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.

Ann Thompson

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/​s​i​n​g​l​e​-​c​o​p​y​?​P​a​g​e​=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, ’646566 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.

Ann Thompson

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 #1192US 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)

Ann Thompson

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.

Todd Miller

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 41964

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