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.
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: