a Bb Cc Dd Ee Ff g Hh liJj Kk LI Mm Nn Oo Pp Qq Rr SsTt UuVvWwXxYyZz1234567890&/ECE$St- £%!?( )[] PUBLISHED BY INTERNATIONAL CORPORATION. VOLUME FIVE, NUMBER FOUR, DEC. 1978 VOLUME FIVE, NUMBER FOUR. DECEMBER, 1978

HERB LUBALIN. EDITORIAL & DESIGN DIRECTOR AARON BURNS. EDITORIAL DIRECTOR EDWARD RONDTHALER. EDITORIAL DIRECTOR JACK ANSON FINKS, ASSOCIATE EDITOR TONY DoSPIGNA. LYDIA GERSH EY, MARGARET LUBALIN, ED VARTANIAN. JUREK WAJDOWIC2. JULIO VEGA, ART & PRODUCTION EDITORS JOHN PRENTKI, BUSINESS AND ADVERTISING MANAGER EDWARD GOTTSCHALL. EDITORIAL ADVERTISING COORDINATOR

°INTERNATIONAL TYPEFACE CORPORATION 1978 PUBLISHED FOUR TIMES A YEAR IN MARCH. JUNE. SEPTEMBER AND DECEMBER BY INTERNATIONAL TYPEFACE CORPORATON 216 EAST 95TH STREET, NEW YORK. N.V. 10017 A JOINTLY OWNED SUBSIDIARY OF PHOTO—, INC. AND LUBALIN, BURNS & CO.. INC. CONTROLLED CIRCULATION POSTAGE PAID AT NEW YORK. N.Y. AND AT FARNIINGDALE. N.V. PUBLISHED IN U.S.A.

ITC OFFICERS: EDWARD RONDTHALER, CHAIRMAN AARON BURNS, PRESIDENT HERB LUBALIN. EXECUTIVE VICE PRESIDENT JOHN PRENTKI, VICE PRESIDENT. GENERAL MANAGER BOB FARBER. SENIOR VICE PRESIDENT ED BENGUIAT. VICE PRESIDENT STEPHEN KOPEC, VICE PRESIDENT

U.S. SINGLE COPIES. SI.50 ELSEWHERE, SINGLE COPIES 52.50 TO QUALIFY FOR FREE SUBSCRIPTION. COMPLETE AND RETURN THE SUBSCRIPTION FORM IN THIS ISSUE TO ITC OR WRITE TO THE ITC EXECUTIVE OFFICE. In This Issue: Editorial Last issue, we presented an ITC Open Forum on TYPEFACE Typeface Design Protection and You. This time around DESIGN we continue the forum, elaborating on this subject of the utmost importance to users and buyers of ITC PROTECTION (instead of "similar to") . Pg. 2. AND YOU Pro. Files:The Great Graphic Innovators Continuing our popular series of insights into the per- sonalities and artistry of the industry giants, this time (An ITC Open Forum featuring the exceptional work of Mehemed Fehmy (Dr.) Agha and Lou (CBS) Dorfsman. Pg. 4. Ifyou choose an AnthrApology ITC typeface and want Pandora's box is opened again, and out pops'an amusing menagerie by Lou Myers of not-so-subtle to be sure you get it, monkey business. Pg. 10. Askfor it like this: ITC Light Italic Ms. Christine Bassery (Remember to include ITC as part of the typeface name.) Our Ms. lady this issue has dedicated herself totally to illustration, where her imaginative and expert tech- nical facility has been seen in advertising, magazines, Why bother? Because... and (most especially) children's books. Pg. 12. Going Baroque There are "similar to"versions of ITC typefaces on the market. No. 6 in our series of Very Graphic Crossword Puzzles If your job is set in one of them: goes musical, as Al McGinley and Don McKechnie You are getting composition from second-generation art orfrom go for baroque in this pizzicato pi,z1ler. Pg. 14. copies of otherfonts. Only licensed ITC Subscribers make their An Old Style Happy New Year! from ITC's original art. It's that time of the year when we pause to wish our readers the very happiest of holidays—this year in the No royalties are paid to the designer of an ITC typeface by those form of a calendar: William Nicholson's "Almanac of advertising "similar to"versions. ITC pays royalties to the designer Twelve Sports." Pg. 16. for every sold by its licensed Subscribers. "An Alphabet" Our diligent editors leave no alphabet unturned in their persistent search for uncommon ones. The focus What does the purchase this time is on an 1897 creation by Nicholson. Pg. 20. of "similar to"versions of Something For Everybody ITC fonts cost you? Here we go again with a spreadful of absorbing trivia. Our popular feature returns with a potpourri of A reduction in the variety, quality and availability of type- brain-litter: ephemeral, evanescent, equivocal—and face designs. The best typeface designers, everywhere in'the definitely fun for everybody. Pg. 22. world, will not design new typefaces if the opportunity for adequate Something From Everybody incomefrom them is denied. Praise is nice; unsolicited praise is nicer. In a sharing mood, we present a pageful or two of the charmingly illustrated encomiums that continue to reach us. Pg. 24. What do genuine A Manner Of Speaking ITC typefaces cost you Have you ever wondered how you would feel if not one person in the whole world could understand in dollars? what you were trying to say? For the estimated one and a half million non-vocal children and adults so To you, as a user or specifier of typefaces, virtually nothing. There physically handicapped, there is a hopeful answer in is a one-time royalty on ITC typefaces which varies with the kind ' the symbolic language system of Charles Bliss. Pg. 26. of machine or material on which theface will appear: For many What's New From ITC? text machines the one-time ITC royalty is $30.00 for onc ITC Benguiat Book Condensed, Medium Condensed, typeface which can be reproduced in a full size range and which and Bold Condensed, and their corresponding italics can be used on hundreds ofjobs, and which can lastfor as long as are the new typefaces from ITC (available to the public on or after January 15), which only licensed ITC Sub- thefilmfont remains usable, which can be for years. No further scribers are authorized to reproduce, manufacture, royalty is ever paid by anyone for the use of an ITC typeface after and offer for sale. Pg. 30. it has been purchased. If, however, one penny were to be added to My Favorite 5,6,7 & 9 Letter Words each dollar's worth of typesetting sold by a typesetter, after A visually exciting presentation by Herb Lubalin, $3,000 worth of typesetting the royalty would befully recovered. demonstrating the practical and esthetic effectiveness of ITC Benguiat Condensed in all its forms. Pg. 32. 3

Pere are two ways to re sure you get a genuine TC typeface from your typesetter when you order it - Vhen you receive the proof of yourjob, check the guideline on the )ottom listing the typefaces used If genuine ITC typefaces were tsed, they should be listed here. If the guideline does not list"ITC" n front of the typeface name, insist on this from your typographer. Vithout it you may only be getting a"similar to "version of an TC alphabet f you are purchasing ITC fonts, be sure to buy them only from the tuthorized manufacturers listed on this .

)nly the following Subscriber Companies are licensed to manufacture and sell ITC typefaces:

cldressograph-Multigraph Bobst S.A. Dymo Graphic Systems, Inc. Harris Corporation Mergenthaler Linotype Pressure Graphics, Inc. rp., Varityper Division Bobst Graphic Division 355 Middlesex Avenue Harris Composition Systems Company 1725 Armitage Court Mt. Pleasant Avenue CH-1001 Lausanne Wilmington, Mass. 01887 Division Mergenthaler Drive Addison. Illinois 60101 st Hanover, N.J. 07936 Switzerland (617) 933-7000 P.O. Box 2080 Plainview, N.Y. 11803 (312) 620-6900 01) 887-8000 021/89.29.71 Systems and Melbourne, Florida 32901 (516) 752-4197 DryTransfer Letters ototypesetters and Photo- Phototypesetting Systems Equipment. Film Strips, (305) 259-290 Linofilm, Linotron, Linocomp. ttering Systems Standard and Segmented Discs, Fototronic 4000,TXT, 1200, 600 V-I-P Protype, Inc. Dr. Boger Photosatz GmbH and Digitized Fonts CRT 7400. 7450 67 Main Street phatype Corporation 2 Wedel in Holstein MGD Graphic Systems Warwick, N.Y. 10990

11 N. Merrimac Avenue Rissener Strasse 94 Film Fonts International Dr.-Ing Rudolf Hell GmbH Rockwell International (914) 986-1166 Iles, Illinois 60648 Germany 225 Park Avenue South Grenzstrasse 1-5 2735 Curtiss Street Visual Display Phototypesetting 12) 965-8800 (04103) 6021-25 NewYork, NY. 10003 D2300 Kiel 14 Downers Grove, Illinois 60515 Systems and Film Fonts phaSette and AlphaComp Manufacturers of Copytronic (212) 533-2110 Germany (312) 963-4600 ototypesetting Systems Phototext Composing Machines, Alphatype/A1phaSette ® (0431) 2001-1 Information Products Division D. Stempel AG Film Fonts, and Copytype Fonts and 2" Display Fonts Digiset Phototypesetting Hedderichstrasse 106-114 erican Type Founders Photolettering Systems Equipments and Systems, 3M Company Frankfurt am Main-Sud .• Inc. and Fonts Filmotype Digiset-Fonts 3M Center Germany Elmora Avenue 7500 McCormick Boulevard St. Paul, Minn. 55701 (0611) 6068-1 Type Division lizabeth, N.J. 07207 Cello-Tak Mfg., Inc. Skokie, Illinois 60076 Information International (612) 733-1100 01) 353-1000 35 Alabama Avenue (312) 675-7210 5933 Slauson Avenue Promat Letter Compositor e Division Island Park, N.Y. 11558 Film Fonts Culver City, Calif. 90230 Tactype, Inc. (516) 431-7733 (213) 390-8611 The Monotype Corporation Ltd. 12 West 26th Street , Inc. Dry Transfer Letters FONTS — Hardy/Williams Phototypesetting Systems Salfords, Redhill, Surrey. NewYork N.Y. 10001 30 Work Drive (Design) Ltd. England (212) 924-1800 . Box 7151 Chartpak 73 Newman St. Itek Corporation Redhill 6 5959 Dry Transfer Letters rt Meyers, Fla. 33901 One Road London WI England 1001 Jefferson Road Visual Communications 13) 332-1174 Leeds, Mass. 01053 01-636-0474 Rochester, NewYork 14603 Equipment Technographics/Film Fonts 237-4474 (413) 584-5446 (716) 244-5600 P.O. Box 552 ry Transfer Letters Dry Transfer Letters FotoStar International Phototypesetters National Type Matrix, Inc. Culver City, Calif. 90230 t Out Letters 15450 E. Valley Blvd. 126 Tenth Street (213) 870-4828 Compugraphic Corporation City of Industry. Calif. 91746 Letraset International Ltd. Brooklyn, NewYork 11215 Toll Free 800-421-4106 tologic, Inc. 80 Industrial Way (213) 333-2600 or 330-5330 St. George's House (212) 768-8600 Film Fonts, Studio Film Kits, 50 Rancho Conejo Blvd. Wilmington, Mass. 01887 FotoStar II Display Setting 195/203 Waterloo Road Metal Matrices and Alphabet Designers wbury Park. Calif. 91320 (617) 944-6555 Machines. 2" Film Fonts London SE1 8XJ 13) 889-7400 EditWriters,CompuWriters, England Officine Menta Visi-Graphics S-4/APS-5 CRT Phototype- Text Editing Systems, Geographies, Inc. (01) 928-0488 Via Privata Venafro, 6 8119 Central Avenue t ter Composition and Accessories and Supplies 1100 Seymour Street Dry Transfer Letters 20154 Milano Washington, D.C. 20027 esetting Systems Vancouver, B.C. Italy (301) 366-1144 Degra Albert Deist Canada V6B 3N3 Letraset USA Inc. (02) 38.42.08/39.43.65 Dry Transfer Letters . Berthold AG Postf. 114 D-3508 Melsungen (604) 685-8236 40 Eisenhower Drive Typesetting Machines 0 Berlin 61 West Germany Dry Transfer Letters Paramus, N.J. 07652 Visual Graphics Corporation ehringdamm 43 DisplayTypesetters.2" FilmFonts (201) 845-6100 Optronics International, Inc. 5701 NW. 94th Avenue rmany Graphic Products Corporation DryTransfer Letters 7 Stuart Road Tamarac, Florida 33321 30) 69031 Dymo Belgium NV. 3601 Edison Place Chelmsford, Mass. 01824 (305) 722-3000 iatronic, ADS 3000, Diatext, P.O. Box 35 Rolling Meadows, Ill. 60008 Linographics (617) 256-4511 Manufacturer of Photo Typositor 'atype, Staromatic, St-Niklaas (B2700) (312) 392-1476 770 N. Main Street Phototypesetting Systems and Original Typositor aromat, Starograph Belgium rormatt cut-out acetate letters Orange, California 92668 Film Fonts (03 76) 6980 10 1 and graphic art aids (714) 639-0511 PhotoVision Of California, Inc. rthold of North America Visual Systems Division Display Typesetters. P.O. Box 552 Zipatone, Inc. 0 Winters Avenue Graphic Systems World 2" Film Fonts Culver City, Calif. 90230 150 Fend Lane ramus, N.J. 07652 Trade S.A. (213) 870-4828 Hillside, Illinois 60162 01) 262-8700 Tour Gallieni 1 Mecanorma Toll Free: 800-421-4106 (312) 449-5500 'at ron ic, ADS, Diatype. 80 Avenue Gallieni 78610 LePerray--Yvelines Spectra Setter 1200,Visual Dry Transfer Letters romat, Diasetter. 93170 Bagnolet Paris, France Display Setter, and 2" Film promatic France (484 83 40) Fonts CT2 360.1212 DryTransfer Letters UCENSED Graphiset • For further information, write or call:

International Typeface Corporation, 216 East 45th Street, NewYork, NewYork 10017 (212) 371-0699 Telex: 125788 4

DRAWING BY DIAN FRIEDMAN 5

his studio for photography and his of rage.It had no significance. He would CHRONOLOGY Man or Myth? Consistent contradictions are the norm when one probes the clan- audio equipment.He did beautiful deli- . make me cry, and then we went to lunch. This sketchy chronology is as complete as we can destine personality of a complex public cate work, but the automobile was foreign Just a way of exerting his importance. make it: 1896: Born: Kiev, Russia figure. The certainty that surfaces is the to him. The fact is, he was untrustworthy He was very,very important, and he did all sorts of things for Vogue of enormous • 1923: Received special degree from National School of consistency of inconsistency. My call for with an automobile. He had no feeling Modern Oriental Languages, Paris the real Mehemed Fehmy Agha to stand for what it could or could not do.You advantage to it.He was aggravating. It 1929: Immigrated to America; Art Director, Conde Nast Publications till 1943 up and separate from the legendary pushed a button, and it went ahead,very was part of his spirit.If you stood up to 1934 — M.F.A. has been an unsurmounted slowly.You didn't haVe to impose judg- him, he admired it. I adored him:' President of the NewYork Art Directors Club 1935 frustration. ment. It was supposed to have its own. There is a fascination for me that this 1978: Died in Pennsylvania Vis-a-vis a few flourishing fantasies He would drive to the village center where He acted as graphics and directorial consultant articulate talented Turk came to NewYork for numerous corporations, department stores are a few firm facts. For starters, this terrific tractor trailers rolled West, and via pre-Hitler Berlin, generated a series and publishing companies. Kiev-born son of a wealthyTurkish family steer his car across the roadway,waving of anti-Hitler covers and cartoons for He was president of the American Institute of was known to his colleagues and to his his hand to signal, scorning the mechan- Graphic Arts. Vanity Fair. Had he voiced a personal very few intimates as either Doctor or ical devices:' political of view? Agha.Although not medical, the Doctor thought of Agha as a A close male friend "I never dis- title is his, rightly, as Doctor of Political sardonic, cynical smart-aleck of abso- A Conde Nast colleague: Science. He possessed also a graduate lutely no empathy,who claimed the great cussed politics with him. He never offered degree in economics from the Emperor asset of an instinctive sense of double- any opinions:' Peter the Great Polytechnic Institute of entry book-keeping. A close female Cipe Burtin: "He didn't talk about politics. Czarist Russia. friend knew Agha as a man who was He revealed his politics by what he He told a close friend of being on the empathic of others."A housekeeper had encouraged to be put on the covers of staff of Kerensky, head of - some health problems,and Agha contrib- Vanity Fain" revolutionary forces at the time of the uted to her household budget:' Motherland's trauma.He told another A friend said: "He thought man has not friend he and Andrei Gromyko were class- A colleague: "Agha was well organized, changed since the day of the creation. mates, leaving the inference that there, well disciplined, kind to his inferiors:' In The thing that protects a nation is that but for the grace of a wrong guess on counterpoint we quote Agha: "Everyone certain blocs (unions) can blow off his part, was an arena in which the is my inferior, so I'm kind to everyone.' steam (strikes) like a furnace that has a force of his personality would have had In further contrast, a story: Before he valve to allow excess heat to escape.If we greater scope. became a renowned professional photog- didn't have that, we'd have the French Revolution!" A former Vogue editor: "Agha is an rapher,Gjon Mili worked in another enigma encased in mystery. He wanted to capacity for an industrial corporation. At Cond6 Nast,Agha was up to his paste- be standoffish. He had a habit of sitting He brought his portfolio to our Vogue pot in female colleagues. How did they at his desk, legs apart, hands on knees, editor, who thought highly enough of it work together— the women and this a monument to himself.And he said,'No: to show to Agha."Where does this man monocled aesthete,with his snuff and Whatever you proposed,Agha sat in work?" he asked."He works at Westing- red bandana handkerchief? austerity and said,'No: I adored him:' house:' "Tell him to continue to work at Westinghouse:' Ms. Burtin: The editors and copywriters We have every practical manifestation of at Vogue were women.Agha seemed to his professional eclat.Arriving from Cipe Burtin: "I really adored him. enjoy working with women, seemed Berlin in 1929,Agha assumed art direc- Couldn't wait to get to the office to work to have a profound understanding of torship of the Conde Nast publications. for that brilliant man, to see what he their status in society .I got the impres- In so doing, he forever altered the role of makes me look at, to understand what sion, in my case, he was trying to make the editorial art directorAgha brought he's telling me, to take the long view not me more aggressive when he suggested I his sophisticated intellect and creative get lost in some comfortable niche. apply for membership in the all-male skills to the participatory level where his Nothing you did quite satisfied him. He Art Directors Club:' was always sending you back to outdo self-assured voice and unerring taste From one of those Vogue editors: "His became an "organic function of modern yourself— urging you to go deeper into the subject, not to take the easy way out:' point of view was that no woman was as publication:' important as a man.Compared to a man With innovative design, typography On just this work ethic, the late Bill who was a fool, a foolish woman was and layout, he shattered the restrictive Golden: "This method may, to some more so.He wouldn't fight for an editorial style that was current.His technical short-sighted people, seem cruel and point with a man and show the same background invaded engraving and unjustified, but I submit that an artist annoyance with which he'd fight shops, demanding fidelity to who is suspicious of his own work is a woman:' original art. more likely to look for new forms of His knowledge of the craft of photog- expression:' Dr.Agha was an inspirational influence on his co-workers in the graphics field. raphy was extensive; his roster of Vogue- The same subject, another voice: sponsored photographers is impressive: The quality of his fourteen years at "I think the juxtaposition of normal Conde Nast is eternally documented in Steichen,Beaton,Toni Frissell,Hoy- thoughts in an unusual way is defined as ningen-Huene,Horst. the permanently expanded role of the creativeness.Agha had that ability to executive-designer. Boundaries have Cipe Burtin, his assistant at Conde Nast: rearrange things,just as he could re- been dissolved in editorial content and "It was early in the art of art photography. arrange furniture in a room. He could visual concept due to Agha's adamant I believe Agha was the first designer to place it in 10 or 12 ways.That's what determination towards perfection. bleed the .Until then, there he did with what we call concepts.He Agha, the popular platform speaker was a border of white around every stretched everybody. It was second nature was a disarming conversationalist."He fashion in Vogue.He him- for him to stretch himself.That's what was fun, full of jokes and marvelous self was a good photographer. He went drove him on.Once he'd done it, it wasn't sarcastic remarks:' deeply into the area of studio lighting, good enough. If someone else had done it, Again, the enigma: A characteristic emptied a room at Conde Nast and he could redo it in a fashion that was point of view, deeply personal, achingly installed electrical equipment to docu- more attractive, more functional, more poignant: "I'm a stranger in a strange ment lighting. Exact timing was recorded, professional:' land, just visiting. Don't ask me to assume , what film was used,where the light A female colleague: "Difficult? He was responsibilities in which I have no came from:' An interesting parallel to brilliant, but the most difficult man I interest. I have no interest in anything:' Monet and his lily pads. ever dealt with.He liked absolutely Mehemed FehmyAgha— Man and Myth. From another source: "He wasn't nothing.I was a fairly important editor, Died in his sleep, on May 27, 1978, at mechanically skilled, except that he wired and it pleased him to make me cry tears his home in Pennsylvania. He was 81. THIS ARTICLE WAS SET IN ITC.BOOK MAN AND ITC AVANT GARDE GOTHIC CONDENSED GERTRUDE SNYDER DRAWING BY DIAN FRIEDM 7

CHRONOLOGY A few treasured friendships are woven of matter are handled internally in most medium. One of the first things I did, the warped woofs of life, hidden are the corporations while advertising, particu- having been infected by the film bug, was 1939: Graduated Cooper Union School of Art and Architecture surprise gaps where threads have missed. larly consumer advertising, is produced to design and produce a series of - 1939: Assistant designer New York World's Fair Exhibits In my precious friendship with this outside by advertising agencies. Here at second promotion spots.They were of a with Herb Lubalin graphics pacesetter, I know well that he CBS we do it all inside the house.Until kind that had never been tried before. 1942: Designer/Artist Navy Training Films prefers pot roast to beef Wellington.The very recently, about 50% of my efforts were These were not trailers off the cutting- 1943: U. S. Army spent on print advertising, consumer room floor, but original products con- 1944: Chief designer U. S. Army Service Forces traveling surprise is that I don't know if he prefers exhibits Piero to Picasso. In the more than 30 and trade-and-institutional.The evidence ceived and shot under studio conditions. 1945: Won first and second prize U. S. Army arts contest years of our relationship, I and my friend, of that is in every issue of TV Guide and They were amusing little blackouts, but 1946: Joined CBS the consummate professional, have not in newspapers throughout the country. never reached the viewing public, due to a 1951: Art Director of CBS Radio Network had, until now, an in-depth philosophical About 900 a year are created.Addi- technicians strike. 1954: Associate Creative Director, CBS Radio Network discussion, at once personal and imper- tionally, there is a massive output for 1954: Director of Advertising and Promotion, CBS Radio "Film (and tape) represented learning Network sonal, subjective and objective.In tribute, on-air promotion trailers and radio spots, opportunities to me.Very few art directors 1956: Awarded Citation for Outstanding Professional and to mend the fabric, this profile of numbering close to 3,000 annually were active in this medium in the early Achievement, Cooper Union; one-man show Louis Dorfsman. "I think we all have a strong desire,as in Japan 60's.It seemed like an opportunity for professionals, to produce what we and 1959: One man show—American Institute of GraphicArts Now a member of the Board of Trustees testing one's self,probing for new forms 1959: Vice President, Advertising and Publicity, CBS Radio of the Cooper Union, after high school our peers regard as good work- intelli- and perhaps breaking new ground. Network graduation, Lou opted to study bacteri- gent, logical, provocative-one's profes- "The fact is, I'd like to broaden my hori- 1960: Creative Director, CBS Television Network sional best. 1962: Presented with Philadelphia Printing Gold Medal for ology at NXU. zons through a further commitment to Best of Year Design "CBS has a long tradition of excellence. film. However, no kind of arrogance would "NYU in those days was a big $300 tuition. 1963: Awarded the Augustus St. Gaudens Medal, Cooper The difficulty is in maintaining and con- make me think that I could venture into Union It was out of the question, not because my feature films and qualify on a directional 1964: Director of Design, CBS Inc. tinuing that tradition.Part of my role, as father couldn't afford it, but he wouldn't level.Commercials and small films would 1965: One man show in Tokyo spring for that much bread.My option I view it, is to uphold those hard-won standards simply because it is to the be enough of a challenge. 1966: One man show in Munich,Frankfurt and Amsterdam was to join his sign-painting business, 1967: Feature article in CA Magazine but we really didn't hit it off.I loved to company's ultimate good. "International Graphics? I wish I knew a 1968: Vice President, Creative Director of CBS/Broadcast "Way back., CBS created an environment Group draw- isn't that how we all started? - bit more about the Eastern European which was, in effect,a hot-house for 1968: Feature article in Graphis Magazine so I took Cooper Union's exam simply" countries.I have, of course, seen great creative people, where they could flourish 1970: One man show in Tokyo because admittance meant a free art animation, excellent illustration, magnif- 1970: Ten Designers, Japanese publication featuring ten education of high calibre:: and grow.How to maintain such an icent posters and high-level American designers environment in changing times? come out of that part of the world.You 1974: Elected to Board of Trustees, New York Institute In front of the entire 7th-grade class, this of Technology "Unfortunately, standards are more must realize that we are not talking about 1974: Visiting lecturer in Tokyo and Osaka for Mainichi Senior Vice President, Creative Director difficult to uphold in all aspects of our societies and countries that have giant Broadcasting Co. of Marketing Communications and lives. Bread is tasteless,good tailors and advertising/design/marketing struc- 1975: President of New York Art Directors Club Design, CBS Broadcast Group, heard carpenters are nonexistent, and the tures which act as breeding grounds for 1975: Visiting professor, Syracuse University himself described with opprobrium by plumber doesn't show up. 1976: Visiting professor, Cooper Union design disciplines of our kind.So, there his teacher. are fewer Eastern Europeans involved in 1976: Elected to Board of Trustees at Cooper Union "You ask about programrning.This 1976: Elected to me Board of International Design "What he said was,`Hey your- that's the subject is not really my table. But then these activities. Conference in Aspen "In the United States these days one way he addressed us -`You write a com- everyone is an expert in programming, 1978: Senior Vice President, Creative Director of can find terrific designers and A.D.s almost Marketing Communications and Design, CBS/ position about the Bronx Zoo: Since I especially those who know nothing anywhere.There are no longer regional Broadcast Group then lived a stone's throw from the Bronx about it. It seems to me if one looks back 1978: American Institute of Graphic Arts Medalist advantages, i.e., NewYork, Chicago, Los Zoo, my rejoinder was,`Everybody knows at what is called the 'Golden Years of 1978: One-man show, American Institute of Graphic Arts Angeles.There are no geographical limita- about the Bronx Zoo-it's a dull subject: Television: it all looks slightly tarnished. 1978: Chairman of the International Design Conference It's not a dull subject-you're just a dull tions to good people and good work.The in Aspen Many aspects of television today are same holds true internationally. For 1978: Inducted into The Hall of Fame, New York Art bastard; he said, and was absolutely superior to those` ays.Production values Directors Club right.What he said made an unforgettable and direction are more professional. As example, Herb Lubalin's great personal Fords: 13 Gold Medals, New York Art Directors Club on me.Since then I have never output plus that of his top-quality asso- • 22 Awards of Distinctive Merit, New York Art audiences we are more sophisticated Directors Club approached any problem or subject with a and critical. If you pick and choose,you ciates is rivalled by Pentagram in London. 2 Clios preconceived notion that it was dull and Good strong stuff always came out of 5 50 Ads of the Year will find a veritable wonderland, still. Honored by , Poor Richard's had to remain so.I try to take the familiar Germany and Switzerland and now Club, The Philadelphia Art Directors Club and ordinary to a level of interest:' "To answer your queistion about the film Japan.It's not that we are losing ground. We're not getting weaker, they are getting BIBLIOGRAPHY Innovative, up-to-the minute conceptual medium.I think it is the next logical step mover of tastes, though he be, Lou is up for an art director/designer/photog- stronger." Has been featured in articles in. Graphis, Industrial "All of this is reassuring. It illustrates Design, Fortune, CA, Print, American Artists, easily humbled by any one of the great rapher.Some terrific art directors have Mademoiselle,Type Talks, Graphic Design (Japan), periods in the history of the arts. made that transition successfully-Rick that we're all capable of high achievement. Idea (Japan), Gebrauchs-Graphic (Germany), Levine, Dick Loew,George Gomes, Gerry Pagina (Italy) "No one art form really grips me more than "Corporate maverick? I suppose I qualify Andreozzi, Mike Cuesta,Tony Lover, to because I speak out rather openly. any other.I constantly find myself awed name a handful. It is the ultimate medium at the incredible works of man. I am for visual communicators. "I pride myself in having business judg- always left overwhelmed.Great_expres- "In the early 50's I had my first film ments which I apply responsibly to sions of the human mind absolutely - experience.We designed and produced an advertising and promotion needs.I see devastate me at the same time they inspire animated sales-promotion film for the my obligation to CBS as an extension me beyond measure:" CBS Radio NetwOrk.The late great John of the selling process as well as helping to create a positive, pleasing, modern cor- The articulate introspection continues - Hubley directed.I was reticent and laid porate personality. I usually start my work "I held eleven jobs, I think, before I came td back because it was an area in which I process by attempting to identify real CBS. It wasn't as though I couldn't hold was not yet comfortable since my knowl- them.I didn't want to. I considered these edge of the medium was limited.Along company needs and objectives and pro- ceed from there to concept, copy, and art:' jobs as practical extensions of my formal the way, however,I began (albeit hesi- design education.As soon as I felt I had tantly) offering suggestions which, to Beyond concept, copy, and art, is one learned all I could at one place, IMoved my surprise,Hubley loved and accepted. further depth, touched with"might of on.And then CBS and I found each other. By the end of the process I was offered .a design, mystery of color" for this caring, It's been a record-setting association in job with the company and told that I had intelligent prize-after-prize winner whose many ways-32 years of tenure, for one. a great feel for film and story-telling, passions are many-fold. Involvement "The CBS experience is unique.There with strong directorial potential manifests everywhere his span reaches- is no other corporation that comes to "I was in the Radio division until 1960, to the texture and color in clothing, mind that structures its advertising and then transferred to the Television divi- interior surroundings, to what he reads, design functions as we do.Traditionally, sion.I was excited by the prospect of music he hears,his societal concern- public relations and promotional subject working in this quintessential visual and to friendship. THIS ARTICLE WAS SET IN ITC BOOKMAN ANC ITC AVA NT GARDE GOTHIC CONDENSED GERTRUDE SNYDER 8 DR. M. F.AGHA COVERS FOR VANITY FAIR, VOGUE AND HOUSE & GARDEN MAGAZINES

HOUSE&GARIEN LOU DORFSMAN A CBS TELEVISION NETWORK SALES PRESENTATION. B ADVERTISEMENT PLACED BY CBS/BROADCAST GROUP CONGRATULATING NBC ON THEIR ANNIVERSARY. C NEWSPAPER ADVERTISEMENT FOR CBS NEWS PROGRAM SERIES. D LOGO FOR CINEMA CENTER FILMS-AN ACQUISITION OF CBS INC. E CONSUMER ADVERTISEMENT FOR DANSK CHINA. F NEWSPAPER ADVERTISEMENT FOR CBS NEWS PROGRAM. G 3-DIMENSIONAL MURAL INSTALLED IN 51/20 CLUB CAFETERIA AT CBS HEADQUARTERS BUILDING. H CONSUMER ADVERTISEMENT FOR DANSK COOKWARE. CBS NEWS BOOK COMMEMORATING THE FIRST FLIGHT TO THE MOON, J CBS TELEVISION NETWORK INSTITUTIONAL BOOK ON CTN FOOTBALL K CONSUMER ADVERTISEMENT FOR DANSK GLASSWARE. L CBS RADIO NETWORK SALES MAILING PIECE TO ADVERTISERS. M LOGO FOR ELECTRONIC VIDEO RECORDING-AN ACQUISITION OF CBS INC,

