Plastics!

Plas­tics!
—about fifty years ago and today.

Then—
In January of 1972, I was designing the graphics for a plastic container to hold meal­worms – packed with thir diet of corn­meal, to be sold to ”bait” fish­ermen. (Dried meal­worms were and are sold as pet food and chicken feed.) But Mighty Mealys were prooduced to a larger size and sold “alive”! The printed promo mate­rial was for the bait shop owners. But they learned quickly to empty each package into a large glass container. (*If the product didn’t sell quickly, the shop would have been crawling). For a sale, the meal­worms with their corn­meal were then scooped out and counted and put into the Mighty Mealys plastic containers.
I still have one to show here. It is a fairlly stiff plastic and there are tiny pin holes around the lid for oxygen. The container’s instruc­tions says: to keep the pack­ages of 50 or 100 meal­worms out of the sun or heat and for longer life add a water source, such as an apple or a carrot.

I wrote of this project, here in 2011 (see: Geezers’ Gallery Pack­aging Worms) .
My report then, told how the sample package with the product inside — was left for too many days and the *meal­worms ate their way out of the plastic container.
Back then, we didn’t know that today there would be three swirling islands of plas­tics in the Pacific Ocean – each the size of Texas and giant walls of plastic trash – waiting in recy­cling ware­houses and collecting on remote Easter Island’s beaches.
The plas­tics, huge to micro­scopic, are diffi­cult to collect and impos­sible to melt, bury or burn.

Now—
Just about a month ago, in the San Fran­cisco Chron­icle of 122219, I saw this report that Stan­ford Univer­sity had recently discov­ered that meal­worms eat plastic.
Now, with one of the biggest trash prob­lems on earth — how can we cover our problem with these crit­ters that morph into beetles to fly off to a tastier diet in corn­fields?
Their excre­ment is only partially organic. There are chem­i­cals from the plastic in the drop­pings that are small enough to blow away. The report doesn’t explain how this research can affect the problem.

On 11020, PBS’s KQED presented an hour on plas­tics where it was said that a bacteria might dine on the chem­i­cals that are in plas­tics. And — will they be good bacteria or — ?
The PBS report told of highway surfaces made from one kind of recy­cled plastic because of it’s long life, but that use isn’t enough to make any differ­ence as re-use. Also footwear has re-used selected plas­tics. It is the 10 ft. walls of mixed plastic trash that is collecting on streets and floating in the seas.
Boycott of prod­ucts sold in plas­tics? Bring your own containers?
Make the purchaser respon­sible? Make the producers respon­sible?
Develop an organic, quickly degrad­able mate­rial to replace plastic?
The report showed a residual from beer-making that produced a plastic-like mate­rial that can even be eaten.
Some solu­tions are needed, SOON !

More, from then—
This was the time that the US market­place received a new kind of world­wide product from various phar­ma­ceu­tical labo­ra­to­ries.

I was free­lancing at that same time (1969 to 1974) with a small art studio (graphics*) in the Wharf­side Building (680 Beach Street, SF). Our loca­tion was next to the offices of Klemptner Casey, a phar­ma­ceu­tical adver­tising agency with Robert Buechert as Creative Director. Our group was able to be their art service for most of their clients’ needs (as well as our other accounts in San Fran­cisco).
KC had Syntex Labs as their client, which had recently won approval of one of the first oral preg­nancy contra­cep­tives. The “pill” became very contro­ver­sial but it was also the time of “women’s liber­a­tion era” in the USA.
Some worried about side effects — some objected that the oral contra­cep­tive would prevent a “natural event”. Up to 1973 (Roe vs. Wade) untold numbers of females of all ages in the USA were dying from amateur proce­dures to stop preg­nan­cies. Even today, the U.S. ranks far behind other indus­tri­al­ized nations in maternal mortality. I didn’t have statis­tics when I ques­tioned my ethic on working on this product– but I felt that the pill would protect women and its promo­tion would not be a mistake.

The launch of the Syntex’s “Norinyl 180” and “Norinyl 1 – 50”— required medical journal ads, brochures, patient aid book­lets, pack­aging and more.
The 8‑panel (two panels were prescribing Infor­ma­tion) brochure, shown below, had a two-page photo. It was a very expen­sive re-creation of a 1934 labo­ra­tory. I never knew the photog­ra­pher or the team that set up the room. (There is one error – some­thing not accu­rate for the date of the fake labo­ra­tory.) The brochure, launching the product, was the complete story of the devel­op­ment of the oral contra­cep­tive. The Mexican barbasco yam was the basis of the “pill” that changed many lifestyles.

(Above, the tiny error in the re-created labo­ra­tory was the two “grounded” elec­trical sockets – below the white jacket hanging on the wall).

I show the pack­aging for Syntex’s Brevicon 28-day tablets. My orig­inal subtle colors, had to be changed to brighter colors because the pack­aging was changed to blue, instead of white. The floral illus­tra­tion needed to be brighter.

Phar­ma­ceu­tical labs and physi­cians were teaching women of repro­duc­tive age how to use their 28-day product each month. The labs couldn’t package the pills loosely in large quan­ti­ties – – each pill for the month had to be punched out in sequence from a card with a thin foil backing. The style of the dispensers, that held the cards, varied from one “brand” of pill to the next.
Promoting the style of the plastic dispenser was empha­sized to the Syntex product repre­sen­ta­tives that called on the physi­cians who would write the prescrip­tions for their patients.

Here are 10 of 72 images from a slide presen­ta­tion to Brevicon reps promoting Brevicon and the pill holder — in compar­ison to competing brands.

(Why did I only show men as doctors? My mother had a woman doctor, way back when I was born !)

The Wallette was a discreet cover for the pill dispenser. For the 5‑view layout, I acci­den­tally rendered one of the female hands darker than the others. It was a lucky error because that caused a discus­sion to choose, for this file folder, a hand-model with a tan– to suggest patients were other than white females.

In 1974, Syntex and other medical prod­ucts moved from Klemptner Casey to J. Walter Thompson and later from JWT to an agency named Barnum Commu­ni­ca­tions (with Bob Buechert at each move).
In 1975, I began free-lancing at Barnum Commu­ni­ca­tions (owner Jim Barnum was of the circus family). JWT had filed legal action for moving Syntex prod­ucts to his agency, newly located at 560 Pacific Avenue, SF.
Time went by, there were even “law-suit” ballads composed by the musi­cally inclined who worked at Barnum Commu­ni­ca­tions. Finally JWT settled. The case was dropped when Mr. Barnum agreed to “cease and desist working in the West”. That left about seven of the agency founders to inherit all of the clients.
1977 there was a move to 901 Battery Street with the new name Vicom Asso­ciates. After another move to One Lombard Street, a few years passed and it was acquired by Foote, Cone & Belding Health­care as Vicom / FCB.
Shown below: Two sections, of a 6‑page, 1992 Vicom / FCB Anniver­sary Party Report. I didn’t know of these parties, but was asked to illus­trate this one. (My illus­tra­tion of “The VICOM Culture” was flopped hori­zon­tally before printing, causing the “initial V” to look strange. The last three show: my window, my work­space and my parking space on the roof (just my car, another week-end dead­line).

One Lombard was my last San Fran­cisco loca­tion.
( Follow0up: So how many other prod­ucts, housed in plastic, did I promote? I’ll have to check back. But who even knew at that time, that one-use-plastics were piling up?)
Ann Thompson

Geezer Photo Get-Together 2019

Starting A Geezer Year­book Collec­tion

This year, for many reasons, our usual October picnic as viewed (“Gath­er­ings” in the list at the left) was discon­tinued. To keep a meeting going, I have reached out to our members by email and asked for contri­bu­tions to this new “Photo Gath­ering”. I wasn’t able to give everyone enough time to find a photo and write a few words, but I am happy to show this collec­tion which numbers the same amount as we had at the last picnic.

Note: It just shows you—I requested, of a creative group, a “Mug Shot” from the 1970s or 1980s — and what did I get? The first responses: a present day photo, two in front of a laundry?, two sketches, multiple photos! OK. I followed their lead, and I changed my “mug shot” to show myself at the drawing board. The couple of sentences requested also became better than I had imag­ined.
Ann

1‑Allen, Jack In 1966, San Fran­cisco maga­zine published this picture of me in their September issue, Volume 8, No. 9 — cred­iting me for my cover photo showing a couple in the early morning hours on Hotaling Place.
2‑Barnes, Brian Trouble finding stuff that is sharp and presentable. Seven­ties mate­rial is almost all on 35mm slide. This was taken around 1987 at Walter Swarthout’s studio for a Gallo shoot when I was at Hal Riney. I had my left forearm propped on the shoulder of a fly fish­erman male model who I cropped out for your purpose. Walt had us ‘horse around ‘after­ward and he captured this. Good times.
3‑Broad, David In response to your request — this is from 1945, Frank­furt, Germany, the war had just ended and we became the Army of Occu­pa­tion. After discharge I signed up as a civilian with a job as an artist. This was the Infor­ma­tion and Educa­tion Unit — Jerome Snyder was the leading art director along with several artists who as civil­ians before the war were famous in New York. Need­less to say it was a heady expe­ri­ence.
4‑Eckart, Chuck I’m still working, painting, and enjoying it. I have a large exhi­bi­tion coming up at the Seager Gray Gallery during February 2020. The how will be opening on my 85th birthday. I’ll send you an announce­ment just before show time. Chuck
5‑Ericksen, Marc Free­lancing in San Fran­cisco was the best of the best, a dream come true, and resulted in a load of wonderful memo­ries. The clients, the Niners, the creativity. the fun, and the wonderful Bay. We had it all!

6‑Escasany, Richard and Kenwood, Dale Richard Escasany and Dale Kenwood 1976 outside Wing Lees Elec­tric Laundry.
7‑Fugazzotto, Joel Here’s my photo. On stage in Holly­wood in the 1980s shooting a commer­cial with Vern Gillum and Friends.
Joel Fugaz­zotto
8‑Hardgrove, John Cele­brating my 75th birthday in Alsace, France. Finally retired after a 50-year career in adver­tising and graphic design. TV produc­tion assis­tant 1965 – 68: Guild,Bascom,Bonfigli. Dancer Fitzgerald Sample. 1969 – 76 Creative Director Aviva Enter­prises, Peanuts char­acter merchan­dise. 1977 – 2015, Owner, Creative Director, The Design Bunch, print adver­tising, graphic design for corpo­rate commu­ni­ca­tions, posters and package design. Currently, I’m painting commis­sioned water­color dog portraits, and golf courses at home.
9‑Heil, Ross Photo from this spring — 2019 — Walnut Creek. Vice Pres­i­dent — McCann-Erickson, San Fran­cisco — 1972 to 1984. Account Manager — Del Monte Corpo­ra­tion. (Sorry, no 1970s — 1980s image avail­able — the photo­stats have faded)
10-Lessig, Paul 2019, Sparks, NV. As an ‘Alumni’ of the Wyman Co.‘s Art Dept (and who in the 50’s & 60’s wasn’t) tallied-forth thru Account Exec­u­tive assign­ments with Hoefer, Diet­rick & Brown & Camp­bell Ewald. In 1965 joined Fromm & Sichel, World­wide Distrib­u­tors and Marketers of the Chris­tian Brothers Wines and Brandy as International/National Sales Promo­tion Director; then Pres­i­dent & CEO of its Marketing/Sales Promo­tion Agency in 1972. Left the asso­ci­a­tion and the Adver­tising Industry in 1977 to pursue other career inter­ests.
11-McKee, Gale Here is a photo of me helping an intern at Artworks in the mid-seventies.
I worked there from 1974 to 1978 as a rep and graphic designer, ( double commis­sion!)
and then married the boss.(Don McKee) Job secu­rity… LOL ! I have been painting and showing art at various venues in Santa Rosa and Marin since 2009. My last job was not in adver­tising
but was the perfect job for me: designer & illus­trator for Pottery Barn kids. I was there 8 years and the ONLY one who never used a computer…everything by hand!
12-Miller, Todd Oh yeah…if you got the photo I sent…t was taken by Don Hadley in my office at Bots­ford Ketchum in 1977.? We were working on the Olympia Beer campaign at the time. I don’t remember how he took the photo (4 photos like that in a square). I think Jill Murray may have been there. I know, it was after a lunch at Hoff­man’s Grill (Don and I always ordered Chicken Fried Steak with extra gravy at Hoff­man’s Grill every Friday). It was the first time Don laughed so hard beer came out his nose.(we were talking about how “creativity” works and Don asked who could define “creativity” and I said “that’s a very large bird that flies in the Andes”. I guess Don had more than his usual one glass of beer (kidding). For some reason, Don found my response very funny. Today…I would call it senility.
13-Moore, Dick During an interim between my years of commer­cial illus­tra­tion (as Dick Moore), I was living, painting & exhibiting throughout the Hawaiian Islands for 7 years (as Richard Moore). Lovely times. (Photo, 1981)

14-Nielsen, Larry Is this too off the wall? It was taken in Marrakesh, Morocco of me and our guide.
15-Nicholson, Norman 525 Pacific Ave Group, 1970’s
16-Novy, Norma Attached is my mug shot. Hey, this is nice since I’m all the way in Medford, OR. Hank and I will be home to Marin for 2 days this Xmas to see family and friends. I hope you all are doing well. Norma
17-Nusser, Kirsten Tirsbak Photo: Early 1980s, Kirsten T. Sinclair, 901 Battery Street, SF, as in-house free­lancer for FCB Health­care. 1966 – 1970: I moved from Esbjerg, Denmark, to Cali­fornia, first employed by Psychology Today Magazine’s graphics depart­ment in Del Mar, and then as a designer for Simonson and Shaw Design, in LA. 1972 to present: In San Fran­cisco, I often was a CD or an AD. With years of many and various clients, that also included my ”hands-on” and full computer graphic skills, I am now happily retired, volun­teering my design expe­ri­ence to help non-profits and others with requests that keep me busy.
18-Oka, Jane Teiko 1954: Schol­ar­ship to Cali­fornia School of Fine Arts in San Fran­cisco and grad­u­ated with a Bachelor’s Degree.
Employed as graphic designer by Patterson & Hall in San Fran­cisco.
Received a Fulbright schol­ar­ship in 1960 to study in Japan.
1962: Began free­lance career in the city with major clients and also created calen­dars, gift items, package design, posters, story­book and school­book illus­tra­tions.
Steadily working by mail with east coast clients — to get out of the house — assisted Marin County’s Wild­Care, and later, The Marine Mammal Center (for nine­teen years) as an “outside” interest. (1968 Photo by Tom King)
19-Pratt, John After a day’s shoot with Walter Swarthout in the Seven­ties, he wasn’t ready to quit. He insisted I sit for him with this result.
20-Pyle, Chuck Chuck Pyle, formerly young and hungry illus­trator. Currently, Old and teacher/department Chair at Academy of Art Univer­sity.
21-Riney, Lee I just sent you a photo of me when I was working at Foote, Cone and then Young & Rubicam. It was taken years and years ago by Hal Riney in my Tele­graph Hill studio, which cost $75 per month. We were soon to be married, and needed pass­port photos for our honey­moon to Europe.
As you know, I was the first of Hal’s five wives. Lee Riney
22-Rustad, Steve This was shot a few years back, on loca­tion at the Geyserville Gun Club (really, just a hipster bar. No firearm). I was directing an episode of Fermen­ta­tion Road, which was part of Season Two of the YouTube series: Spoiled to Perfec­tion.

23-Schumaker, Ward Me at the Jack Fischer Gallery for a showing of my trump Papers, last November 2018.
24-Somers, Dick Kauai, Hawaii. My wife of almost 56 years and I spend much of February and March on Kauai, almost every year. It is a place where one can truly relax.
25-Robert G. Steele Here are three photos from USAF Art Program. Many local illus­tra­tors partic­i­pated in this great program from the early sixties until about 2010, trav­eling and painting as guests of the USAF.
1. 1993 Air Force Art Presen­ta­tion at Bolling Air Force Base, DC. Rt. to left: Marc Eric­sson and me, Robert Steele (SF Society of Illus­tra­tors) and Matthew Holmes (Sacra­mento).
2. 2006 USAF Art presen­ta­tion, Andrews AFB
3. 2008 USAF Art presen­ta­tion. Wash/DC 2008.
26-Stewart. Bill The photo I sent was taken in my studio at home in San Rafael in mid 80s (I think).
I was working as an art director with Bots­ford Cons­tine & McCarty on the ?Olympia Beer account at that time.
27-Stitt, Jim Photo: Blair Heagerty / SFGate. Born and raised in Seattle, served in two different wars and armed forces — the Navy in WWII and the Marines in the Korean War — attended two different art schools on the G.I. Bill (including the pres­ti­gious ArtCenter College of Design in Pasadena), worked as a tech­nical illus­trator for Boeing, and spent 30 years as an art director for an adver­tising agency in Los Angeles. I didn’t care for LA so I came to San Fran­cisco, connecting with Hal Riney, and got a job at SF’s BBD&O as Art Director. I was offered the Spice Islands account at Dancer-Fitzgerald-Sample.
I’ve illus­trated 44 of the 45 labels for Anchor Christmas Ale, a beloved annual holiday offering from the 123-year-old brewery that features both a new recipe and unique hand drawn tree every year. Hand­made beers require hand­made labels.
From Jim’s daughter, Janis:
Jim was inter­viewed in December 2019 by CBS since Fritz Maytag and Anchor Steam Brewery is being honored into the Smith­sonian as one of the first micro­brew­eries.
As you can imagine we are all proud and excited, but Papa Jim is humbled as always.

28-Sweeny, Charlie, Art Director, Cunningham & Walsh, San Fran­cisco
29-Thompson, Ann Photo: Early ‘70s, Wharf­side Building, 680 Beach Street, SF. Free­lancing from 1965 to 2001 – enjoyed every assign­ment (Job #1 to #3,445, Whew!) and met great talents in SF’s graphics commu­nity. Since then, creating my own projects. (Photo by Tom Moulin.)
Ann is the power behind the Geezers Gallery. She does all the hard work. ph
30-Tom, Jack Selfie taken in the Grand Canyon AZ, 2019?“Born in San Fran­cisco, now live, work and teach in Connecticut.”?” I love being a graphic designer and love teaching what I love!”
31-Young, Ron Founder and CEO Shocase, Inc. Here are three photos which span ½ a century in the adv biz. 1968-Receiving Clio. Levi’s Radio Commer­cial featuring the JEFFERSON AIRPLANE. Adver­tising Hall of Fame in NYC. Adver­tising Hall of Fame at Wall Street Ciprioni, NYC

AFA, AAW nor the AAF

In my 40-years in Advertising, I didn’t know of them—and they didn’t know of me.
This came to my mind when I was gathering images for the previous posted story of Jack Allen.
This ad, below, had been passed on to me for my archives and Jack hadn’t seen it for years! It was an ad from “The Joint Commission–Advertising Federation of America and the Advertising Association of the West”. Jack said it would have been in major magazines in 1965. It was of the time when advertising was a man’s career.
This 1959 photo of me, (six years earlier) celebrated in my father’s work publication, shows that a daughter had planned to create art for advertising.
There were other such daughters, I know because there were many other females who were in the graphic arts in San Francisco, when I was.

In May, of that year of the AFA & AAW ad, I had just begun my free-lance career as: Ann Thompson Graphic Design at 728 Montgomery Street, San Francisco. I can’t remember being afraid when Butte, Herrero and Hyde told me that they were dissolving their partnership and that I would be on my own. I just slid into it—as Bill Hyde offered me a drawing board to rent in his studio. If I had seen the ad, I would have suggested: “Should your child be in advertising?”
I had been on my way into this field of work, long before I knew of it.

I am writing this of my childhood as an example of how the interest and practices of young children can show their budding interest toward a very rewarding career. (I’m also including some “nostalgia” from the 1950s.) I was born a second generation San Franciscan and as a child, I was always drawing.
With simple sequence, I show my path—My fifth grade teacher had me decorating the classroom (a mural of a pioneer family with a covered wagon) (bats and ghosts and witches for Halloween) this, while other students were at their desks. I missed some lessons.

In 1951, there was a TV show, Cartoon Circus, at KRON (the local channel at the Chronicle Building) hosted by George Lemont. George would show simple strokes like an “S” for the drawing of a seal–on a large pad of paper and ask the young TV audience to send in their drawings. I arranged my seal in a circus setting with a ball in its nose. I colored my seal but made a big crayon smudge right in the middle! I cried that it was ruined and that I couldn’t send it in. My mother made me send it in anyway—and I won ! (An RCA 45RPM record player and two sets of records—and was invited to be on TV !) I brought my sister along and we appeared on the show. The Laura Scudder’s Blue Bird Products were the shows sponsor and there was a bowl of (what we called) “Corn Curls” placed in front of us. George asked us to try them. I said: ”Uuuum, they’re good”. So with my: “Ummm, they’re good” I had been advertising the show’s product, without knowing it.
A thank you letter was sent to my mother from George Lemont.

The TV cameras pointed to each set, all in a line on the San Francisco Chronicle’s main floor. This Illustration above, of the cameras at KRON, will be a surprise to all that know of Earl Thollander’s unique illustration style. (We all started, somewhere.)

The show that preceded our appearance was “Adventure Time” that showed old movie serials–a half hour chapter each weeknight. The host of that show was a popular singer with many top singles, Rusty Draper. For the TV commercial, Rusty sang about Roman Meal Bread. Rusty: “Oh it’s Roman Meal, both day and night–cereal and hotcakes, too…” This photo above shows how he looked at the time.
Most TV commercial were testimonials. Ronald Reagan cleaned his hands with Borax as a commercial for the TV’s “Death Valley Days”.

Years later, George Lemont became “Fireman Frank” featuring his puppets. My favorite was “Karl The Karrot” which was a real carrot –with “shades” on its smaller carrot nose. Its green “hair” would fly around wildly. When all became wilted and limp, new carrots would replace the old. George had many gigs and he had a syndicated comic strip, also with Karl as one of the characters.

As a new freelance artist In 1965 I was calling on the agency of Honig-Cooper & Harrington Advertising–and there was George Lemont! I told him that I had been a guest on his show–about 15 years earlier. I showed the portfolio of my work—just the real reason for my appointment—but it was a pleasure to see him.

Junior High art class introduced “posters” and the in the ninth grade, the yearbook illustrations. (In 2009, I used the dancing and 45RPM records subjects, again, for the 50-year reunion of Santa Rosa High School “The Panthers” and Montgomery High School, “The Vikings”.) I painted high school banners that hung across the halls announcing up-coming football games: “SANTA ROSA—BEAT CHICK-ALUMA !” Illustrated with scrawny chickens hanging out of garbage cans. (Nearby Petaluma was called the “Egg Basket Of The World”.)

(The artistic talent that I see from young students, today, is so much more advanced than mine. There are so many more influences—to inspire the young talents developing now.)

When I graduated from high school I was nearing my last lessons from the Famous Artists School correspondence course and my mother said, “You need to pay rent”. I said: “But, I live here!”. I had taken typing in high school, so for a time, I worked as a clerk but I kept drawing and painting at home.
During my last class at SF City College’s Advertising Department, the head the department told me of the opening for employment with Butte, Herrero and Hyde, where I learned in that one year, all I needed to be my own boss.

I joined the Art Directors and Artists Club of San Francisco (ADASF). Jack Allen was elected president of the club when I was elected the secretary. I donated three posters for their membership campaign. This close-up of my third poster shows my illustration and handwriting of the copy provided by copywriter, Larry McDermott.

In the 1950s, representatives of various paper companies would make personal calls on designers—showing papers of all colors and thicknesses – smooth and textured – but there was little to show the art studios and individual designers—how the papers would work with the various forms of printing and if the chosen stock was appropriate for embossing, folding, trimming and other effects dreamed up by a designer.

The ultimate paper samples were created 1963 to 1986:
Champion Papers: Imagination.
Champion Paper Company found the best way to show the unlimited possibilities of the use of their paper stocks and they reached the “creatives” through their mailboxes. The art directors hired by Champion Paper Co. changed as the subjects of the books changed: Milton Glaser, Ivan Chermayeff & Geismar, George Tscherny, Henry Wolf, James Miho. Massimo Vignelli, Paul Rand and Richard Manville. The first booklets were printed in Ohio, where Champion Paper Co. was located.
There was such a variety of images and styles needed for each book—often just one image per artist or photographer was needed. For the sixth book (1964) Jack Allen said this was the image he sent for the theme of the “Wild West”.

For each brochure, using 5 or 6pt type on each page, the art director made sure that all papers and printing methods were accurately described for each image—still, today, valuable lessons. There were 26 of these paper samples.


As an example of the increasing value of well-designed books, folders, brochures, posters, magazine illustrations, from the past—there is a constant demand for them by collectors.

The purpose of the “Imagination” series is written on the inside back cover of this next example. “The papers used in this book were chosen from the Campion Papers line, the world’s largest selection of commercial printing papers. Each sheet was chosen for its particular characteristics to enhance the graphic technique presented on it. "Champion Papers are created with Imagination for designers and printers with Imagination.”

I have had most of these brochures but I have kept only this one, featuring San Francisco, that shows my friends in the graphic community—and views and history of the city of my birth. I find that this “Imagination XII” (1968), is the ONLY one that shows a handful of the members of the graphic community to which the sales-piece was directed. At the time of this twelfth booklet, the design was in the hands of James Miho, at Needham, Harper and Steers—located in New York City. Miho came here to work with photographer, Jack Allen and designer, Nic Sidjakov. They would know who’s faces to feature for the “live” notable persons—San Francisco’s designers, entertainers, sports figures, et all.
Jack said that, on arriving, Miho bought himself a camera. Miho shot the 64 photos of bay windows for the cover and the 28 photos for the two pages of “signs”. Then, for the next year and on he took his own photos for the publications.

The cover shows Miho’s SF bay windows.
The inside cover and first page is a Panoramic City View–Drawn by C. R. Parsons, initially published by Currier & Ives in 1878. The next page, from a Union Street antique shop, shows a light bulb holding a Clipper Ship, reaching the shore of San Francisco. Then, various sizes are examples of the ornate billheads of the early days. Also there are two 1850 photos of Montgomery Street. Next, at the top: “April 18th—1906—5:12 AM” and the description of the San Francisco Earthquake printed on red with only black ink: “Suddenly the whole street was undulating.” (Photographer unknown, courtesy of Elizabeth Charleston.)

Then with two inks on red, there is a photo from a simple box 3A Kodak Special taken on Sacramento Street by Arnold Genthe, who wanted to be one of the world’s best portrait photographers—but was known for this photo which is in the Library of Congress.

Single and four-color printing show examples of various building constructed from 1906 to the time of this booklet.
(Line Engravings of Early Buildings–courtesy of Howell Books.)
Frank Lloyd Wright Building, top row (Photograph by Jack Allen.)


Now we show two pages and two half pages of San Franciscans from history and some notables of our time.
I have enlarged the names to match the numbers above each photo.
Faces from history: Courtesy of the California Historical Society, de Young Museum, San Francisco Golden Gate Park and The American West Magazine.

Contemporary Faces: Photography, Jack Allen
The faces with the connection to the graphic arts:
17- Lowell Herrero, Graphic Designer
18-Andy Quattro, Graphic Printmaker
19-Bruce Butte, Graphic Designer
20-Anne Butte, Graphic Designer
25-Gordon Ashby, Designer
26-Jack Allen, Photographer
27-Nicolas Sidjakov, Graphic Designer
28-Tom Kamifuji, Graphic Designer
29-Elizabeth Charleston, Artist
32-Marget Larsen, Graphic Designer
41-Barbara Stauffacher, Graphic Designer
44-Dick Coyne, “Communication Arts” Editor/Publisher
48-Bob Freeman, Advertising Executive
49-Walter Landor, Industrial Designer
51-Bob Seidman, Graphic Designer
52- Bill Hyde, Graphic Designer

Jack Allen wrote:

One of the photographs I had to take was for Champion Papers. In this instance it was for a booklet showing their various papers and highlighting the famous people of San Francisco. Joe DiMaggio and Carole Doda being two on the list given to me. Now, Joe I recognized as the famous baseball player, but Carole was not familiar to me until I found out her address was North Beach and her claim to fame was the size of her chest as she emerged perched on the grand piano to begin her performance. Carole had a lovely voice. Andy Quattro, my God. Every year Andy and two other guys and myself used to go down to Pebble Beach and play golf. It only cost $35 then. Wow. And I let Andy use my studio when he was with lean times. He was a funny old duck.
"Marget Larsen" designed the SF Art Director's Club Issue for me and we silk-screened every copy on Foote Cone's floor. I fell in love instantly with Marget but Bob Freeman beat me out.

Good old Howard Luck Gossage. I had a wonderful 6 am chat with him at his house. He was a genius.

Ernest Braun. This photo showing the California Street cable car with the view to the east toward the SF/ Oakland Bay Bridge was first commissioned for the 1964 book: ”Our San Francisco”. Braun’s contribution, as series titled “Shapes Of The City” has an introduction by famed writer and columnist Herb Caen. Caen says of Braun, “The photographers have come closest to capturing the feel of San Francisco - and no one has come closer than Ernie Braun.”
His full biography is on line. Mr. Braun lived in San Francisco in the late 1940s, a town that he loved. “The history and geography of San Francisco simply won me over,” he said. “I loved its great contrast of shapes, colors, people, buildings, and happenings. Each street had its own character to enjoy. The bay and ocean completed the photographer’s dream. Surrounded by water on three sides, the city appeared to be floating.”

Two facing pages of signs of all kinds–even the instructions on the street surface, on both sides of the cable car slot. All of these photos were by James Miho.

Fish-Eye lenses became popular in the ‘60s! Here, the first one, is above the Golden Gate Bridge—the second is above Coit Tower and shows a ring of the wharfs on San Francisco Bay. Credit is listed to Joe Monroe. (I have not been able to find any other information of his work.)

Titled: “San Francisco is an international menu”—this next spread shows many popular city restaurants. I did show some of these on an earlier post, which brought comments of favorites that were in addition to these.

A 19th Century assemblage of playbills and theatrical memorabilia—opens to Theatre Construction—Robert Sullivan.

A foldout of sports subjects—Charles White III.

In 1960, at the age of 50, Elizabeth Charleston was in an automobile accident that limited her activities and mobility. She began painting for the first time while recovering. The late San Francisco Chronicle art critic, Alfred Frankenstein, reviewed a showing at the Pomeroy Gallery in 1968, and said Charleston had a "wonderful eye" for flowers — "totally charming, decorative and delectable”. Her works are available widely today, and have been shown in numerous museums and galleries in the US, Brussels, and Paris, This might have been her only commercial work.

The last photograph, “This peaceful harbor scene of sail-boats, dwarfed by the Golden Gate Bridge”: Photograph by Burt Glinn.

The copy on the inside back cover explains the back cover:
”To enhance the effect, an additional impression of black ink and spot varnish was used to give the impression of blacked out windows.”

Why? What I learned, when growing up, was that “blacked-out windows” referred to when San Francisco thought that the city was the next to be attacked. At that time, St. Joseph’s Hospital (now condominium apartments) at 355 Buena Vista East where I was born in December of 1941—had blackout curtains on the windows.
Was the designer just making a graphic design choice?

So, now, getting back to the question, “Should your child be in advertising?”
Media Advertising?
Today’s bombardment of TV, radio and Internet commercials are so repetitive, juvenile (with apologies to all juveniles) and possibly dangerous (even advertising medications that can cause death and add to the cost of the product)—all with tedious music or sound effects or voices singing “Liberty, Liberty, Liberty, Liberty, Liberty (Insurance)”. They make me mute the ads or change channels. Audiences are leaving TV for other media.
In a pharmaceutical ad agency, I did work on some internal video promotions. And I also created a storyboard for the launch of the new pain reliever, Aleve, but I never knew if it made it as TV viewing, maybe it was just an internal promotion.
I am glad to have the majority of my career in only printed publications.

Published Advertising?
The “Imagination” series above was an expensive, attractive and educational advertisement of papers. When graphic art in books, magazine, posters and other varied publications is—clever, beautifully illustrated, photographed and written—it can be revisited, saved and even collected more than fifty years after its first appearance.
My saved collections have been my source for Geezers’ Gallery.

Ann Thompson

A Day at the Races

Marc Ericksen’s First San Fran­cisco Free­lance Inter­view: A Day at the Races.

As a young illus­trator, I found myself working at Artworks at 50 Gold Street in North Beach. I had grad­u­ated from Art Center in 1975, worked a year as a staff illus­trator in Chicago at O’Grady Graphics at 333 Michigan Avenue. While it was a great shop, and I had appre­ci­ated all I had learned there, the weather was brutal.

After some degree of delib­er­a­tion, part of which involved my working late on a dead­line during a bliz­zard, walking at 9 PM to the North­west Station to catch the last train to Arlington Heights Station, only to arrive to find all the locks on my ancient Alpha Romeo 4 door frozen solid. By the time I had walked a mile or two to our apart­ment in my street shoes, Levis, shirt, and light jacket – – my face was also frozen solid.

I terri­fied my wife by tapping on the back patio sliding glass door, because I was pretty sure I wouldn’t survive walking the rest of the way to the front door.

So I moved with my wife Dianne and our two sons, to the Golden West: San Fran­cisco.

Artworks was a wonderful shop. Don McKee had a great cast of talent there, and I learned from folks like the great Stan Fleming, another Chicago trans­plant, who gave me an appre­ci­a­tion for the myriad aspects of prelim­i­nary art as well as tips for dealing with clients, art direc­tors and designers. I met my future studio mate of 35 years, Robert Evans there who showed up one day in a work-study capacity from The Academy of Art. Dennis Ziemienski was another major talent at the shop. I was about ready to launch out on my own after 3 terrific years at Artworks when I was approached by Dennis about sharing rent on a studio he had located just up Sansome Street and right around the corner on Broadway. It was a 2nd floor walkup above a little Chinese restau­rant, over­looking the hustle and bustle of North Beach. It was a little tight for the two of us, but Dennis wanted to use it as a satel­lite site, while he worked out of his Palo Alto studio.

Marc Early 80s

I found the place to be perfect for the work I was doing, a mix of finished illus­tra­tions for smaller tech clients and startup gaming compa­nies, as well as a fair amount of prelim­i­nary art for all the local agen­cies: Story­boards and compre­hen­sive sketches. I was very comfort­able with the mix, given that I had paid half my way through Art center doing similar work for agen­cies in LA while a student. I had my drafting table, lights and a chair. The traffic outside helped me to feel a part of the local art scene, and the redo­lent aroma of Chinese cooking right beneath me. What could be more San Fran­cisco? I would even duck below into the eatery a couple of times a week for a quick lunch. It was always busy.
One of the groups I had not worked with was D’Arcy-MacManus, so, as was the custom, I called and asked whether I could show my port­folio. I had only been on my own at this point for a week or so, so this would mark my emer­gence as a true free lancer, my dream come true! My first on-my-own appear­ance before a creative!
I took my port­folio case containing samples of my profes­sional work, and walked down Sansome to the neigh­bor­hood for D’Arcy and entered the lobby. The recep­tionist made a call to find out who might be avail­able to review my work. An Art Director named Chris Short agreed and an intern led me through the pris­tine walls and hip archi­tec­ture of the agency to Chris’s office. I entered into the stylish bright white high rise office, Chris was nattily dressed, in a white shirt, stylish tie, and pressed slacks, and stood to reach across his long white desk to welcome me with a hand­shake and a smile. I thanked him for his will­ing­ness to review my work, and he was a perfect gentleman, as he replied “no problem at all, welcome to my office, and please, let’s take a look at your work“.

I lifted my port­folio, and with a quick glance for his permis­sion placed the 20”x30” folio on the end of his spot­less long white desk which was nearest him as he sat in his beau­tiful artic­u­lated leather exec­u­tive office chair.

As I drew open the zipper of the folio, I began telling him a bit about my back­ground and the nature of the illus­tra­tion samples I was preparing to show, and he assumed a more comfort­able posi­tion, and leaned forward for a better look as I lifted the unzipped cover. Upon the final opening, and as I was in mid sentence, a very large and gorgeously shining mahogany insect with swept back antennae and I suspect, smelling of Chinese cuisine, leapt from the center of my port­folio with the fervor of a stal­lion at the drop­ping of the gates at Churchill Downs. Racing the length of my open port­folio, he leaped off the zippered edge onto Chris’s pris­tine bright white tabletop, and ran in a perfectly straight line the entire length of the table and sailed off, disap­pearing from sight.

I was aghast, …and petri­fied.

Like an idiot I continued to stare at the point of last view of the roach. I’m actu­ally laughing to myself now, 40 years later, at how I must have looked to Chris.

For his own part, the man was a saint. When I regained my senses, and looked back to his face, he sat looking at me with a twinkle in his eye, with a very slight smile. Raising his eyebrows, and much to my eternal grat­i­tude, he then said, “So, Marc, tell me about this first piece.”

We spoke together that day for about 20 minutes of his valu­able schedule. He was kind in his appraisal of my work, and I thanked him for his time.

A week later Chris called with a job, and we commenced fifteen years or more of working together, and he never mentioned our day at the races.

A talented Art Director. And, a more perfect gentleman.

Marc Ericksen


(Note: Marc sent us this story above, but I must add a short bio.:
Marc Ericksen
1966 – 1972: Age 18, Para­trooper, U.S. Army. 1966 – 1972: Age 18, 2 tours in Vietnam, Left active duty age 24 with the rank of Captain in May 1972.
1972 – 1975: Age 25. Attended Art Center College of Design, Los Angeles. Grad­u­ated with a schol­ar­ship, and Bach­elor of Fine Art with honors.
1975 – 1978: Illus­trator, O’Grady Graphics, Artworks,S.F.
1982 to 1987: Chair­person, Chairman, and Pres­i­dent, San Fran­cisco Society of Illus­tra­tors, (2 years.)
1986 to 1995: Chairman of the SFSI Air Force Art Program, (9 years.)
1978 – 2015: Marc Ericksen Illus­tra­tion.

Crystal Cruise Lines Water­colors:
2015 – Water­color illus­tra­tions for Crystal Cruise Lines, Agency: DDB West — Creative Director: Joe Kayser.
Shown are 15 of 19 pieces (20” x 30” each) required to be created within 14 days without fail.

Publi­ca­tion Illus­tra­tion:
Publi­ca­tion Illus­tra­tions above: Ancient Football-PC Maga­zine, Ballan­tine Publishing-Case of Curiosi­ties, Balti­more Sun-Catch 22, Commu­ni­ca­tion World-Russian Bear, Sharks-Bernie Nichols-Goal 1000, USAF Collec­tion P‑51D – – Drop Tanks and Engage, Varian Silicon Chip Disc Auto­clave

Product illus­tra­tions:
Product Illus­tra­tions above:
Anheuser-Busch Shock Top — Belgian-style wheat ale,
Intel Manu­fac­turing
Video Games: Chex Quest- Galaga-Atari, MegaMan-Cannon Arm PRGE 2018
See also, this 2012 video: Game Box Art:

and, at the right – – Artist’s Sites:
Marc Ericksen’s link shows his many styles of finished art and prelim­i­nary art – – from 1978 to the present day.

Ann Thompson

Jack Allen — Ad Man + Photographer + Painter

Y&R New York As my old boss in New York used to say, “Where else can you have so much fun and get paid for it too”. Every morning I'd get on that Long Island train and head into New York. I usually got a place to sit from Levittown and I could get my sketches done and then I had a leisurely walk from Penn Station up to 39th and Madison. I could stay underground if it was raining. On a nice day it was beautiful. People watching and I got to see the latest Doyle Dane Bernbach's latest poster in the subway.

On a hot day it would be sweltering. There was no air conditioning in old 285. We would put towels under our arms to keep the sweat from ruining our drawing. Guerney Miller would pop in about 9:30. Guerney and I shared an office. He was our sketch artist and if our client demanded a more finished sketch Guerney was the man. At noon Guerney would bring out his guitar and have a jam session. That drew the music lovers.

When I went to New York, my uncle gave me three of his suits. He was a banker. Well, that’s how I looked, like a banker. Guerney made fun of me and took me down to J Press and got me a proper hat and of course a Brooks Brothers Suit and shoes to match. My wife would never let me hear the end of this. I must have worn that suit to bed.
One day I was sitting in the office I shared with Guerney, and Bob Hope walked in. I swear to god. Bob Hope.

He was doing some promo for the agency so the account executive thought he'd give the troops a thrill. What a thrill. We had a real conversation with him.
Later in life I met Bing Crosby and that kind of completed the two road boys.
It was strange being one on one with the stars of the galaxy like Irving Penn and Norman Rockwell. I never did get used to it.

A picture of yours truly in the headman's office in Y&R NY after we won the art director's award.
Of course the troops had to gather and it was all-new to the kid on the left.
Fred Sergenian 'Sarge' imagine telling him you were leaving Y&R and going back to California.
I still shudder. The guy on the right is Fred Papert, of Papert Koenig &Lewis fame to be.

There were 75 art directors at Y&R when I was there and a lettering man and a type-setter and a raft of production people and a little grey haired lady to usher the work through and three art buyers.
It was strange, but it worked just fine.
Telling my boss I was leaving was the most difficult thing I've ever done. I felt like a traitor. I still do.

San Francisco was warm and exciting. Foote, Cone & Belding was on the top floor of the Russ Building and when the wind blew the building swayed. I know because I worked there many nights.
The people in this story are Ford Sibly; head of office, George Richardson: head of S&W account team, Pete Peterson: Assistant Account Executive. George kept a bottle of booze in his desk for celebration and we managed to find a few times to celebrate. S&W let us run the show and we pushed it as far as we dared.

We got them to go with a full-page color ad in newspaper and got Herrero to design it. It won an award in the New York art directors annual. That made Joe Blumeline, our client, very happy. He felt he was getting his moneys worth. Meanwhile, Ford Sibly was sinking into alcoholism and head office was sending a new man out. Clients were scattering and heading for the door.
Honig-Cooper, sensing an opportunity, pounced on it.
I didn't like the idea of working for Honig-Cooper so I looked to Holst, Cumming & Myers, as they needed an Art Director. And they had a ton of Matson Lines work with two ships due to come on the South Pacific Route, and one more on the Hawaiian Route.

The map painted on the model’s forehead at the studio of Butte, Herrero and Hyde and then we rushed him to our studio and shot him.
We also did a photo shoot with two models to Hawaii and one of the models got measles and was confined to her cabin the whole trip so the other model had to carry double load. She was not happy
I worked day and night. When they turned the heat off in the building, I would take the drapes off the windows and catch a little sleep. It was fun work, designing menus and all sort of non-ad stuff.

Y&R San Francisco George Richardson invited me to his place in Novato. He was moving to Y&R (SF) and wanted me to come back to run the art department. I agreed since I was now, thru with Matson Lines. It's funny how the names kept changing on these agencies. Y&R was a great agency. Don Sternloff was head AD when I joined them and he was much loved by the troops. Which made me dog shit since the writing was on the wall.
I was teaching at the Academy of Art at night and I followed the old Art Center motto, drive them, hard. If they survived, they were keepers. I found two keepers: Mik Kitagawa and Dave Sanchez. I hired them.

Sternloff was let go and I was anointed. The agency had the number one show on the air, Maverick with James Garner as Maverick and that was pure gold in the advertising world. Plus we got Langendorf Bread and we turned Kaiser Industries loose on Mik and Dave. Our plates were full and we were completely busy DAY and NIGHT. Mik and Dave wondered what they had signed up for.
After a few years of this, it wears on you, and it wore on me. I developed an ulcer. I had told myself I would quit this business if I got sick, so I marched in and turned in my badge. They sent out an AD from NY, Mason Clark, and I went home to recoup. Now what do I do?

San Mateo Garage

Why don't I try photography? OK, I bought a Hasselblad and I was off. I got some models to pose for prints and rented a garage with a skylight in San Mateo. I cobbled a portfolio together and let it be known I was starving and got a call from Portland, Oregon. It was from my old friend, Pete Jenkins and it was work. Meyer and Frank wanted a series of NP ads hi-lighting M&F, full page too. I got a designer, Dick Snyder, and an Account Executive, Perry Leftwich –and I put a darkroom together in the garage. I hired models and when clothes arrived from Portland, we shot up a storm.

We designed ads and they wanted MORE. We were a hit. I had visions of forming an agency and we pitched Harrah's club. It went well and Bill Harrah wanted us but his ad manager got him to change his mind (the ad manager was afraid of losing his job) so we didn't get the account.
Dick Snyder had trouble with the free-lance world so we disbanded.
And Perry went back to salary.

M. Halberstadt Meanwhile, the photographer Milton Halberstadt invited me to lunch and suggested we might pool our talents. He had a beautiful studio in North Beach and I said yes, quicker than dirt.

At first we had fun—as Hal liked the sets he was so good at putting together—and I liked the people. So we fit well (Bank of America). And we enjoyed lunch at New Joes. And Hal was a Master Photographer so I was learning every day.

Chicago Rep, Jack Kapes Another thing fell out of the blue. Jack Kapes, an agent from Chicago. Jack was looking for photographers to represent. It seems Art Directors in Chicago would dearly love a trip to San Francisco to work with a San Francisco Photographer and get away from that Chicago cold.

And so it started. Leslie Salt Co, Cilux Paint, Champion Papers. They came out with their wives for a little vacation and of course we showed them the town. We were beat by the time they hauled anchor but richer by far and just like the Tea Trade, we had established a trade route. One of the fun ones I recall was when Pillsbury sent me to Jamaica and then I shot the cake at Hal's studio.

