Some of San Francisco’s Photographers

Some of San Francisco’s Photo­grap­hers plus Fred Sweger
Previ­ously I have shown photo­graphs of photo­grap­hers : Ed Zak, Holger Kreu­z­hage, and Bob Skelton. Here is a small collection of photo­grap­hers of the time.

Show Photo­grap­hers 1 through 9A&B
1- Jack Allen-​So much to say, so limited this space /​2- Fred Lyon-​Portraits of San Fran­cisco /​3- Milton Halber­stadt – A top “table-​top” speci­a­list /​4- Walter Swarthout-​High fashion, natural portraits and captured beauty of dance /​5- Tom Vano, Jon Wells, Hank Fagliano and Morton Beebe-​A very successful team of talent /​6-​Tom Moulin-​Expertise beyond the historic Gabriel Moulin Studios /​7-​Byron McGraw- Black and white photo­grapher and corpo­ra­tion presi­dent at “Copy Service” /​8-​Tom King-​Personality photo­grapher for the Examiner, American Presi­dent Lines and neig­hbor­hood musi­cians e.g.Bola Sete /​9A&B-Chuck Weckler- Photo­grapher indoor and outdoor—in San Fran­cisco and out on the Sierra Moun­tains on November 4, 1964

This collection, below, was sent to me about two years ago from Kristofer Sweger and I somehow did not present it at that time. Kris­to­pher has been very patient.
Hi Ann,? As promised, I am sending you some work-​related pictures of or by my father, Fred Sweger.

Fred Color Man 1953

Announ­ce­ment from Dickey and Harleen Studios in 1953 when Fred Sweger joined the firm. Left to right : Ed Dickey, Carl Harleen and Fred Sweger. At the time, Fred was one of a small number of people in the area who produced high quality dye transfer color prints. That may be why he is shown in the photo covered with cyan, yellow and magenta.

Show Sweger photos 1,2,3,and 4
1-​Dickey and Harleen Studios announ­ce­ment of new phone number, circa 1958. Would this work nowa­days ?
2- 333 Sacra­mento Street, San Fran­cisco
3-​Dickey and Harleen Studios front door, about 1960. The door color design was by Fred Sweger, ?possibly influ­enced by Mondrian, but using more than just the primary colors.
4-​The fourth photo is from 1950, during a rela­ti­vely short period when Fred worked at Moulin Studios. Photo of Irving Moulin with Fred Sweger and another man in the back­ground, taken in 1950 at Moulin Studios.??

Best regards,??

Kris Sweger

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.
Ann Thompson

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.

Ann Thompson

Printing Films

Preser­ving the Visual History of the Printed Word A.K.A. prin​ting​films​.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.
Enjoy.
Piet

Prin​ting​Films​.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 Prin​ting​Films​.com

Qualified ?

No.

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.

Ann Thompson
(Editor’s Note : Art Director, Designer, Illus­trator and Mecha­nical Artist—all the artwork in this post is Ann’s)

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