K A

F

Peo enough, •• CBS Radio bd. ot *par tml•gt Mob 41 &Oka. *um smits vertbr414 palm Mi. Intention, mote en•eritesstiorst owls in smee ••••. . inner gatwe ertnneeressl minas. listener ■ ••••••■ieen. • Ou*.cleiwered^I to • Mama aud• +Ia1R+®x d•y• J Teem rAa reel nitrite Net Winer tres, or the tunnies most valiseseirs wenn rne In U. Kerrie notice pram• It inem. weir fur* •••■••4.1.

M

CINEMA CENTER FILMS 10

Yoor 7 Somas' anc/ 3 ciataqhter.r have perished r1 Ct. pl col e. Crash . r

Anthr(apology)

. • .and 7000 of qour all m9 life I've been sheep, 3000 earl-ids. a. trod 'huoi • • • I've cchot 500 yoke of oxen qiv ,en to chariti.. • have burned op sr/ a fire in (levy' ba.rn

How is it so 7.rialui r i c h and their children, 131ctspherv ^ ovs, and cl ; hor) est 1iYe a. life Withouta 1)ad

pad my 'taxes i "m bicioteol, No, tic, R I v.e lot the Thcky^^ . • colici -trier I Wrong ntimber.

.11■ ■ •• ••■•••••••..

de7a, Odd, •1. "0 to b