Color is important, Ask Alan
Color is important, Ask Alan Lefkort !
In the previous collection, I wanted to show the 1963 Award of Excellence for Direct Mail that was awarded to Alan Lefkort. The pages from the ADASF annual of that year were only in black and white. You will see that this winning design was not clear enough to show the image that made it a success.
I reached Alan to see if he could share the actual letterhead and envelope, for me to show here. He told the story of being told by Bob Pritikin that the stationery could only be printed in one color, black. Alan had to fight for color ! The whole advertising world knew that the copywriters used yellow legal tablets as they came up with a winning headline, body copy and all copy needed to reach the public in print and all other media of advertising.
As copy developed, there were a lot of ideas that the copywriter tossed to the wastebasket. This was the normal process until the best copy ideas were born.
1963 Award of Excellence San Francisco Art Directors and Artists Club
The small type at the bottom of the letterhead reads : Board of Directors /Howard Gossage, Peggy Greenfield, Hal Larson, Dan Lewis, Fred Manley, Hanley Norins, Bob Pritikin, Nelson Shreve, George Sutton, Julian Watkins.
Alan Lefkort was often “covering two bases”: art director and copywriter. He brought the two valuable talents to many San Francisco advertising agencies : McCann, Y&R, Dailey & Associates, D’Arcy-MacManus & Masius and Guild, Bascom & Bonfigli. Clever concepts of words and images came together in one place, on Alan’s drawing board. Visiting Alan, I saw a large collection of printed pieces of a variety of corporations that advertised through San Francisco’s talented teams.
The Advertising Club of San Francisco’s Cable Car Awards, 1981 publication was among Alan’s collection. This 48-page collection was called “The Sweepstakes Awards” because of the record amount of entries that year. Alan was the first ever to win the Marget Larsen Award for art direction. He was, at that time, vice-president and executive art director for Dailey & Associates, San Francisco.
Marget Larsen Award This was the art direction award that Alan received for the image that he created for this “Black and White Newspaper Ad” category even though his copy “Berth Announcement” was also a ‘winning’ copywriter’s line for the whole campaign for Philippine Airlines.
Graphic Designers Made Their Marks
San Francisco’s Graphic Designers Made Their Creative Marks
Illustration by John Craig. Type and page design by William P. Davis.
Walter Landor From the above report by Ken Kelley and Rick Clogher in the August 1992 issue of PBS KQED’s San Francisco Focus magazine :
Walter Landor came to San Francisco and founded Landor Associates in 1941. At that time, the only industrial designer around told him “that there was barely enough work to support one designer in San Francisco, let alone two”.
“The designs that have come out of Landor Associates in the past five decades — whether Walter’s own or those of his skilled colleagues — are a permanent part of our culture. But Landor’s greatest creation may be the least tangible one : he turned product brand and corporate identity design from a young, ill-defined field into a world-recognized profession. In the process, he turned San Francisco — his adopted home — into a creative hub of those fields.”
These pages : Communication Arts May /June 1980
Marget Larsen As art director for Joseph Magnin, a store catering to young, smart tastes, Marget was involved in retail newspaper advertising. Her design and use of color, with illustrations by Betty Brader Ashley, built an image for the store. All of the JM design was handled internally and Marget also did the brochures and packaging.
She designed many of the ads for the San Francisco agency Weiner & Gossage or Freeman Mander & Gossage or whatever name they were operating under that week, and also worked as a partner in Intrinsics, Inc. with Robert Freeman. Intrinsics created and marketed design products and offered creative consulting to clients. “Marget was responsible for so many innovations, and was the very embodiment of ‘What if?’” said Freeman. “She, probably as much as any other, changed the look of advertising and graphics in the last generation.” Ca
This copy, above, is from the Communication Arts web site. They offer (digital) back copies at : https://store.commarts.com/single-copy?Page=35. The story of Marget Larsen is in the March /April 1988 issue.
One of the most outstanding of Marget’s talents was the complete visual identity that she created for the 1907 Del Monte Cannery (at one time the largest peach cannery in the world). The property was being converted into shops and restaurants just steps from Fisherman’s Wharf. The basic identity design was one that she adapted from the tie-rod washers that held up the massive brick structures. She convinced the developers to alter a whole outside wall to accommodate her Cannery Star. You can see in the signs, the tie-rod washer in the center of the star.
In addition to the massive amount of recognized accomplishments, Marget’s personal collection of her art has been made available at : margetlarsen(dot)com.
A collection from 1958 and years : 1963 to 1967. I found that graphic designers were, and are, often creating other design assignments when a new mark is required. One didn’t have to specialize as an “image maker”. The logos, here, were accepted entries in the ADASF (Art Directors and Artists of San Francisco) Annual Exhibition, years : 1958 and 1963, ’64 ’65 ’66 and ‘67.
Most logos are used as business stationery. In 1964 no individual marks were shown. “Direct Mail” was the classification title that year. The two examples were “Identity Images”: G. Dean Smith created the wild-flower cover to represent the Curry Company at Yosemite Park. The little flag held by the figure on the string was sent by mail to tell that : “Nicolas Sidjakov — is moving to — 633 Montgomery St. — San Francisco — EX 27754.” 1966 had an extensive category : Trade Marks, Letterheads, Logotypes, Lettering. The Walter Landor Associates’ entry was the full alphabet designed for the California Wine Association. They named the type style “Klamath” which was the name of their ferryboat, as described above.
To those designers, whose creations I have missed, I apologize.
Some of the logos in the annual publications were too small to show.
Photographers Art Directing Themselves
Photographers Who Art-Directed Their Own Photographs.
My schooling and first jobs as an illustrator /graphic designer had been varied, but I had no experience in directing a photographer — on location or in a photo studio. After viewing an art director’s layout or being informed of a client’s wishes — most, or maybe all, professional commercial photographers have the talent to capture a required image. The art director attending is probably only there to witness the photographer in action, suggest minor changes or is just happy to get out of the agency for the day.
Below, I show a variety of subjects for a commercial need where the photographers needed no “art direction”.
In the late 1960s, I was still at my location at the south-east edge of North Beach, S.F. — the home and work locations of many Italian/Catholics. I was offered designing assignments from one of my steady clients, Alessandro Baccari, who had his office (always a wonderful walk to and from) the Maybeck Building at 1736 Stockton Street, near the Saints Peter and Paul Church on Washington Square. In 1967, he referred a representative of the Catholic publication, Catholic Home Messenger, to my studio. I was supplied all of the photos that were to reflect the copy that was written for an eight page insert for their publication. The subject was “Loneliness”. The only additional photo that I needed was one that had to have a vague background image that would cover the first and last page of the insert. It needed to be ambiguous by showing an unidentifiable person. A weekend visit to Golden Gate Park was the first time that I art-directed a shoot.
1967 — (my job #223) Catholic Home Messenger 1 Pg : “Loneliness”
Photographer, Tom Vano, had his own personal pet-project for the College of Holy Names in Oakland. Tom’s photos of the campus and the classes were delivered to me at the time that I received the assignment to design a brochure. Its purpose was to include an invitation to financially support the new planned developments for the college. I was to draw the map with each proposed building and open area, shown with dashed lines. The brochure was written by Morrison Stewart and offered in three languages : English, Chinese and Spanish which were type-set by Reardon and Krebs.
My paste-up boards went to the agency, Alessandro Baccari and Associates — then sent to Hogan-Kaus Lithography for printing. A week later, a set of printed copies was sent to me.
I never even met Tom Vano, but I received word, much later, that he was very pleased with my arrangement of his photos. He knew his subject very well. Had I been to the photo shoot, I would have learned from him, but I would have been of no help. Before this assignment, I hadn’t even known of the college.
1968 — (my job #321) College of Holy Names 1 cover + 5 pages (#3,4,5,6,7)
Later, in 1974, when working on a brochure for U.S, Leasing, I needed the simple subject of marbles. The cover needed a photo of a child’s hand as in a game of “Marbles”.
A call to photographer, Earl Wood, was all that was needed. Earl had an extensive portfolio of his photographs showing his past efforts in shooting intricate subjects. This job was simple. He left the studio and returned with a lot of shots of various marbles. He had called our mutual friend, Dave Nelson (a top lettering man at the Logan, Carey & Rehag art studio) — and arranged for Dave’s son, Chris, to be the model. Earl directed his own “table-top” (or ground-level?) shot. The photos were exactly what the client wanted.
1974 — (my job #1192) US Leasing NCR Folder (Cover and inside Cover)
Larry Keenan. Jr. was known for his “reporting syle” of photography. (See his link at the column at the right.)
As I was sketching thumb-nail ideas for the up-coming San Francisco Ballet’s holiday poster for the “Nutcracker”, Larry visited the studio and offered to try some experimentation using an existing photo from the ballet’s collection. On his return, days later, Larry said that he tried a series of filters and achieved this ”Holiday Ornament” look, transformed from the original image. He had worked without any direction. The client accepted this effect, exactly as he presented it. The image was used for full-sized posters, small posters, direct mail (which offered ticket prices and performance times). All items were printed at Pisani Press.
1974 – 1975 (my job#1271) “Nutcracker” 1 Poster
December 22, 1975. I had never met George H. Knight before he appeared with a full envelope of the photographs that he had taken, from all across the country. He had been contracted directly by Consolidated Freightways. The photographs had been taken along one of the many routes of the CF trucks. Who could go wrong, designing around photographs like these ? I tried to imagine all of the planning that this man had to do before capturing each subject.
We, in the studio, affectionately referred to George as “the cat in the hat”. George was a nice and hard working photographer who seemed to always be wearing his plaid, pork-pie hat : rain or shine, outdoors or indoors. I knew, or knew of, many commercial photographers in San Francisco. Here was George Knight, a low-key and unassuming talent. I learned later of his respected reputation that included historic reporting of the changing views of San Francisco.
I had the assignment of designing the 1975 Consolidated Freightways’ 200th Anniversary annual report. I had no influence on photo subject matter other than the selection or cropping of George’s photos.
As the photos were laid out, in the sequence that a CF shipment would make on its journey east to west — it was the perfect opportunity to show the old and the new views of each location depicted. Adding old images and photographs available from archives — the report became an entertaining story, along with the charts and financial copy important to Consolidated Freightways stockholders. As an ”extra”, I had the idea of creating a map of our country’s original trails. I was glad that the client “went for it”!
This story is also about the way the representative of Consolidated Freightways was kept from knowing that a female was designing their annual report. I supposed, that he believed “trucking” was a man’s world. I had to hide all images of the project from my work area, whenever he visited the studio. I was kept out of the conference room when my layout of the full thirty-six pages, was presented by the two men in our studio.
By March of 1976, this CF client may have found out that I had designed the whole job — this was when a framed award arrived in the mail for me, showing my name as graphic designer “for the 1975 Annual Report of Consolidated Freightways, Inc.” (An additional report of this award — might have reached him.)
Without George Knight’s expertise in choice of location, timing and general hard work that was needed to provide me with these highly professional photos — I would not have had the inspiration to put all of these pages together making a unique annual report celebrating the CF’s 200th year.
12 – 22-1975 — (my job #1450) Consolidated Freightways 1975 Annual Report (Cover + Spreads 1 — 9)
Clawing My Way To The Middle.
(This is why Herb Bass, John Francis and Sandy Marshall opened an Agency specializing in Trade Show Presentations).
Clawing My Way To The Middle.
I was going through some boxes the other day trying to get rid of some shit so my daughter doesn’t get stuck with it when I die.
Some yellow-lined papers fell out of a box. I looked at the writing on one page. “SHUT UP. IT’S THE BOOZE TALKING”, was scribbled across the page in a loopy handwriting. I looked at another page, “ENOUGH, ALREADY!” It went on like that for 13 pages.
