A Letter, With The “Rest Of The Story”
We had a previous story about Alvin Duskin who stepped away from creating women’s wear and into San Francisco politics. I seem to remember from those days, that if he had not made such a fuss about the height of the planned Transamerica Pyramid, the building would have been taller than it is now. (Also more streamlined, without the “ears” that stood out when the shorter design revealed the top of the elevator shafts.) William Pereira’s plans for the Transamerica Pyramid were changed. If the Pyramid were its original planned height – all four sides would be smooth and flat.
A 50-year update : (DEC. 29, 2017, A few lines from the NY Times, by David Streitfeld).
The protests had an effect. The Transamerica Pyramid was shaved down from 1,040 feet to 853 feet. A proposition in 1971 to limit buildings to six stories did not pass, but it was one of those defeats that is also a bit of a victory. The Transamerica Pyramid remained the tallest in the city until this year.
John Hyatt wrote to me to introduce himself and he added more to the story of that time.
Thank you for responding to my email about Sam Coombs. I find the “Geezer” site to be overwhelmingly nostalgic. Also, your advertising art collections and knowledge about what went on in San Francisco in the 50s, 60s and 70s, is extraordinary. If I am reading things correctly, you seem to have been in an office at one time in Belli’s building, just across from Wilton, Coombs and Colnett on Hotaling Place. I worked at WCC as an art director fresh out of Art Center School for seven years, 1968 — 1975. Lowell Herrero did a few illustrations for me that were wonderful… typical Lowell. I didn’t realize that he had an office so close to mine, perhaps he had move by the time I arrived at WCC.
Reading some of the recollections on the Geezer site, that I assume you wrote, I ran across the mention of Alvin Duskin. You may find a little story something of interest to add to your history of San Francisco. Duskin was a client of WCC when I first started working there, but quite unexpectedly, he quit his dress making business for what we were all told was his desire to enter politics. The company was bought by a fellow named Paul Maris. I did several ads for Vogue and Women’s Wear Daily for Maris — attached is my comp and a proof of one of my favorites for Hubba Hubba (just what you need, more clutter for your collections, sorry). As this story goes, headlines in the Examiner and Chronicle one morning exposed Paul Maris as a fictitious person whose real name was Gerald Zelmanowitz, an informant for the Federal government in a case against some New York mobsters. Duskin’s company was purchased as a witness protection guise to protect Maris/Zelmanowitz and his entire family. With Maris’ identity exposed, the entire company disappeared in the blink of an eye — a WCC’s account person went to the Maris factory, south of Market, to discover virtually everyone gone… doors unlocked, lights burning, phones ringing.
The attached ad was done by photographer, John Peden. The Hubba Hubba double knit dresses looked so awful when worn by the models that we just had the girls hold the dress up as though they were looking in a mirror.
The bright colors and graphic shape made a splash against the model, reduce to gray tone (some custom four color masking done by Walker Engraving). The dresses sold like crazy. John Peden’s wife, Barbara, ran into Maris months later at a restaurant out in the Avenues one afternoon. Barbara had been working with the Maris company as a designer. A fleeting hello was the last we ever heard of Paul/Gerald.
We knew Amado Gonzalez as our very good friend. I am only finding out now of his full range of illustration which gave him a cast of important (local) clients throughout his career. These were years when local businesses, food and wine industries completed all of their advertising needs in one place. Art studios, advertising agencies, lithographers, type shops and printers were all here. There was no faster service than within our local art community. The Society of Illustrators of San Francisco (Amado was president in 1962) – ADASF, the Art Directors and Artist Club of SF – and The San Francisco Copywriter’s Club had members that worked and socialized together.
Amado was born on September 13, 1913 in Guadalajara, Mexico and following a five-year stay in Mexico City he arrived in San Francisco in 1927. He studied at the California School of Fine Arts (on a scholarship) as a muralist and portrait painter under Lucien Labaudt and Ray Boynton following the influences of Diego Rivera, Orozco, and Siqueiros.
(Note : In the early ‘30s, Lucien Labaudt accepted the assignment from the Works Progress Administration, to decorate the walls and stairway of the Beach Chalet located along the Great Highway at Ocean Beach, -Top two examples shown below.)
Coit Tower Murals – (New Deal Agency : Public Works of Art Project (PWAP)
Lucien Labaudt, “Powell Street”, 6’x32’
Ray Boynton, “Animal Force and Machine Force”, 10’x36’
Until 1938, Amado worked for the WPA – assisting Lucien Labaudt and Ray Boynton on the Coit Tower murals (above).
Amado had a one-man show of his work at the SFMOMA in 1935 and had many awards from the Society of Western Artists. Following this, Amado painted murals for the San Francisco Commonwealth Club and the Bank of America. Amado then became one of many top illustrators at the very large art studio founded in 1921 : Patterson & Sullivan – 1939 : Patterson & Hall.
This first photo, below : in the 1930s – shows Haines Hall creating an illustration for an ad for Sperry Flour.
LtoR : Gib Darling, Alton “Jack” Painter, Amado Gonzalez, Stan Galli, Haines Hall.
Stan is the model. I’ve added a portion of the printed Sperry Flour ad that was being created at the time of this photo.
2nd : Amado, close-up.
3rd : 1960-March 31st-Photo of Amado Gonzalez – Reno Evening Gazette announcing a showing of Amado’s oil paintings completed for the Bank of America.
4th : 1961- At the preview party of the “12th Annual ADASF Exhibition” on the fourth floor of the new International Building. Amado is lifted up to greet the wife of Exhibition Designer, Dick Moore.
5th : 1962-Amado pictured in ADASF newsletter (Gallery West”) preparing for the “Portfolio ‘62” preview party and show.
6th : 1969, At an ADASF event, Amado pictured, also Mildred “Sophie” Porter, illustrator.
7th : 2000s Amado at a “Black Tie” event”
Now we show, in rough sequence, Amado’s major clients and the illustrations that he created for them :
Dates and assignments unknown. Art samples ? Line art : ‘30s ? Halftone:’40s, Color : ‘50s
1900s – Californian Inc., “Golden Gate Bridge”, “Top of the Mark Hopkins Hotel” –tourism
1930s – Southern Pacific Hotels – tourism
1930s – California-Stanford Football Poster/Program – sports (P&H created many in the 20’s – 60’s.)
1931 – 1941 – Standard Oil – product
1946 – American President Lines menu covers – tourism
1950 – Santa Barbara, CA – tourism
1950s – Bank of America -18 Ads for Fortune and Time magazines – business
1960 – US Air Force – support
1960s – The Examiner/Chronicle-California Living Section (69 paintings for Sunday Supplement) Later packaged as a set of 28.) – publication
1963 – Fireman’s Fund Ins. Co.– business
1965 – 1968 – California Wine Advisory Board – product
Amado’s commissioned posters for the California Wine Advisory Board brought a lot of attention to the new quality wines developing in California, where up to then only low esteem jug wines were known.
From 1966 and on for 28 years, Amado was a part-time instructor in the commercial art department at City College of San Francisco. CCSF was the location of one of Diego Rivera’s major murals. Amado could often see the work of the artist that inspired him so many years earlier.
In 1972, Amado returned to painting portraits. 16 are at many locations at UCSF Hospital and many are at private homes. He contributed his talents and was a member of the Family Club and the Bohemian Club.
Amado and Mary and family lived on Delmar Street, just a few blocks from Buena Vista Park. Mary was Greek– they were a lively couple. As salt and pepper can enhance a meal, these two added so much to any party or club occasion.
Memories are wonderful. I see them, still.
Bruce Hettama added :
An interesting note, I interviewed Amado just before he passed away (at 94 years). He was still sharp as a tack. When he died his kids took over his house and tossed his portfolio in the DUMP ! Fortunately, an art student found it and they tracked me down. I bought one (bathing suit lady), and scanned all the others.
We credit : Bruce Hettama who created the website : P&H Creative Group.
(You can easily access the site at our link found at the column at the left, titled : Places We Like.) The video there, http://phcreative.com/historyvideo.html covers P&S’s and P&H’s advertising history in San Francisco. We thank him for many of his personal scans of Amado’s original artwork and prints and for his support for the GeezersGallery.
Other than the images, sent by Bruce Hettama, the source of the other images that I have shown are from informative websites and online selling sources. Luckily, many posters and prints are available !
