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: