiliac conditions. It was the one time that I felt that I had made a patient feel better about their need to take on preventive care.
This, one of my most rewarding series of assignments, now reminds me of the fact that as I worked—I was not aware of “the whole story of the pharmaceutical companies nor the risks of their products”.
I was receiving assignments for the “ECHO” in July of 1982, when the concentrated blood plasma products were found to be a source of HIV and hepatitis C. The two products (concentrated plasma) had been collected from donors that had no previous testing. Cutter Labs, was one of four supplier of these tainted blood products, and their actions after that date caused the horrible world-wide tragedy for hemophiliacs, of all ages.
This was the time, before the public had easy access of information on the web. The Information about infections didn’t reach patients, or me.
Cutter Laboratories began in 1897. Bayer, the German pharmaceutical company founded in1863, acquired the Miles Corporation in Elkhart, Indiana in 1978—which at that same time merged with Bayer’s acquired Cutter Labs. Cutter Biologicals was publicly shown to be “a division of Miles Labs” to hide Bayer’s WWII history. Bayer is now in many USA locations and has plans to merge with Monsanto.
Below are early images of these three laboratories :
Hemophiliacs, I read today, are offered two types of products : plasma-delivered and recombinant factor concentrates—and that each of these is treated extensively to eliminate viruses and other contaminants.
I hope that there are new teaching publications and other items to lift the spirits of persons who have hemophilia.
Interpreting art for a storywriter or copy writer
Interpreting art for a storywriter or copy writer
Following up on the previous post, regarding the challenges that artists (illustrators, designers or cartoonist must face)—artists often must read pages of description and determine how to present images that are as close as possible to the words presented.
In the past years, I have already shown artists that have this talent. Here are two more, John Larrecq and Joe Cleary. In 1963 John Larrecq had seven illustrations accepted the SFADA’s Fourteenth Annual Exhibition. Most of these illustrations had been assigned to John by an art director—but John’s talent in interpreting copy is evident in his illustrations for children’s’ books. This is where he shows a visual of the book’s character as described by the writer.
“A Single Speckled Egg” By Sonia Levitin, Illustrated by John Larrecq, Parnassus Press, 1976
“Just the Thing for Geraldine” By Ellen Conford, Illustrated by John Larrecq, Published, 1974
“TOM SWIFTIES” By Bill McDonough, Illustrated by John Larrecq, Tom Swifties Publishing Company, 1963.
“BRODERICK”, By Edward Ormondroyd, Illustrated by John Larrecq, Parnassus Press, 1969
Joe Cleary excelled in illustration for commercial jobs. From the beginning, illustrating “Boy’s Life” stories to illustrating stories in major magazines ; he caught the reader’s interest. Here are two images that were shown in the 1963 SFADA Exhibition Annual.
They are the same two illustrations that I had clipped from magazines that year. This was a kind of illustration that I could never even attempt—but I admired the work, so I saved Joe’s art in my artist’s “morgue” (my 2 drawer scrap-file of subject references and art styles). Because of the many years in the file, these samples were torn…but I show my clippings to show their detail and color.
Artist : Joe Cleary /Logan & Carey, Art Director : Asger Jerrild, Client : Saturday Evening Post, 1963
During my almost forty years as an independent contractor in San Francisco, I was often required to illustrate, following only copy for a variety of commercial assignments. Early assignments were to show just simple instructions.
California Casualty, double spread of 10 steps. 1967, Charles Matheny Advertising
Grade-Set, Self Indicating Color Grade Sticks. 1965, ADS Advertising
With cookbooks, the art spots did not require much thought unless it described special techniques or various steps.
“The milk-free cookbook” Mull-Soy Liquid /Neo-Mull-Soy Liquid, Syntex. 1971, Klemptner Casey
If copy was describing an analysis or description of a medical condition—illustrations could be humorous as with “TAKING CARE OF YOUR ALLERGY”.
In other cases, detail and accuracy needed to be very precise. There were 42 illustrations required for a 52 page 3 3/4”x 5½” pocket-sized booklet for LifeScan’s “ONE TOUCH”.
The requirement was to use the largest type possible for some patients with poor eyesight. I was able to “spec” (design, size and place the type) and create the dummy layout with “fine-line felt marker” instructional illustrations in place. When all was approved, the next step—the creation of very accurate finished art—demanded so many hours that I offered the assignment to illustrator, Dick Moore, who took over executing the tedious ink line details that were needed.
“TAKING CARE OF YOUR ALLERGY” Syntex Laboratories Inc. 1981, Vicom Associates
“ONE TOUCH II” Instruction Booklet. LifeScan, 1991, Rainoldi, Kerzner & Radcliffe
Interpreting assignments, following copy, demands more of the artist. I found the challenge most rewarding since I had full control of the results. I also present this collection, hoping to show ambitious artists that there are many needs for artwork.
Preserving the Visual History of the Printed Word A.K.A. printingfilms.com
If you understand : gara 12/14 U&lc fl/fr x 28p galleys 9am (or even if you don’t)
Printing Films is a site for those of us who love type, printing and its history.
I stole all this copy and made grabs from the movies that are shown on the site. Go spend some time at a place of memories. Maybe the smell of printer’s ink will come to mind.
PrintingFilms.com is a collection of vintage films that showcase the technologies and processes of printing, journalism, and typography. It was established by Doug Wilson in 2012 after his work as director of Linotype : The Film.
The collection started when Doug was given a box of 16mm Linotype promotional films by Dave Seat for digitization. In 2013, Carl Schlesinger (a former Linotype operator at The New York Times) donated his extensive collection of films to The Museum of Printing which assisted in the preservation of these films in 2015.
This film was created by the International Typographic Union to encourage their members to become more comfortable with the new “Cold Type” technology revolutionizing the typesetting industry.
Starting with an explanation of the hot-metal process, they feature the Intertype Fotosetter and then go through the entire photo-composition process. The film shows camera work, stripping, chemical development, and paste-up. It ends with an aerial view of the ITU building in Colorado Springs, CO.
“You and the World of Print” – 1976 – 19:02
“Where does print come from?” is the question asked at the beginning of the film and it attempts to show the process of printing from tress to final product. Using a few of the Kimberly-Clark Corporation “Graphic Communications Through the Ages” series of oil paintings, the film shows the history and technological improvements of printing.
A simple explanation of offset-lithography is given along with views of large, web presses, bindery techniques, and paper making. Created by the Printing Industries Association of Texas, the film ends with a pitch for people to join the printing industry and get jobs that will eventually become high-paying and skilled.
See more at PrintingFilms.com
In June of 1967, located in the Belli Building, I was only two years into free-lancing. Most of my assignments, up to then, were based on my training in design and illustration. Usually I was assigned only the artwork. An art director in an advertising agency would design the job, describe the art that was needed, and upon receiving my art—follow the job to its completion as printer-ready.
WALSTON & CO. Ad. Layout and Finished Art. Note : Ticker Tape Machines were still in use. ADS Advertising,
APPLIED TECHNOLOGY Layouts showing surveillance during the US Civil War. ADS Advertising
PALCO Saw Textured Redwood. Illustrations : of Redwood Tree and Application. ADS Advertising
California Casualty CTA &TCTA Auto Insurance Two folders, spot illustrations. Charles Matheny AdvertisingTHIODAN, FMC Corporation Trade Ad illustrations. ADS Advertising
KAISER CEMENT Trade Ad Illustration. ADS Advertising
Looking back to the time of this following story, I appreciate the fact that I was not dismissed for not having a required background—but was given the chance to tackle a subject completely foreign to me. Today, my résumé would be requested. With no listed studies in this subject, the job would be assigned to someone else. I would hope that clients consider an applicant who is willing and ready to open a study—and give that applicant the chance to give an interpretation.
I was called into an advertising agency where I faced a very technical assignment. (In high school and junior college I chose all “art” classes and avoided chemistry, physics—any technical studies.) I never had a class that would have helped me with this challenge.
Arriving at ADS Advertising, I was introduced to their technical copywriter, Harry Bodenlos, who handed me what seemed to be a full ream of papers describing “electron beam coating”. The copy for the planned 12-page brochure included the history of the procedure. There were no diagrams to guide me. I was to show the existing black and white photos of the equipment. The first read-through pretty well left me “blank”—but slowly, wading through it, while making visual thumb-nail notes—was fascinated ! I was able to style, count and organize the copy with places to hold small design examples—forming a full 10-page description and placing the photos inside the cover.
I had no one, during this time, overseeing my progress.
The agency presented my work to Temescal Metallurgical Corporation and soon I was told to “go to finish”. In those days, that meant illustration boards of each double spread. My black line art and the copy, in columns that had been set by a “type house”, were attached with rubber cement. Acetate overlays were attached to the boards for each of the red and blue color areas. Crop marks at the corners and “register marks” had to be position accurately. (I spell all of this out for those who now produce “printer-ready” files by computer.) The printed copies were well received by Temescal. Below, the most technical assignment that I ever had :
I saw Harry again at a reception, easily ten years later. He said that he had been very wary of giving the assignment to a 25 year old with just an art background. He said that Temescal had used the brochure—through the years—as a “training tool” for their new recruits.
From this experience, I believe résumés may be very restrictive. Many persons facing many kinds of jobs may be very qualified—by being interested in and capable of offering their talents in new venues.
(Editor’s Note : Art Director, Designer, Illustrator and Mechanical Artist—all the artwork in this post is Ann’s)
Commercially Christmas — And An Anticipated Event : The Pacific Crab-Bash !
December usually inspired Santa on billboards, cards, and ads—and Marget Larsen produced many holiday graphic boxes and wrapping paper. The ADASF Annual Exhibition gave her the Award of Merit in 1965. (Marget also worked at 901 Battery Street during the1980s, where she designed fabrics. I was in that location in those years and I would meet Marget briefly and also see our long time friend, John Pratt who was then an assistant to Marget.)
These outdoor boards are also from 1965.
Holiday Gift Boxes. Artist, Marget Larsen. Art Directors, Marget Larsen /Robert Freeman. Copywriter, Howard Gossage. Printer, The Finn Industries. Client, Intrinsics. (Photo : CA Magazine, Marget Larsen article, March/April 1988.)
B of A —Photographer, Lee Blodget. Art Director, John McDanials. Copywriter, John McDanials. Printer, Compton & Sons. Agency, Johnson & Lewis. Client, Bank of America.
OK-Used Cars—Artist, Lowell Herrero. Art Director, Gene Duffy. Agency, Campbell-Ewald. Client, Chevrolet Used Cars.
Yellow Pages—Artist, Henry Syverson. Art Director, Robert Watkins. Copywriter, Hal Atkins. Printer, Art Craft Poster Co. Agency, BBDO. Client, Pacific Telephone.
At Vicom Associates /FCB Healthcare, I was asked to tie-in “Santa” images with a line of pharmaceutical client products. The first four examples, below, were for Syntex Laboratories Inc.: 1987, two 4½” X 6 ½” “Happy Holidays!” cards. The two larger cards (the 2nd, so large, I show only the lower quarter of it) were for the Syntex marketing department.
The 1994 newspaper full-page for Genentech, Inc. was produced in one day ! Creative director, Lester Barnett, came into my room and asked me to wrap a fir tree around the already positioned type. Then off it went, out the door, and the next morning it was in the SF Chronicle on December 25, 1994.
I was also free-lancing for Pat Corman Public Relations, representing The Marketplace ; Santa was requested for their retail ads.
San Francisco suppliers : typography, paper, and printing companies in those days were so very generous with gifts to those who designed with these suppliers in mind. Pacific Lithograph Inc. was one of the favorite printing houses in San Francisco.
Doug Ballinger, Ed Roualdes and Dick Vrooman—were friends, and after working with them throughout the year—all was celebrated in December with the crab-feed that topped the “be there” list. The printed invites to this annual event were anticipated and word spread fast of the date when the very best marinated crab was served with garlic French bread and with bottles of wine to pick up for your table.
I don’t remember Pacific Litho’s location ; I seem to remember it on Vermont Street. There were places to park, then. After passing through the front door, the din of many voices and the whiffs of the huge amount of crab—pulled you into the huge pressroom. The crowd seemed to be the whole of the advertising community and the whole Pacific Litho crew. I remember talking with the pressmen, who were always so busy when we’d be there at a press check.
Here, above, is the iron-on invitation created one year by Lowell Herrero. In April 1976, I had moved my free-lancing to the pharmaceutical agency, Barnum Communications. In December, word in town was that year’s Crab-Bash invites had been sent—but nothing arrived for me. Rex Simmons, at my previous location, created this mock-up that got me in the door.