Vanderwater Studio As in many things, they don't always work as planned. Hal and I parted as friends and I moved to Vanderwater Street in my own studio, next to Veneto's Restaurant. Years of work came out this Studio.

More work in the very busy mid-1960s.

Eichler was a great one that got you a sure medal in the art show. Working with Sidjakov was such a pleasure. Pacific Telephone was another winner and putting Wally Summers in a phone booth as Superman, had to be my biggest thrill. Honig-Cooper surprised me when they hired me to shoot a Levi's series and the kids we hired turned out to be wonderful. One of the greatest AD's to work for was Hal Riney. You had to burn rubber as he was never satisfied but the work was superb and you could be very proud of it. The free ones were often the most exciting as the Christmas Card ad for BBD&O showing all their kids. It was like herding cats. But I loved it.

One Super Star that was champing at the bit was George Coutts. The Joseph Magnin AD had tons of talent. I had a few drinks with him on a late shoot one night and when I finally said good night and locked up, I went out to my car and dropped the keys in the street. I didn't see them so I got on my hands and knees and just then a police car came around the corner. He flashed the light on me. "Can I help you sir?" he said, ”I'm looking for my keys to my car”, I said. "You better not find them”, he said. One of the hazards of flying at night.

Sutter Street The Portland People at Dawson, Turner & Jenkins were putting pressure on me to start a branch of DT&J in San Francisco and sent a young fellow down to help in that endeavor. First we had to move to Downtown, Sutter Street. Then we had to get agency type furniture and all while photography was going on. Nude photography for Avon. I scoured the model files in SF but they were light on the right kind of nudes so I flew to Los Angeles, found a young lady that fit the bill and booked her. She arrived on a Monday and the clients arrived from Chicago and Sidjakov, the package designer arrived, and my assistants got to work and the young lady stripped. She had no modesty and said her parents were nudists and they had been that way as long as she could remember. We photographed uninterrupted.

Dawson Turner & Jenkins brought a political type pollster down to shake the tree on the Pete McCloskey race against Shirley Temple Black for Congress. He won. Again, I got a call from Dawson, Turner & Jenkins. They wanted a campaign of newspaper ads, full-page size.

Covering Meier and Frank’s “Jerry Frank” who was making a run for Governor. The success of this campaign led to an offer to move to Oregon and an “offer I couldn’t refuse”. The agency, Dawson, Turner & Jenkins, got swallowed up by Lennen & Newell, then somebody else, then Richardson, Seigle, Rolfs & McCoy became somebody else and Macy's bought out Meier & Frank–––and I started designing work for the Port of Vancouver:

and I figured it was time to retire.
By this time they had done a pretty good job of brainwashing on me as how beautiful Oregon was and I was resigned and my wife and I weren't getting along. (Old story) So we went.

Solo-ing It-In Oregon Tons of work. Had my own way, pretty much. Nice people.
Jk Gill’s, Oil Heat, Port of Vancouver, Blue Lake Green Beans.
Oregon. Oregon, what have I done? Left everything for the unknown. Politics, know the Governor, know the Senator, work on his campaign. Packwood's in trouble.
Work. Work. Jk Gill’s. A stationary store.  A big stationary store. Many stores. Why not give it a cluttered look. I found a young artist that had a great "busy" look and had him do an ad. Perfect. And Newspaper ads for Kasch's Nurseries. White Satin Sugar: A perfect place for Herrero to strut his stuff. As well as sweet photos.

Oil Heat Dealers. A collection of dealers in Oregon, Washington and Idaho that service and sell heating oil to homes in the Northwest. Reminder ads that are visible, aught to do it.

A rumble this summer by hippies threatened to spill into riots. I suggested we put up a series of billboards that say, "WAVE TO A COP TODAY" –and sponsor a music festival in McIver Park (a mile away from downtown). It worked. I was also involved with "lighting the bridges in Portland" which taught me "stay away from Architects". The things I did with Frank Farah at this time: we designed and Frank illustrated the walls of the Bend, Oregon Bus Station. Quite something, in Bend.

The sale of agencies was humongous. I never knew who was going to be my boss on Monday morning. It got to be a joke. My friend that started this whole thing, Dick Turner, had jumped off Suicide Bridge. And Pete Jenkins, his partner, had taken his ill-gotten gains and fled to Europe.
I became an account executive and married one of the Oil Dealers that I was fortune enough to stay married to for 46 years until she died last year.

William Cain Advertising I met Bill Cain on one of our Oil Heat trips to Hawaii and looked him up when I got back to Oregon. Bill was the owner of William Cain Advertising and had just had a revolt from his crew and they had walked away with his star account. Nike. He did have another account, Louisiana Pacific so he wasn't totally wiped out and he needed an art director. What the hell. We had a good time I still had Port of Vancouver, Bill had Louisiana Pacific, and everything swam along. Until Bill decided to sell the agency– including "my Port"–– to Gerber Advertising.

Gerber Advertising After the dust had cleared, I agreed to work for Gerber for 10 years (I actually worked for twelve) In that time I produced ads for Louisiana Pacific Windows and many other products.

Painting
I retired at 65 to paint
I said to myself, "what am I going to do with myself when I retire?"
"Paint"
"But I don't paint"
"Try"
So I tried. And my wife said, 'What are we going to do with all these paintings?"
I did 25 paintings a day.
"Paint slower"
I found a slow style. Wysoki
It was peaceful, fun and it was slow.
It took me a month to do a painting.
My wife said "good boy".
"Now let's get rid of this painting.
So I called a Jigsaw puzzle company and soon I was painting another one.
And another.
I've now done 96.
They rejected most for being too salty.
But happy wife, happy life

–that tuned in jigsaw puzzles.
Jigsaw Puzzles

Politics. That is what I would say most typifies Oregon. Small-town Politics.
I learned to love the people and the quirks and the laid back life.

Looking back I suppose what we did isn't so important but it sure was exciting and alive. We were making beautiful statements and bringing art and commerce together in a new, bold way.
We can be proud of the work we did and now that I'm out to pasture, I can see the work we did is so much superior to much that is done now because it mattered to us. Our 1/8 of an inch made all the difference in the world and was worth fighting for.

Thank you, Ann and Piet, for shining the light on the 50's and 60's.

Jack Allen

Editor’s Inclusions:

We welcome your comments on this story or to say hello to Jack. All comments will be reviewed before forwarding to Jack.


I don't know if Jack remembers, but he called me at KPIX and offered me the job as AD at Y&R.( I was in his ad class at the Academy) I got Mik (Kitagawa) the Job at KPIX and told him about the offer, and if I don't get the job maybe you will. So I helped him pull his portfolio together and we both applied for the one job, on the same day, with Jack. We were so inexpensive he could hire us both for the same money.

Dave Sanchez