Witness of Creativity—February ’64 to April ’65.

I was only employed with Butte Herrero &Hyde for this short time before they dissolved their part­nership, but I was able to see the crea­tion of a great number of their jobs. At, that same time, I was able to create my very first bits of commer­cial art—a rose for a “shelf-​talker” (very small, but my first printed piece of commer­cial art.)

And also, I executed my first “mecha­ni­cals”, in other words : “paste-​ups”— the Shell note pads, matchbooks and matchboxes. These were the client’s promo­ti­onal givea­ways. I was lear­ning, all the time : what supplies are needed—how to keep the petty cash box “in the black”—where to rese­arch (like the SF Mechanic’s Insti­tute Library, located at 57 Post Street. It was founded in 1854 to serve the voca­ti­onal needs of out-​of-​work gold miners)— how to package and mail finished art (to say, Chicago.)—and how to protect large trans­pa­ren­cies of BH&H’s artwork. This last task required clea­ning the trans­pa­rency and its protective acetate sleeve from lint, then framing it with clean black heavy stock at a uniform size to fit with the hund­reds of their other samples kept in three file drawers. No digital files of samples in those days.

I met type-​reps, paper-​reps and printer-​reps. I also had a last-​minute lesson from BH&H’s book­keeper on invoi­cing, record keeping, etc. All of this I could never have learned at a school. It all prepared me for my life as a free-​lance artist—which came sooner than I had expected.

Ann Thompson

BH&H Crea­ti­vity as shown in the 1964 and1965 ADASF Annual Shows’ Publi­ca­tions

This “GOODYEAR” ad is in color because I saved a copy torn from Life maga­zine. More about its crea­tion can be found at Our Favo­rite Places-​Community of Crea­tives. See “How It Happened”.

The follo­wing B&W scans are from the annuals.

This completes my nearly complete collection of the exten­sive accom­plishments of Butte, Herrero and Hyde from their last year as a part­nership :

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