“Ah, the Golden Age of ADVERTISING”, I thought, as I remembered that 3 hour lunch in 1978, and the Conference Room meeting that followed it.
Charlie Roderman (another writer at Botsford) and I went to the Hoffman Grill for lunch that day. We had the breaded veal cutlet with extra gravy on it. God, I miss the Hoffman Grill. . The walls were covered with giant oil paintings that were themselves covered with 40 years of cooking oil and it had a dark wood and brass railed interior that felt like something from the 1800s. The frail, old waiters who wore rumpled tuxedos and looked like they were propelled by whichever direction pointed their overloaded trays. Our usual waiter (Howard) would bring 3 beers when you ordered 2. He delivered 2 beers to us and put the third one on the edge of our table. That’s the one Howard would stop and gulp from every time he passed our way.
Charlie and I ate, drank and laughed our way through lunch. We cracked up over our stupid puns and stories (thinking we were at our own Algonquin Round Table minus anyone who mattered ; like maybe a Wollcott, or Dorothy Parker). Words like, “I’ll tell you what a ‘concept’ is.…it’s a large bird that flies in the Andes,” occupied our mindless wanderings. After a few hours we ambled (stumbled) back to Botsford Advertising. Reeking of beer we entered the dreaded Conference Room. Hal Riney gave us his Creative Director renowned bushy-eyebrowed frown as we fell into our chairs at the long table. Various Account Executives, Media people, an Art Director, and the Agency Producer slowly filled the room. I sat next to Charlie, trying to keep from laughing at how serious everyone looked. A yellow legal pad and pen was placed on the table in front of every seat.
This was a meeting about a Trade Show Presentation in Las Vegas. The Race Car Driver, Mario Andretti, was going to show his new Cobra car with its “Powered By Oly” banner on it and then present some new Olympia Beer commercials to a group of beer distributors. I had been chosen to write the presentation script and create all the “exciting” ads, buttons and other paraphernalia. I resented this whole Trade Show idea. (“Trade Shows were beneath me,” I arrogantly thought, I was an award-winning radio and television commercial writer. Didn’t Riney know I didn’t do Trade Shows?”) This meeting suddenly seemed like a good opportunity to voice my feelings. “Hey, before we start talking details here.…I’ve got something to say,” I slurred. Charlie’s head popped up and he scribbled something on the yellow pad in front of him. A sheet of yellow-lined paper floated onto my lap. The words, “Shut up. It’s the booze talking,” were scribbled across it.
With single-minded concentration and liquid courage, I wasn’t about to let a few words of caution deter me. I continued to launch into my diatribe.
“Why write a speech for Andretti ? Can’t he just say, “Here’s our new Oly campaign,” and let the work speak for itself ? Another yellow sheet landed in my lap. “Blah, blah, blah,” was the new message. I let the paper fall to the floor. I was on a roll. “And why go all the way to Las Vegas to display this crap. We’ve got lots of great Trade Show venues here in San Francisco, and can we change the date of this thing ? My daughter’s birthday is coming up around then”. I ignored two more yellow pages (“You’ve hit rock bottom and you are starting to dig,” one of them said). Hal Riney got up and headed out the Conference Room door. He gave me another bushy-eyebrowed dirty-look as he passed. For some garbled reason, I took this as a sign that since the Big Boss was no longer in ear-shot, there was no reason to stop my inspired words of wisdom. I rambled on as Charlie’s yellow pages fell on my lap and people continued to leave the room. “Media” left, the Account Execs found their way out, and the Art Director said, “dumb shit” as he passed my chair. “And about that ‘Powered by Oly’ banner on a race car. Is that really a good idea ? I mean, talk about drunk driving motivation”. The last person to leave the room was the Agency Producer. She looked directly at me and said, “If I want talk like this, I’ll go to the Iron Horse Bar downstairs”.
These delicious memories filled my old brain as I stared at the 13 pages in front of me now in 2016. 1978 was certainly one of my Golden Years in Advertising. Even though the gold was the color of Olympia Beer and my brain was fully “Powered By Oly” that day.
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.
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.??