Working Toward a Career
If you know of students in high school, who are wondering which path to take, tell them that there are many choices that can lead to their final destination.
An Art Student’s Portfolio (Early 60’s) In today’s art scene, my portfolio would be laughed at. The art tools changed through the years and now I know the beauty of the digital advantages. There is today, no need for that huge black portfolio – just a small thumb-drive would do the job. But the generosity of time that was given to students in the past seems to have disappeared. Resumes are required and pre-interview selections are made before personal meetings. It is not now, as friendly as it was.
FAMOUS ARTISTS SCHOOL My first art samples for my portfolio came from what I had learned from the “Famous Artists Schools” correspondence art course that I started while in my senior year of high school.
My family’s move from Santa Rosa to Westlake, Daly City, before my last year in high schooI, left me with no connections with my previous five years of classes or friends. I created “my art studio” in our family’s garage and I put all my spare time and efforts in drawing and completing the FA lessons, which were mailed to Westport, Connecticut. The lessons emphasized illustration. These corrections to my endeavors, shown below, were an obvious “eye-opener” for my growth toward commercial art. The “Simple Simon” lesson gave me a lot of notes to follow when I later re-drew to subject in line only. In the “circus” assignment, I was taught that a painting is not an illustration.
PACIFIC TELEPHONE When I graduated from high school, at age 17, I was still mailing my FA lessons but I was far from able to find employment as an artist. My mother suggested that I pay rent – “Rent?” “But I live here!”
Soon, with a personal connection from my aunt from her WWII long-distance operator job – I found a job at 3rd & Channel (San Francisco’s longest building) where Pacific Telephone Co.’s directory was produced. In those days, banana boats came through the (lifted) Lefty O’Doul Draw Bridge. Work friends and I would sit along the building’s south side eating our lunches, watching the bananas being loaded ashore.
The directory job taught me proofreading marks. I knew at the time, that the “yellow pages” were produced on the next floor above and small spots of artwork went into some listings. But I never took the elevator up to see what might be possible for my level of art training. Thinking, now, of the whole different direction that my life would have taken, I am glad that my insecurity, held me back.
CITY COLLEGE of SAN FRANCISCO After eleven months at Pac Bell, my mother found a 3 line announcement in one of San Francisco’s newspapers offering a “night, advertising class” at Lincoln High. There, I met William Davis who was about to join the faculty at City College of San Francisco’s advertising curriculum. He convinced me to quit my job and sign-up at CCSF. The wages that I had saved covered the amount that I owed to my parents for the FA lessons, my on-going rent, and the art supplies and books that were needed.
CCSF offered lessons in figure drawing, lettering and type design, graphic design, packaging, art history, slide and film presentation and finally, an introduction to art production and guidance in creating a portfolio to show my work. One of my final art assignments was a packaging concept. Mine was one of three designs that were reported in the college’s newspaper.
(Note : Only as I was scanning this college paper did I, for the first time, read this other story in the paper. Never following sports in those days, I found this, an insight into the early life of Mohammad Ali. Apparently he took in laundry.)
I had a class assignment where the students were to mimic a famous painter to advertise a product. I chose Henri Rousseau. I lost my painted rendering of the product that was placed at the bottom-left of a 2” white panel with just a few copy lines and the Weil logo.
The college had events and art students could donate their art and get a printed sample.
Another lesson learned was that printing on a colored stock, required that the paper had to be lighter than the inks – unless there was the budget to print, in this case, many passes of white and yellow. The impact of my original sketch was lost, but I did get a printed sample for my portfolio. The lettering class taught all aspects of type and how to “comp it” in a layout.
The figure drawing class was my favorite. Besides drawing with charcoal, conté crayon and pencil this was my first time using a Flo-master pen. The trick was to keep the nib fairly dry.
ACADEMY OF ART In 1961, CCSF awarded me a (June-July) summer scholarship at the Academy of Art on Sutter Street (then, its only location) with classes in fashion, oil painting, figure drawing and on-location sketching. One location was Telegraph Hill and the instructor was Richard “Pappy” Stevens, the school’s “founding father”. The three sketches below are from one morning’s class. Then, near noon, our class would retire to a coffee shop (where Scoma’s now stands) and “Pappy” would “hold court”. I have no other samples from the summer classes. The value then, of the summer scholarship, was $150.
IMAGINATION, INC. Several of Mr. Davis’s students and I had a chance to work part-time as an cell-painters for Imagination, Inc.’s animated commercial for Chevron. The location was on Kearney Street and it was exciting to have an art job and arrive early to work. Also there was a temporary job with an animator, Milt Kerr, who had rented space in Gabriel Moulin Studio on Second Street.
FIRST INTERVIEWS I had graduated from CCSF. This was when I began looking for work in advertising art. It was June of 1963 and I was twenty-one. Was I an illustrator, a graphic designer ? Did I have a creative talent in advertising for an ad agency – to create slogans, create layouts ? Should I interview with ad agencies or art studios ? I tried both.
The large black portfolio that I carried as I searched for work consisted of samples of my efforts rendered in oil paint, watercolor and gouache, ink, graphite pencil and pastels (chalks). It was difficult rendering sharp edges with pastels. At that time, felt-tip color markers did not exist in a large range of colors. The first Magic Markers were uncomfortable – a small bottle with a felt-tip and metal cap.
(In the column at the left, is a “favorite site”: Lou Brooks Museum of Forgotten Art Supplies.)
The collection below shows the usual black portfolio, a storyboard and three ad concept samples. There were also 17 additional subjects from which I would choose a small selection that would be of certain interest to an ad agency – concepts, copy, and layout styles for an ad agency – or items that were more illustrative directed toward an art studio job.
I made very many appointments. The top art directors and artists, in those days, would give a personal interview and offer a critique of a student’s portfolio. A few that viewed my portfolio were : Herb Briggs, Sam Hollis, Tom Gleason (ad agencies)– and Richard Evans and Lowell Herrero (art studios). Given allowance for being young and a student, everyone was very kind, but I didn’t find employment.
WELLS FARGO BANK Then in September of 1963, with a reference from my sister and her friends, I became first a clerk and then a stop-payment clerk for Wells Fargo Bank on Grant and Market Streets. In my off hours, I kept clipping reference and styles for the “morgue” (a scrap file) that was suggested in the FA instructions – and I kept practicing art styles. I wasn’t very disappointed being at the bank, because I was improving my skills at home and I still made contacts with professionals.
LAST INTERVIEW After four months at the bank, again Bill Davis nudged me into a step that put me on the best path for my future. Butte, Herrero & Hyde at 722 Montgomery Street (where I had interviewed previously) had employed two artists, Chuck Wertman and Mike Bull, who had decided to free-lance. I showed my portfolio, but BH&H needed studio skills from me – which was all that I needed to learn to run a successful studio. (I never presented my portfolio again.) A year later when I was 22, BH&H dissolved their partnership and I started my self-employment at 728 Montgomery Street, renting space from Bill Hyde. I was able to be an illustrator and an art director, both !
GOOD TIMING AND BAD In my search for employment there was one big lesson : timing.
When I had to step off-track from my ambitious goal, taking other employment–
I kept growing by improving my skills and most importantly, I stayed open to the suggestions from others ; my aunt (Pac Tel), my mother (the Lincoln High night class), Bill Davis (CCSF), my sister and friends (WFB), Bill Davis, again (BH&H) and Butte, Herrero & Hyde supporting me into self-employment.
Each choice I made took me in a new direction. Whether it is a “fork in the road” or the “up- button in an elevator”, a person’s life will change. If you know a young student in need of a suggestion, if you see or know something, say something.
Like my mother, I still clip opportunities from the newspaper and now, also, from the web.
EARTHQUAKE, Feel The Pulse !
At 5:04pm, October 17, 1989, I was in my room on the second floor at One Lombard Street when the words in my hand : “Feel the pulse of the City by the Bay”, described the shaking under my feet ! It was a 6.9 magnitude EARTHQUAKE !
Growing up in California, the rule that I was taught was to stand in a doorway. My room with windows to the street had an exit only through sliding glass doors.
I had been working on a Vicom Associates assignment that was an invitation for the AAD “Reception for Residents” hosted by Syntex. (Syntex Corporation was responsible introducing oral contraceptives and anti-inflammatory drugs.)
I had used markers for my layout, but then I thought to see how it could be accomplished on the Apple that we had at home. At that time, large pixelated art would be the result. I was surprised when the agency went for the idea – as it would show only what was possible at that time !
Being left-handed and uncomfortable gripping a square mouse with the long tail, I attempted to develop some “computer chops”. The mouse was attached to the right of the keyboard so I even tried using my right hand. Either way I was pretty clumsy. My first attempt shows the general elements. Then I developed each section of the illustration. The computer gave me the opportunity to piece these sections into the one full image. Back at the agency, a negative was made. I was returning to my room with the photostat, when the earthquake hit. You can see that the photostat is wrinkled, where I clutched it as I stood within the frame of the open sliding glass doors.
The electricity in the agency was off. Only some outside phones (landlines) were working. The rooms that had these phones were without windows so you had to light a match to see the keypad of the phone. There was the smell of gas outside in the streets, but only faint in the agency. My calls were to my home and family and then to my aunt who lived out in the “Avenues”, the Sunset district. The next calls were to my friends that our after-work “Birthday Get-together” was off. Almost everyone had left the building. (There was a young single guy in the agency, (telling this later) who found himself stuck as a refrigerator momentarily pinned him against a side wall. There was another employee in the kitchen at that time and he said that he thought : “Here I am and the last face I see, will be hers”!)
There is much to read of the destruction in various parts of San Francisco. My route, if I had gone home, would have been past the fire and smoke in the Marina district.
Heading out to stay with my aunt, I got my car from the rooftop parking, then down three levels and south to the Broadway tunnel. “Strange” I thought, “no traffic in the tunnel (?!)”. This was not a smart choice, but aftershocks were yet to happen. I stayed overnight with my 74-year-old aunt. The next morning, after listening to the news of the extensive damage with on-going rescues, we decided to (of all things) leave her place and visit the earthquake exhibit at what was then the Steinhart Planetarium in Golden Gate Park. As we stepped up on the platform that replicated the shaking of a strong tremor– the next in line was a young father telling his little boy : ”Don’t be afraid, see those two old ladies can do it!”
When I was back in the agency, thinking that the word, “pulse” (“earthquake”) might scare off the invited, I asked if the title of the invitation should be changed. Again, I was surprised by their decision– “Go with it, as is”.
St. Patrick’s Day Layout Lesson
When I was just out of high school and enrolled in the Famous Artists Course, the Spring 1960 issue of their magazine was sent to me. Two pages described various approaches in arranging a set of five elements for a layout of a newspaper ad. The lesson offered nine different arrangements of size and alteration of the elements. There was an explanation of each of the versions – and the reason for choosing #8.
I never referred to that lesson. Years later, as I produced many layouts, a client often emphasized the importance of each element or the format, size and length of headline or columns of type – all influenced the choices that were possible. Some ads converted to other sizes, one page, double page, two columns, etc. and each had to carry the basic “look” of them all.
The biggest variety of choices, I found, was when there was full freedom in illustrating in-and-around the needed parts. I was never sure of the best choice. I felt that if I explored as many possibilities that I could in the time allotted, I could leave it to the client to make the choice.
These very rough full-sized “thumbnails”, below, were presented to the San Francisco pharmaceutical agency of Rainoldi, Radcliffe & Bolles on November 10, 1980 for an invitation needed for a gathering in Boston, on St. Patrick’s Day, March 22, 1981. Client : Cutter Laboratories.
Here are the 25 possibilities and the last one shown is the printed invitation.
And – you will see, I had been showing four-leaf-clovers ! Shamrocks have only three leaves.
(Just now, I looked up “shamrock”. I found out that the shamrock was the image used by Saint Patrick to illustrate the doctrine of the Trinity and it comes from the Irish word : seamróg.)
Every St. Patrick’s Day, I had seen the decorative three-leaf shamrocks. I might have noticed my mistake before presenting my sketches or did the agency catch my error ?
If the four-leaf-clovers had been spotted only when I submitted my finished art, I would have been required to correct that area with a patch. IF the error, unnoticed, went to print – it would have been a very expensive re-do. Lucky for me, this lesson in layouts taught me to question if I had the correct image of every element required.