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George Braziller, Inc.

, New York 1962

The visual craft of William Golden

Editors: Cipe Pineles Golden, Kurt Weihs, Robert Stransky

The editors wish to acknowledge their deep obligation to the many friends and associates of William Golden whose generous assistance has made the preparation of this volume a truly cooperative enterprise. Particular thanks is due Fred W Friendly who first proposed and set in motion the procedures for its publication.

Special acknowledgement equally must be given to Edward W Side, Production Manager of the Advertising and Sales Promotion Department of the CBS Television Network, without whose untiring efforts and devotion the successful completion of this book would not have been achieved. Indeed, much of the quality of the original material contained herein can be attributed to his exceptional production skills, knowledge and experience as a longtime colleague of William Golden.

The editors would also like to express their gratitude to Joseph Blumenthal, Ruth Cannon, Tom Courtos, Estelle Ellis, Joe Kaufman, Teri Kerner, Mort Rubenstein, Ezra Stoller, Constance Styler and Helen Valentine-as well as to Columbia Broadcasting System, Inc. for permission to reproduce the pictorial material in this book.

Copyright ©1962 by Cipe Pineles Burtin All rights in this book are reserved.

For information address the publisher George Braziller, Inc.

215 Park Avenue South, New York 3

First Printing

Library of Congress Catalog Card No. 62-9694

Printed in the United States of America

F or Tom Golden

William Golden

William Golden was born and brought up in the Lower East Side of Manhattan as the youngest in a family of twelve children. His formal schooling ended after he attended the Vocational School for Boys, where he was taught photo-engraving and the rudiments of commercial design.

He spent the first few years of his professional life in Los Angeles working in lithography and photo-engraving plants. From there, he moved to the art department of the Los Angeles Examiner where he designed newspaper advertisements. A few years later he returned to New York where he became a member of the promotion department



of the J ournal-A merican.

The turning point of his career came when his talents were spotted by Dr. M. F. Ag ha, the noted Art Director of Conde N ast publications, who invited him to join House and Garden. After serving an apprenticeship under Dr. Agha who, in Golden's own words " ... forced the people who worked for him to try constantly to surpass themselves," he left in 1937 to join the Columbia Broadcasting System. Three years later he was appointed Art Director of CBS.

On October 11, 1942 he married Cipe Pineles; their son, Thomas, was born on March 30, 1951. In 1942 Golden took

a leave of absence from CBS to work in the Office of War Information in Washington, D.C., and a year later entered the United States Army as a private. After serving as Art Director of Army training manuals in Washington and, later in Europe, with the Army's Education and Information Division, he was discharged in 1946 with the rank of Captain. He resumed work at CBS, and in 1951 became Creative Director of Advertising and Sales Promotion for the CBS Television Network.

William Golden's work has been exhibited extensively in Europe as well as throughout the United States. He was twice chosen as one of the "ten

best" art directors by the National Society of Art Directors and over the years received the prime awards of various graphic exhibitions throughout the nation. He was a member of the Board of Directors of the American Institute of Graphic Arts and, as Chairman of its "Design and Printing for Commerce" exhibition, inaugurated the celebrated "Fifty Advertisements of the Year" show.

In 1958 a collection of his work was exhibited at the White Museum of Art at Cornell University. In 1959, shortly after his death, he was chosen as "Art Director of the Year" by the National Society of Art Directors.


List of Illustrations

A Artist

p Photographer

Design Associate



Hamlet Playhouse 90 Moiseyev Dancers CBS Desk Diary See?

Khrushchev's Third Visit The Geneva Conference Woman!

CBS Reports Woman!

36 24 36 62,000,000 Swing Into Spring!

Of Course We're Pleased ... The Face of Red China Conquest

1958 Fallout Conquest

The Coronation of Pope John XXIII Wonderful Town

Power to Communicate Years of Crisis

Thanks ...

Long Shot

Johnson's Whole Ball of Wax ... The Bridge of San Luis Rey Remember?

CBS Desk Diary

1957 "Man of the Century" Why All the Fireworks? The Death of Manolete

A Ben Shahn A Ben Shahn p CBS Photo

........ Kurt Weihs .. ............ Herbert Reade

A Henry Koerner. p CBS Photo.

p CBS Photo

.. Norman Griner ...

A Joe Kaufman p CBS Photo

A Botticelli (detail) p CBS Photo

....... Kurt Weihs.

p Arik Nepo 25

A Jan Balet 26

p Rolf Gilhausen Kurt Weihs. 26

p CBS Photo Tom Courtos 27

A Ben Shahn . 28

p CBS Photo. . Kurt Weihs. 29

A John Groth 30

p CBS Photo 30

A Joseph Hirsch 31

... M ort Rubenstein. 31

p CBS Photo. . Kurt Weihs. 32

p CBS Photo 33

p CBS Photo 34

A Jacob Landau 35

A Kurt Weihs 36

A Carl Erickson 37

A F'eliks Topolski 38

A Thm Courtos Tom Courtos 38

A Ben Shahn 39

Biography Preface

The Passionate Eye Type is to Read

by Lawrence K. Grossman by Frank Stanton

by Will Burtin

by William Golden

4 9 10 13 57

126 128 129 151

Visual Environment of Advertising by William Golden

Bill by Ben Shahn

Patron-Art Director by Feliks Topolski

A Tribute to William Golden by John Cowden

My Eye by William Golden

12 16 16 17 18 18 19 20 22 23 24

The Puerto Ricans

DuPont Show of the Month

The Network That Invented Daytime Housewives Television

The Big Push

"Eye" Column

This Little Pig .

He Must Know (Cats)

He Must Know (Eskimos)

He Must Know (Cavemen)

N ewsfilm Tells the World ... There's More to Florida!

There's More to Florida ...

1956 Watch Closely!

"The Secret Life of Danny Kaye" All 10 of the Top Ten

Our Mr. Sun

2 = 1

The Blue Conventions Captain Kangaroo Report From Africa Program Book Cover The Ed Sullivan Show Egypt-Israel

1955 Dr. J. Robert Oppenheimer Back Tonight, Jack Benny

"The Caine Mutiny Court-Martial" Anybody Here You Don't Know? The Vice Presidency

See It Now

Program Book Cover Harvest

A Ben Shahn

p CBS Photo Tom Courtos

A Old Engraving A Old Engraving A Ben Shahn

p CBS Photo

39 40 41 41 42 43 43 44 44 44 45 46 46 47

. Alex Tsao

A Kurt Weihs Kurt Weihs.

A Jan Balet Mort Rubenstein

A Jan Balet Mort Rubenstein ..

A Jan Balet M ort Rubenstein ..

..... Kurt Weihs

p William Golden, William Helburn .

Arik Nepo, Mark Shaw.

p Russell Hopkins (Rapho Guillumette)

p Arik Nepo 48

A David Stone Martin 49

A Kurt Weihs Kurt Weihs. 50

p Picture Service c.... .. George Lois 51

....... Kurt Weihs. 51

A F'eliks Topolski 52

A Jan Balet George Lois 56

A Ben Shahn Kurt Weihs. 56

p CBS Photo M ort Rubenstein. 56

A Rene Bouche 56

.................. Kurt Weihs. 56

p CBS Photo 58

A Rene Bouche 59

A David Stone Martin 60

p CBS Photo 61

p Bob Ritta M ort Rubenstein.. 62

p Picture Service . Kurt Weihs ... 62

pErich Kastan Mort Rubenstein.. 63

A Ben Shahn 64

After You ... A Ludwig Bemelmans 66 Edward R. Murrow p Arnold N e·wman 93
Good Spot to Be In! A Joe Kaufman 67 The Sign of Good Television p Corminhill 94
Target 68 Television's Big Brother A Leo Lionni 95
"What's Steel Doing?" A Burmah Burris 69 Radio ... Most Versatile ... A Jerome Snyder 96
Gunsmoke A David Stone Mo.rtin. 70 Radio ... Most Versatile ... A Doris Lee 97
Navy Log p U.S. Navy Photo .. ... Kurt Weihs 70 Radio ... Most Versatile ... A Miguel Covarrubias 97
Judy Garland p CBS Photo .... George Lois 70 Radio ... Most Versatile ... A Leonard Weisgard 97
Robin Hood A Fritz Eichenberg 70 "The Radio Says It's Going to Rain" A Bernice Greenwald 98
You'll Never Get Rich p CBS Photo .... Kurt Weihs 70 The Egg and I and You p Midori ........ Mort Rubenstein 99
As Advertised ... Kurt Weihs 71
1950 This is CBS ... A Joe Kaufman 100
!954 Which Way In? p Arik Nepo 72 How to Get Them Into Stores p Ben Rose 101
Years of Crisis A Rudi Bass ... .Rudi Bass 73 Traveling Salesman p Ben Rose 103
The Morning Show p CBS Photo 74 The Magic is Built-in p William Noyes 105
All America Has Heard Him ... A David Stone IH artin Kurt Weihs 75 The Sound of Your Life p Picture Service 106
The Diamond Jubilee of Light A Kurt Weihs .... Kurt IVeihs 76
Supersalesman p Don Briggs 77 1949 And It's Practical, Too! A Per Ruse ........ Mort Rubenstein .. 108
Television Turns On Its Power p CBS Photo 78 It's Even Bigger Than Bigger A Leo Lionni 109
Color Television News p Ben Rose 79 Close-Up p CBS Photo ........ Mort Rubenstein .. 110
Mind in the Shadow A Ben Shahm . 112
!953 Coronation Souvenir A Feliks Topolski . 80 Who Stands Out ... p Ben Rose 114
Today the Coronation A Feliks Topolski Mort Rubenstein 81
Meet Mr. Lookit ... p Louis Bunin (puppets) 84 1948 It is Now Tomorrow ... p Paul Strand 115
This is a House A Joel Levy (Seven years old) 86 It Takes the Right Kind of Bait ... A Old Engraving ...... Mort Rubenstein .. 116
They're All Aboard A Robert Schneeberg 86 Mighty Attractive! A Old Engraving ..... Mort Rub en st ein. .. 116
Bugs in Your Boston Budget? A Old Engraving ..... Mort Rubenstein 117
L952 He Can Make You Happy A Rene Bouche 87 ... It's So Easy to Listen p Erich Kastan 118
Omnibus 88 The Empty Studio ... A BenShahn 119
Omnibus p CBS Photo 89
We Put Stars in Their Eyes p Midori ... Mort Rubenstein .. 89 1947 The Son of Man A Piero della Francesca (detail) 122
The Nativity A Old Woodcut 90 "Fear Begins at Forty" A Ben Shahn 123
These Programs Earned ... p CBS Photo. ... Mort Rubenstein .. 91 Crescendo A Jean Pages 124
The Voice That Sells A Rene Bouche 92
Photograph of William Golden p Ezra Stoller 5
1951 Edward R. Murrow A Rene Bouche 93 Endpapers p CBS Photo Preface

For nearly a quarter of a century, William Golden was associated with CBS. I worked with him. I knew him. He was my friend. During all that time, he had one devotion and that was to excellence.

Bill Golden's passion for excellence was quiet and deep. It ran through everything he touched. It governed his daily work, his relationships to others, his career, his life. It was his life. He could not have cared less about titles or rank or position. He respected quality wherever he found it, and in design he was absolutely uncompromising as far as quality was concerned. There was no factor, no person, no compulsion that would lead him to settle for the second best.

Those who tried (and most tried only once) by argument or by stratagem to get him to go along with less than what he thought was possible, or to discard what he knew was good, never got away with it. Bill could Ie inflexible, abrupt, impatient. But he was also gentle, kind and warm. He could not be bargained with or cowed. There was fibre in his character-a tough fibre that won him the respect of all his colleagues.

CBS has a very deep and a very real obligation to Bill Golden

by Frank Stanton

-and so, by extension, does all advertising. Bill believed that the way to command attention and win approval was not by being sensational or shrill or obvious, but by being distinguished and subtle and original. This book, indeed, is an anthology of how to achieve distinction through unfailing good taste.

Distinction in advertising was a quality essential to the growth of CBS. As media ourselves, we could not afford to place in other advertising media less than first-rate art and copy. Bill Golden was our relentless master in the pursuit of the firstrate. He knew that it did not come as easily as the adequate. He himself labored long hours to achieve the best-a perfectionist as demanding of himself as he was of others.

Bill's life was short. Bill's life was full. His was a powerful influence that went out way beyond those of us who were prodded into doing our best by the very proximity of his vigorous personality. His influence reached out to creative forces in graphics everywhere, bringing them into new fields and, even more important, giving them new standards of excellence.

I hope very much that Bill Golden's influence will be extended and prolonged by these examples of his brilliant uiork.


The passionate eye

Consider this:

... a period in history marked by deep conflicts between ideas, social theories, people and interests ... a period marked by a technological progress held inconceivable only two decades ago ... a period of falling idols and new heroes ... an epoch when a new communication medium takes a powerful hold on people's consciousness of the world around them ...

... a corporation that grows within a lifetime from small beginnings to giant size - with correspondents, camera crews, commentators around the globe to respond on the spot to significant events wherever they happen ... a corporation whose business is: the presentation of entertainment, the news and its interpretation, and the sale of air time to advertisers ... a corporation that sends sound and images into homes, plants; offices, restaurants, theatres-indeed, wherever there are people to receive them ...

.. . a professional field of extreme competitiveness, filled with people of strong words and often changing convictions ... a field crisscrossed by the plowed furrows of surveys, visual formulas, slogans and the hard-sell techniques of a commercial age ... a field in which every aspect of art, human aspirations


by Will Burtin

and emotions, historic events, science, has been used to produce some of the most inspiring and memorable experiences, as well as rivers of mediocrity and worse ...

... a man who never forgets: that he is responsible for what he does and what his work may do for others; that a moral question stands behind every moment of living and working; that the corporation which employs his skill is a combination of people with many abilities and motivations but one purpose; that giving a unifying visual face to this purpose is his job as art director.

His eye is unerring. His designs hit the bull's eye of a target with that deceptive ease which only the strong can command. They are based on an instinct that would make a journalist envious. He has a sense for the explosive impact of words. He understands the relationship between an artist's personality, his style, his potential and how these factors will result in an original expression that gives new meaning to a message. There is a mental dexterity and an absolute mastery of subtle details, a complete absence of graphic tricks or of intellectual gimmickry, which brings admiration wherever his work ap-

pears. But above all there is a passion for everything that has to do with his job - for the corporation he works for, for the message he develops and designs, for the people who work with him and the people he addresses his work to, for the means he employs-be they the paper a design is printed on or the type face and size used, the halftone screen or the subject and style of art work-nothing escapes this intensive attention. The success of this working method has made advertising and design history. There are many medals, awards, magazine articles, letters, speeches, reprints of work. Unmoved by laudatory exclamations every new job reflects his deeper insight into the fabric of human communication and motivation.

Little is known about the demanding realities behind this prestige: the unending pressure of daily deadlines, of big ads, of small ads, big folders, small folders, of books and pamphlets, of annual reports, styling of studio fronts, the development of "the eye" as a CBS trademark-the conscious application of the trademark in steadily changing ways-the unending concern with new ways to say something still simpler, stronger, more beautiful!

In our design schools we teach the meaning of esthetics, we

define rules of design, we teach working procedures. But what we cannot teach is the feeling for continuity, how to remain alert to the sudden excitement of a better idea two hours before the engraver picks up the completed art work, how to keep a staff electrified and unified in the dedication to perfection, how to solve the problems of a "corporate image" by conceiving of it as the grand design behind individual designs and not as a mere variation of a principle-and how to, at the same time, watch news reports, sales reports, program developments, listen to meanings behind the words of the great and the small.

He is used to tough work, tough words and tough conditions.

What he knows is self-taught. His scorn for the self-centered, socially ambitious and security-craving is genuine. He wants achievement, not pUblicity. He wants to see work and not a tricky paste-up of other people's work. He distrusts a formula and respects only unreserved attention to a task, in which no detail is small or without significance.

His is the kind of full dedication that tells all who know him and his work that here is a real teacher, a real professional, a friend and a man. Here is William Golden.


The design of this 112-page book, illustrated with drawings by Ben Shalm, was based on a 78-minute script,

adapted from the three-hour original play of The Old Vic Company


(On Apr-iI18, 1959 The Type Directors Club of New York invited thirteen leading art directors and designers, including William Golden, to participate in a [orient entitled "Typography-U.S.A." at the Hotel Biltmore.

A booklet was subsequently issued containing the views of each

member of the panel, including the following statement by Mr. Golden.)

If there is such a thing as a "New American Typography" surely it speaks with a foreign accent. And it probably talks too much. Much of what it says is obvious nonsense. A good deal of it is so pompous that it sounds like nonsense, though if you listen very carefully it isn't ... quite. It is just overcomplicated. When it is translated into prewar English it is merely obvious.

I don't know what it is that impels so many designers to drop their work to write and speak so much about design.

Is it the simple (and perfectly justifiable) instinct for trade promotion? Or have we imported the European propensity for surrounding even the simplest actions with a gestalt?

Perhaps the explanation is simpler. The kind of effort that goes into graphic expression is essentially lonely and intensive, and produces, at its best, a simple logical design. It is sometimes frustrating to find that hardly anyone knows that it is a very complicated job to produce something simple. Per-


Takes the skull.

Alas, poor Yorick!

I knew him, Horatio-a fellow of infinite jest, of most excellent fancy.

He hath bore me on his back a thousand times, and now how abhorred in my imagination it is!

My gorge rises at it. Here hung those lips that I have kiss'd I know not how oft!

Where be your gibes now? Your gambols, your songs, your flashes of merriment, that were wont to set the table on a roar? Not one now to mock your own grinning, quite chop-fallen.

01"""·-···-·· ........


, \

. ,

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t. : \ I \


The typographic stylingTimes Roman for text,

italics in red for stage directions-

the pacing and scale of the 35 drawings, give new emphasis to a timeless drama

haps we want them to know that we've gone through hell, sweating out a job to reach what seems to be an obvious solution.

And since our professional medium of communication is not verbal, designers don't seem to be lucid writers or speakers on the subject of design.

I have been frequently stimulated by the work of most of the people on this panel, but only rarely by what they have said about it.

While it must be assumed that these endless discussions have values that I am blind to, I am more acutely aware of the dangers they hold for the young. If you have recently interviewed a crop of young designers-the New Renaissance Man in a hurry-applying for their first or second staff job, you will know what I mean.

I was forced to part with one such man on my staff a while ago. He was pretty good, too. But he was another victim of the overseriousness of graphic arts literature. He had all the latest and obscure publications from here and abroad (mostly in languages he couldn't read). He attended all the forums. He would argue endlessly on theory ... and he was just paralyzed with fright at the sight of a blank layout pad. He could spend as much as a week on a 50-line newspaper ad. His trouble was, that no matter how he tried, an ad looked very much like an ad, and not any of these almost mystical things he had been reading about.

If there were some way to fix an age limit for attendance at these conferences, in the way that minors are forbidden to attend overstimulating movies, I think they would be relatively harmless, and it might even be pleasant to chew our cud together.

For it has all been said, and said many times, and in a most





with drawings by Henry Koernel'


The CBS diary-a behind-the-scene report on continuous television production-with 54 on-the-scene drawings


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T he international scene is a frequent subject for advertisements.

A familiar typographic "SEE" column is given added impact

by its frame of massed phutogmphy.

The photograph of Khrushchev, taken from the television screen, reflects the urgency

of the message

confusing way, and almost none of it is new. Even the insistence on newness at any cost is in itself familiar.

Perhaps it would be useful for a conference like this to sort it all out. Not merely to summarize this conference, but all of them. If it could be done without padding, I imagine that what is valid about typography would be very brief and relatively simple.

What is right about current typography is so apparent when you see it that it requires no explanation. What is wrong is a little more complex.

It is not as difficult to define what is wrong as it is to find how we got there.

I have my own notion of how we got where we are, and though I have neither the competence nor the ambition to be a typographic historian, this is roughly how it looks from one viewpoint.

Some thirty years ago the rebellious advertising and editorial designer in America was engaged in a conspiracy to bring order, clarity and directness to the printed page. He fought against the picture of the factory, the company logotype, and the small picture of the package that invariably accompanied it. He protested that the copy was too long, and that he was obliged to set it so small that no one would read it. He argued that the normal ad contained too many elements. (He even invented the "busy" page in some effort to accommodate himself to it.) He insisted that this effort to say so many things at once was self-defeating and could only result in communicating nothing to the reader.

He was essentially picture-minded, and only reluctantly realized that he had to learn something about type. It was and still is a damned nuisance, but when he realized how thoroughly its mechanical and thoughtless application could de-


On the eve of the historic EastWest Foreign Ministers' meeting, CBS NEWS gathers six top correspondents in Geneva: HOWARD K_ SMITH and ERIC SEVAREID from Washington, CHARLES COLLI NGWOOD from London, DAVID SCHOENBRUN from Paris, ERNEST LEISER fFOm Bonn and DANIEL SCHORR on assignment to Warsaw, for a special on-thescene report that examines the Berlin crisis, the bargaining posit ions of East and West and the possible outcome of the discussions in the Palais des Nations.

5-6 PM WCBS- TV ~ channel 2


l'l-IE '"TE""EJ:S

stroy communication of an idea, he had to learn to control itto design with it.

More and more typography was designed on a layout pad rather than in metal. Perhaps the greatest change in American typography was caused by this simple act-the transfer of the design function of the printer to the graphic designer.

The designer was able to bring a whole new background and a new set of influences to the printed page. He could "draw" a page. There was more flexibility in the use of a pencil than in the manipulation of a metal form. It became a new medium for the designer.

Under the twin impact of the functionalism of the Bauhaus and the practical demands of American business, the designer was beginning to learn to use the combination of word and image to communicate more effectively.

Under the influence of the modern painters, he became aware (perhaps too aware) of the textural qualities and color values of type as an element of design.

And surely a dominating influence on American typography in the prewar years was exerted by the journalists.

Newspapers and magazines were the primary media of mass communication. The skillful development of the use of headline and picture was a far more prevalent influence than the European poster. The newspaper taught us speed in communication. Everyone knew instinctively what the journalists had reduced to a formula: that if you read a headline, a picture, and the first three paragraphs of any story you would know all the essential facts.

The magazine communicated at a more leisurely pace and could be more provocative since it addressed a more selective audience. Because the magazine dealt more in concepts than in news it was far more imaginative. There was more oppor-

A mailing piece combines famous comments on women

by eight historic literary figures with reviews of

a new documentary proqram. called" Woman!"

Full color painting

by Joe Kaufman


A nnouncement folder

for the first program of "Woman!" with a Botticelli engraving

of Venus

tunity here, to design within the framework of the two-page spread. But still, the device that bore the main burden of interesting the reader, was the "terrific headline" and the "wonderful picture."

Perhaps it was the growth of radio, a rival medium, that hastened a new effort on the part of the magazine.

Certainly the new technical developments in photography increased the range of its reportage.

But what gave it a new direction and style was not so purely American. I think it was men like Agha and Brodovitch. These importations from Europe set a pace that not only changed the face of the magazine and consequently advertising design, but they changed the status of the designer. They did this by the simple process of demonstrating that the designer could also think.

The "layout man" was becoming an editor. He was no longer that clever, talented fellow in the back room who made a writer's copy more attractive by arranging words and pictures on the printed page in some ingenious way. He could now read and understand the text. He could even have an opinion about it. He might even be able to demonstrate that he could communicate its content better and with more interest than the writer. He could even startle the editor by suggesting content. It wasn't long before he began to design the page before it was written, and writers began to write to a character count to fit the layout.

Whatever successes this revolution achieved were accomplished by demonstration-by individual designers proving to their clients and employers (by solving their problems) the validity of their point of view and the value of their talents. It was accomplished without a single design conference III New York or in Colorado or anywhere else in America.

Cover of a brochure announcing a series

of documentary programs



Wednettday. September 23. 1959





These are the pertinent dimensions of the young lady from Natchez when she became the new Miss America on the night of September 12.

Because it happens at a time when a new television season is just beginning, this' annual contest has come, to be a measure of television itself.

The 62 million viewers who witnessed the coronation of Miss America (and the introduction of the new

products of the Philco Corporation) constituted the largest audience in the history of the ceremonies,

At the time of the broadcast three out of every four television homes in the country had their sets turned on -ami two tnt! of the three we.,.. watching M-i.s., A ,,,,,,-ica.

I n the past year the number of television homes increased again-by 2%. And theawiiente to thi. CBS Tele:vi";",, Nencork In-0adca8t was greater by 7%.

These measurements of the first special broadcast of the new season reflect not only television's constantly increasing dimensions, but the ability of the CBS'Television Network

to continue to attract the largest audiences in television.

It is the first clear sign that the nation's viewers and adver-tisers wilt be getting more out of television this year than ever before.


A double-spread

trade paper advertisement dramatizes til e size

of the program's audience through its headline.

A narrow newspaper ad

There were, of course, exhibitions and award luncheons.

But the exhibitions were an extension of the process of demonstration, and the arrangers of the award luncheons by some lucky instinct seldom permitted the designer to speak about his work, but rather forced the businessman to discuss it.

But more than any other single factor, I believe the designer won his new status in the business community because he had demonstrated that he could communicate an idea or a fact on the printed page at least as well, and often better, than the writer, the client, or his representative. And he could demonstrate this only if he was at least as faithful to content as he was to style.

invites attention

During the war and for some time afterward, American typographers made great strides in relation to the Europeans, for the simple reason, I suppose, that there was not only a shortage of paper in Europe but there was a shortage of design. The printers and designers were in foxholes, concentration camps, or dead, and presses and foundries were being bombed.

There was a long period when the bulk of the world's graphic material was being produced in America. Though there was something approaching a paper shortage here, too, there was an excess of profits available to spend on advertising. There were few products to advertise and therefore very little to say about them. But since it was relatively inexpensive to keep a company name in print, it didn't matter too greatly what or how it was said. We produced such a volume of printed material for so long a time, that we were able to assimilate a vast amount of prewar European design, and adapt it to our own language and uses. It had become such a familiar idiom with us that it is now hardly surprising that the announcement of


to seasonal entertainment with casual eft ectiueness


_________________ --'Tlln W,i\I,I.. STHI~!<T .lnUW~·.-\1.. Tlllil!~!).,~,~.~"'~lt'"f9 _

Pleased as the proverbial cat thv.t swallowed

the canary. And so arc the. CBS Television Network advertisers who sponsor 16 of the 28 nighttime progr.iJDS that have won a place in Nielsen's Top 10 reports during the past season."

But perhaps lht' Top 10 is not us dramatic an index of network popularity as It used to lx'for todaf1 eCf::r/, tile 4f!th, "mos.t P'JJ1'Illar program 1"e(J,(:/,tH ',noYI! thalt. Z-' millifJK tlieK't'flf.··

So we 3t1! equally pleased to report that in Nielsen's letest nationwide survey we- not only have 5 or the Top 10 programs but also 10 of the Top 20, 15 of the Top 30, and 19 of the Top 40.

of course we're pleased

to have so many of the TO'p 10 ... ~~d~:~~~

Indeed, the truest gituge of a network's value, for audience and adw~rtj.5('r:s alike, ltes In the o\'{'r-:).l1 popul:arity of its entiro prr!IJ"aIn i:i,{:he.dull~.

Slgnitlcuntly, thee i'n'tI!Jtj ni){htlim.e program

on the CBS Tt'I('\'r~l)n Network throughout the,iIk"iU>on has roached an average-minute audjence of 23..000,t))O viewers-csome 2,0:::10,000 mort! than the average show on the second

net ..... etrk ~nd2,98,Q.OOO mort' tJ).;:!.rl on the third, Our leadership in av('.r:JK(' nighttime ratings has conunued without iJJ the 92 Nielsen reports j&!;iue4 6lncf,;-July \9550.

(In the current season the Network leads in a\'e.ragl·da~/l1n'r rdtin~;:;,.'3 well.)

These are some of the. Iacts thut have impelled thl:! nation's leading advertisers, for the seventh straight year. to commit more of their in\'('Stment to the CBS Television Network than to ~LJ1~' other &mgle ad\'(~rt..i,;llng medium.


'O,·I'.t.I!r. Ie. I \llQ, l-' ~ XTL~A ~~

"~Al!'l"d~,~"1.\·_"'t. NT!. ... Ar.oo-~ b)"AK!i ~r"""-.M1. ("'~fl __ ,"'!l ~" (jilpJ&,'-S.~~1~

.. tlf ..... ,1."., ... ~FriiliiTI


this conference can cal1 contemporary typography purely American.

My first look at postwar typography was fairly bewildering. I had seen and applauded the prewar work by Burtin and Beall. They were developing newer graphic forms, and using words and images on the printed page to communicate. In their hands these images were employed to make a statement clearer, faster.

The new avant-garde was saying nothing and saying it with considerable facility. They could say in their defense that the world was more chaotic than ever, that nobody was saying anything very rational, and that their need to make some kind of order was satisfied to some extent, by creating it on the printed page. It was, largely, an order without content.

There was precedent for this point of view. The determined sales promotion campaign of the abstract expressionist painters was in full swing in America. That it could have been so successful so quickly must surely be due, in part, to its absence of content. In a curious way this revolution was a remarkably safe one-it was so noncommittal.

I have no quarrel with the abstract movement-except with its vociferous intolerance of any other school. But I think the effect on the minds of young designers is a matter of concern. To regard the blank rectangle on a layout pad with the same attitude that the abstract painter confronts his blank canvas is surely a pointless delusion.

The printed page is not primarily a medium for selfexpression. Design for print is not Art. At best it is a highly skilled craft. A sensitive, inventive, interpretive craft, if you will, but in no way related to painting.

A graphic designer is employed, for a certain sum of money, by someone who wants to say something in print to


you an exciting report from the

frontiers of science-great new experiments that disclose the

true qualities of f!IIOTHER LOVE _.


The network's leadership

is emphasized by a whimsical drawing in a trade advertisement ...

The cover of a book

containing til e full script carries out

the starkness of the documentary program ...

A newspaper ad accents

a new science series with an unusual image from the first program


For insertion Sunday, March 30,1958 l coli, i'C 125 lines == 625 lines

POlilion Request; Television Li)lill(:p pege-,

SEE IT NOW with Edward R. Murrow reports on the question troubling people all over the world-

In Part II of "Atomic Timetable" a group of world famous scientists present their conclusions on the effects of atomic radiation caused by nuclear explosions today and for future generations. Don't fail to tune to the CBS Television Network today from 5 to 6:25 $ CHANNEL 2




somebody. The man with something to say comes to the designer in the belief that the designer with his special skills will say it more effectively for him.

It sometimes develops that as a result of this hopeful transaction, the statement becomes an advertisement for the designer rather than his client. And should there be any doubt about the designer's intention, he will sign it-just as the easel painter does.

Logically enough, this attitude toward design is only tolerated when the client has nothing to say. When his product is no different than anyone else's, and no better. When his company has no "personality"-he borrows the personality of the designer. This is rarely permitted in the mainstream of advertising, but only in the "off-Broadway" arenas.

The immature avant-garde designer seems bitter about the mainstream of American advertising. He hates the "hard sell" and avoids clients who interfere with his freedom. He believes that the role of business should be one of patron of the Arts, and insists that his craft is art.

I do not argue for the return to any form of traditionalism.

I do argue for a sense of responsibility on the part of the designer, and a rational understanding of his function.

I think he should avoid designing for designers.

I suggest that the word "design" be considered as a verb in the sense that we design something to be communicated to someone.

Perhaps it would help to clear the air a little if we were conscious that printing and advertising cost a great deal of money. If a designer could pretend that the money to be spent to reproduce his design was his own, I suspect he would subject himself to far more rigid disciplines.

When he examines his work with relation to its function,

Design and art work

of two program advertisements underscore human concern

and technical achievement



Toda, tclcv i-ion will bring the coronation of a new Pope within the sight or more people th.u: have:

II Il.llcss(~d ~ill the coronations in the history of' the Papacy $ As the solemn and majestic cercmorues unfold before ,I massed crowd of 600,000 in St. Peter's Square. Eurovision cumeras will as: the event ove: an internunonal netw ork to some 30 million television viewers ill seven European 11:1\1011\ '$,T\, enable million-, of Americans to see the ceremonies the CBS Television Net\ll.)rk will present an hour-long IlH! i011'1 ide broadcast highlighting the. princi pal features of the event $ Recorded CHI video lap'" dil'l'dl) [rom the Eurovision broadcast. and edited in London with on-the-scene commenrar. h\ CBS Nc\.\~ Corresponderu Winston Burdett, it wi] l be flown by. jet plane to AmCrlGI for broudcus: imn'li>di;ttc:1\ folk\\\il1g Inlligh[\ election coverage hy CBS ~L\VS® It \lill be repeated [OlllOITO\\ from HJ 1.0 IJ am.~ Be sure 10 see 11'11, uistoric broadcast 011 the CBS Television Network ~ CIl<tl1l1d .2

Diverse themes are unified

by insistence on claTity and originality.

A newspaper ad:

John Groth draws an ancient ritual with sketchy accuracy ...

A newspaper ad:

Lively photograph depicts

ih e exuberance of a musical ...

A trade ad:

Joseph Hirsch conveys

111. arian Anderson's intensity ...

A case cover [or two books:

The power of type

to state a message .. ,



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-for giving your best.!

lAt.::it WI.'E,k the talentc .. d ami creative 1~5pll' who Dtl' i,llt;ra,dlnK to t('!c\'i~i\JO the brgl~t '-IuLl.ien,fc,; in ttw hi,:~t()'rY of I;Ihow b.l,ltiiru;;~,j; h(inot«i the o\ltLlandili~ uchie ... ementa of a number of thetr lOol!t-<1}{IJE'~

Tbar $/ man)" wore oole to do their OC-"Sl work on


helpfll 0-x-pl:.;in why thi~ I\('JwI)Fk was able to wlu the l:uxe.t l)\'crJ.J.;:1I nighttime audiences 'it: each of the G6 (!ORIii.->Cllti\'u- Nielsen R<:I;lOrtH '5'iria' .July 1955.

The "Emrnu" award-winners

are featured in this trade advertisement, using the year's" eye" ads in a new layout.

A 36-page book features the success

of the dramatic "Playhouse 90" seriesa "long shot" that paid off!

he wouldn't bury the text and render it illegible on the ground that it is inferior anyway. He will insist, instead, that it be better. If no one will write a better text, he will have to learn to write it himself. For having become, in effect, his own client, he will want to be sure that what he has to say will be clearly understood-that this is his primary function.

He will find that the most satisfying solutions to a graphic problem come from its basic content. He will find it unnecessary and offensive to superimpose a visual effect on an unrelated message.

He might even find that writers, too, have a certain skill, and he might enjoy reading them, and making their work legible.

Perhaps the most important thing that would happen is that all those pointless questions about tradition and modernism, whether our typography is American or European, will become properly irrelevant. All of these influences, and many more, will have become part of the designer's total design vocabulary.

If he applies it successfully, the end product will show no traces of having been designed at all. It will look perfectly obvious and inevitable.

If he is more concerned with how well his job is done than he is about whether or not it is "new," he will even win awards for his performance.

But no matter how many honors are bestowed on him throughout his career, he will never mistake the printed page for an art gallery.

At your conference last year, the most stimulating speaker for me, was not a designer at all. He was a semanticistDr. Anatol Rapoport of the University of Michigan's Mental Health Research Institute. In trying to analyze our profes-




whole ball of wax is on the

CBS Television Network

Starting" this Fall. S, C . Johnsen will concerur.u« all of i ts

net wVl'k television ad\'(:!I'tising un the network which rep..::atcdi:: deliver-s t)w lal'g\::.:t l1<llionwitl\..' uudicn(~(~~ in adv~icti:-;il1g'.

:\:-- the lJiJ ... '1{(~~t m.:llmf<l.dun:-r of \\',L:\ tJ0Jijhes. iu thi:: world. JOIUf~Og needs lh:" :tudienc('...; it \.:;:tl'! g'l2't-and h«~..; fuund them ('nlli~i.";l.I':lltl,\· On tht:, C13~., Tde:vi..:iilJ/i Nelwork.

For tht..: [),Isl tlH"l:'(;' ~'·Ci.l.l":S it: l'la.~ dt\m(mstl';.l:.l~(] thl;! i:'ttii;it:'l"\c~' uf it;; products to an a\'enlg~' audience of 2i milli!..l!1 \'i(,\W .. l~":'. aided and ~bet~('d by 1\.(.'d Skelton. In its Ilrogr;m)ll'lin~ plans: for th!.:! Fall) it ha:::. not' unl.\' [lnHDlHI('t'd the: renewal or [_his. popuhr CQtrH'd,\' '!"_<;:I';~" but lJ~-I;i. ;!J('JI'(J~C!I its. pl'lllhl(t-P:"PO"-Ul't' b." onle'ri.1Jg t wo ~l(hliti()l1al nj.gbttiln~ pro':"I\'llrm:;;. t

.J(Jhu~(in undcl'writ(,~ it!' b(lt\icf ill the dfl!cti\'\;.'liQ:'o':-:" of n\~t \\"(!l'k telC'\"i~.;i'or! by (,LJ1TI!11iltilJ); 1ll0!'it !li' it;;;. ;:ldvl-'rti:-"ing: ;'!.]il'l~llp]'i~il;'~·'!"! tu

tl me-dium still gTU\\' at tho l'~ll.(; oj' (jl'}I!:Oiill ri{ U il1"i'If"

T1i;::-: .'iil"nW l'onfid(2ncc LH,:coun\,:-: for Ow CUrt'Flil \\;·l,,'l' of l'l~rH:-wi"lL.; by Arne'rica':;:;. It'adin;:,;; :ld'\'~rti:'i-'':I'';; OJ\ the n~t\\'\ll'j;: \\"!hie.'h in -TV l'un~lt'Hli\"~ Nids@l! rte]l(lrt::. i;:i:'iolll'U i::!lIiuJI JUly [~J.15, hn;:.. IJl.:€.'ll credited \\i,ttl the liJ.l·.h~ .. t t.lUcli.ct!t;l'.-;. iii ;.111 ld!,\1;-O;!O-n.

" 1\ I, /..t Ij,. U



DuPont Show o' the Month preaenb JUDITH ANDERSON


sion, he was pretty close, I think, when he thought of us as intermediaries. He likened us to performers. Actors who speak other people's lines. Musicians who interpret what composers write.

Though he plucked us from the stratosphere and put us in our proper place, he also soothed our ruffled egos by gently suggesting that some performances could be superb.

To the extent that his analysis is correct, it might be useful to quote an old "square" writer on the subject.

I happen at the moment to be working on a reprint of Hamlet. Here is what the author demanded of performers:

"Speak the speech, I pray you, as I pronounce it to you ...

For if you mouth it, as many of your players do, I would as lief the town crier spoke my lines.

"Nor do not saw the air too much with your hand, thus; but use all gently. For in the very torrent, tempest, and as I may say, whirlwind of your passion, you must acquire and beget a temperance that may give it smoothness.

"Be not too tame, neither. Suit the action to the word, the word to the action ... For anything so overdone is from the purpose of playing, whose end is, to hold, as 'twere, the mirror up to nature.

"And let those who play your clowns speak no more than is set down for them. Go make you ready."

in Tbomton Wilder's PuUtur Prize winner

A tal. of the atr.neo web of destiny entwining the liv •• of five tragic traveler ..


THEODORE BIKELt PETER COOKSON and STEVE HILL Produced by DAVID SUSSKIND -Itve from He. York on the CBS Televielon Network

9:30 TO II PM oil CHANNEL 2

One of a series of "eye" ads,

announcing the continuation of sponsorship by major advertieere.

A drawing by Jacob Landau directs attention

to an important dramatic program



, I. \ ).

t ? REMEM~!~.=.




Full-page newspaper advertisement, with a drawing by Kurt Weihs,

sums up a year's special news programs.

A typical spread of the annual CBS diary (1958) illustrated by Carl Erickson

December , 1 17

J.lfonday / 1

Saturday /6

Tuesday /2


Sunday / 7

Wednesday /3


Thursday /4

lf~riday /5


The British artist-journalist, Feliks Topolski, was commissioned to paint Churchill

for a newspaper advertisement announcing a new series

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weBS - TV. ._


"Man of the Century"

a full-hour dramatic summary of the career of Sir Winston Churchill, the first production on

"The Twentieth Century"

anew weekly series of brflfiarrt documentary reports depicting the world-shaking events and towering' personalities that are shaping' our era.


New pro grams on a local television station are dramatized in this trade ad.

Two drawings by Ben Shahn

illustrate completely different program types: a drama and a documentary




Television's distinguished 90 minute weekly dramatic program opens a brilliant new season with the thrilling story of Spain's greatest bullfighter



Produced by Martin Manulis in Television City


live over the CBS Television Network~


SEE IT NOW brings you a report on Puerto Rico's dramatic efforts to raise her living standards, and surveys the various problems caused by the mass migration

of her people to the United States. See

The Puerto Ricans


Produced in Puerto Rico and New York by Edward R. Murrow and Fred W. Friendly. Broadcast over The CBS Television Network





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ties. Bath room little used. Telephone. Near Under-

ground. £3 ISs.-Wes. 0664.

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about the case of Rees man convicted of murder Mathry at 611 River Street.


elATION appeals for widow professi

",,~n ~opti 77 livino ~lnnp fr~rtllr~r1 ~n1n~










• ,




The cover of a kit containing

ads, films and slides for a dramatic program is designed to create immediate curiosity about the program.

The sun-and-eye theme appears in a trade announcement and in a promotion piece

for daytime programs

"r:HE N~Er-r"To-R.K

TlI}\T IN'7}~1~~rE I) I)AYTIJ\lE

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! r / _ r ~-- "T I 1 \ THIS IU •• E. America's consumers will

/1' l J I I ----.::-1-" ~ ~.,-, """\ 1..- _ 7 fill their shopping baskets fuller than any

J ~-" "\ t:[I-}.-=ir:Fff'1tt-1si-t-f., summer in their history, And they will fill

J X +- J them with the products they know beat-

; I ~ ~\ jJ~ '\ A _"" r--" l\'. I 0 ,I r ""H ~ - I -7\ J - ::~~:::e:~:e:~~::~O~~ per cent

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'r- - ~ ll-.. 'J -I, I / L II for household appliances: 15 percent more

'II II '- tr I ~ 11 .. .......,rr~ ,r T, r'tf\ ' ,\ . '1 _ 1 I r; v' ~ ,1,1'?!. II; , :o~:Po::::::s zs: 8 per cent

J 1/ j II - ~ ~'\ , \\ 1 For the television advertiser. each summer

II U \/ III \ II I If [// J ,~,I: 1\\ I? I ~IT:b~I/rIA~1lA rr- j r 1;; :hmS:=::::::::e~a:::y~:nda

IV iJ II J I, \ J I""IiO iu more time watching television,

J ill 1 r I lj' ft tI / \' ~ t::U:lkt:t rm I y. LJ. Each day 8.000 new families join the vast

ZLLL..J-l.-t--r-T1/ 1/& I ~- ~ I::: / , 17\ L- \ \ "f: JJl u-- -.f-- _ ~'1 IJlLl television audience. and by July the numbe

Illlltl M 1'1'" L- 1-' I ' /I r'\ / of television homes in the country will

/I 11\\6"1- ~ - ': 1 H" J--' f- I _ II ~ total 40,300,000 - nearly 3'12 million more

f11Tr '-,-"I-'I"'IJ'I+,L,fI~-"',-+I, ~I- -k + t- ~r:~1H [,-~"~rr:tt:tt::_~~=1~B-t:::i J, -' r--<--F---rr-- --- t- : :: ~~er CBS Television brings

lLW.U.lL,-L..kb~~"~' ''n: IJ.j t=- iJ# u-+-++ It-i+t \1'J'\n to its advertisers bigger audiences than

- , - .~Ilo:::!::=,::::::::::-:,:::: H:i:t:t:f-~7 /' " the Bummer before and larger than any

~-,- ...... J-t"~llJl1 _.L_ ! \ other network.

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WMa.e.da,.. June 12. 1957

Wcdnc.d.,... Juue 12, 1957



CBS Television advertisers are better prepared for the big summer sales push than ever - in fact, this summer 14 per cent more of our winter advertisers will be on

the air than a year ago.

These are compelling facta for an advertise who is debating when or where to launch

his new advertising campaign.

Clearly the time to start ia now; the place,


A network ad demonstrates the value of summer program sponsorship

TONIGHl., ,'",,',

The single column strip

is typical "stack" ad of one evening's programs.

A trade ad features a success story

of spot television announcements



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nu rcaxc In 19:,)(} over 1')).') all Jlu- more ullpn.',,/\,,' whcu )HU ~olhIJ(:t

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Unuvual" Nnl al all. Bilr·S Hoh .. h.)' Harn h nodtlkra:nl Irom the hundred .. or other product- aml 'ol"rVil,,'l''', J!.Ir~l' and 'mall. wluch expand their OI.U'~Ch and create newmarket- h)' u .. in~ one or more of the 1.3 kic\binr, ~1~liQn'

( and the rl'~i"nul network ) repre-cmcd hy ('IJS 'rcl(~\,isIOfi Spdl Salc .. ,

(jood -,"/'ut 10 he' i".'

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C BS Tckvi.~i()11 Spot Sak:-.S


"He must know

a good spot"

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"He must know a good spot"

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A series

of humorous double-page trade ads illustrated by Jan Balet:

Another variation of the "eye" (far Tight); a selling ad

for the film division of the company

"H~ must know a good spot"

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N'-'1U.~til1n is global not only .in it" coverage of news, but also in its distribution. There are subscriber stations around the world. In England, Denmark, Holland and Luxembourg. In Australia and Japan. In Hawaii and Alaska. In Canada, Cuba, Mexico and Argentina.

There are three basic reasons for NC/l'~tilm.'s worldwide growth. Its news coverage is fast, professional. complete. It is a product of CBS News, known the world over as

broadcasting's finest newsgathering organization. And third, iVe/l',~til iii. is the onl!J news service produced especially and exclusively for the use of television stations.

One major subscriber to this service is Independent Television News Limited, the network news service for Great Britain's commercial television system. According to Editor Geoffrey Cox of !TN: "Nen'o}iI:1iI has been of' immense value to us. \"'f' have been able to r~Jy on it with complete confidence

H~ th" foundation of OUt' foreign coverage ... not only in the United States but throughout the rest of the world. Partlculurlv, Ntl/lr;/ilm's reporting of major happening!; has been outstanding."

A word t.o the worldly-wise: Nell;",1illll is available to nl! »taiion», at horne and abroad. Get. cOl]1plet.<! information from ...

Newsfilm tells the world ...



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n"./'(·:~ 11/0/'(' /0 Florida!

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Alnios: eocrvthiou in Florida-from its [aun« tuul flora. to it« econonu« outloo}: -- is ~~ffi .. rent, It's tlie only state l~:ith abouc-ru .. /~rog'" indexes for all major cities (5~d(';s lfOIl([J.!('IJII'nl H(l!h Spot Cities'; llfay) _ .. owl: uulun Florida lhl' f!.jp:hesl Spot C;I), is joc/;:jolll'illc. Retail salt's here arc runnuur about jir'c million dollars a month uhoul (if' If)S7, and [anuorv-April bnnl: c1earin{;s Wf'rC more tlmn nine million dollars ahrad or tire same pl'riod. last year.

, I lu . I·

• 11. I us l?cononuc par(l( l~e!

rf'_H nR - TV mointnins its audience lead hy uul» margins. COf1siil{'r, fur example, local Il('lCS progr(lmmtn{f. IVJ/BR-TV\ 8:45 um Nell".) has a 206% lead fJc/.:r tlte c{J!!Ip(·litiulI. The Dill' (I't.locl: Report {n:uts compdillfJ, fie/us by 2()SCJ6. allllBR-TJ~'s 6:JU I'm. lVC-{,~'S commands a 88.5 raling and a :285% learl 01)l'r competing IU!I.C$. And its Elcren O'Clock Report smothers the competitions he,cs uith. /I 6G.'i% lead. In ncu,',s «s ill ('l.'t,:rything else. it's no Ilews that there's much. much more to,

;\11 Afldi,I{" flf 11H' ens Tl.:h:,~i~tiQlI X'~t'(.-!)d·~ OptT;\(nl I)} Th,' Wn·hitl;::!L)11 pfj~! Bru.Il!'·'I.'~ D!vi .. ion R"I'I'!';;'\'l1b',j I, ' CU:-' Td,;."it'!'m SpOJI 5,lk ....

watch closely!

Te!t'\i;-;i{)ll'~ i).llTf.:,dihk· :..;.LaLi:.;tic:->. call he ('\'11111 mor« iJ(-'\\·ildl'rin,L?; in thl"< l'(;t:nl'd ,\'car it' ,\'IIU dun't watch the-m \'(:'1)' ca\'~fully ull the: tinu-.

Tr'ti{e lhe qllc;;\.ioll uf 1T~{~'-bLlrin.!:[" a pl'lJ~:n''<lJll\ pn]lul~-lril.". Do ,\'Illl count the u.t«! (/lII{i('I/('I' till- number o f PGolJl~ who t unc in dUl'in).,:: the enursf,; of a. IJrng:nnn i ir«! o.t ;wJ lh(J;';'(~ wbo tune «ut aftt.;r S'~ltl1P!.illt! it l. ur do

~·C!U nlC1l::;\jrc t.h(~ (/ "('"/'Ufr '(lllrI~i,r;I('(' -the nnmbt-!l' of IH~f)pl,' who iL during the an>ra,rrp minute '{


\ViUlllul ;1 ~;in1!")(' fHn1ih cllnug-illV

a ruiuuu- (If' it;; \'j,'Wi'tlg: ill'h;,[\-jnr YOl.l! cun arrive at a ~urpri~.ill::"d.\· ddJ'\..'I\·nt :->(;'l of 1i).!'1.1r(',::.;.

TI1<-' lufol ;1111/illll', .''l, IT'l('';'l.':''U)''l'IIH.:llt can product' llw '-l~U(lll!!ITlic.::d numbers. But the (1/,,·,'[(:/" (/J/(Ii~ 1l1'I' concept has [ar !2:TC"ilt~r \i11,uc for :l :o.11011·:-;i1l". I :C.C;HJ:;:f:, it i~ a 1T1lJc.:h mnt"'1,.' accumte inj'h~~.x ('If the. number til: p<'o,ple who ha\l(.! .-.:cer'l an wh·~rti;:;.il1~l' nH:~~ag'(', it hn~" l'l('cll'I~1 gaifH:',d moru acc.t:.:ptaw:l' in tho indu. .. :"try,

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( 'J:S Tdt.'\·i~il'U LilJ:111('~I_ .. a. -;- (,fr ,h~' 1 n most. p</rlllh~'i' i \':', '}!T;~ I'II"~ :tt 11 ij.!'ln and ~", (,( 'cli'i lUi' 1.0 in llll' d:lyLim(o. :\!qr"(,I,r("'l', ir.f :l~,'L'I":..l,g'o.: prp~Ti\j{j h.ul ;( l~', l;it.iJt(·t' :·;.lLill;i.r at l'li~."bt ~1l'I,d

a (;,j',f, jflrr~;!2:r r;"\t~IH.!;· dur~n~" riA.\" th;ln 1'hll.: ,";\:.:C(111d'L~· ndv'('ll'k.

CBS TELEVISION t'.C< (I,.. \\'udd'" !Ii'!r.\.:'·e~t ;lII\"l'I'tr,"iil'\~ medium.

..... __ ~. __ l.~ Ic""'-.'."_~II""""

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is an unforgettable experience marking a most unusual television debut in behalf of the United Nations' International Children's Emergency Fund. Today you will follow the joyful trail of Danny Kaye at his best as he, entertains the children of Italy, Greece, Yugoslavia, Switzerland, Turkey, Nigeria, Spain, Morocco, France, England and Israel at the request of UNICEF. For an hour and a half through the cameras of "SEI: IT NOW," produced by EDWARD R. MURROW and FRED W. FRIENDLY, you will see the upturned faces of these children transfigured with delight as Danny clowns his way into t~eir hearts on this unique program TODAY AT & on CBS TELEVISION • CHANNEL 2

A trade ad on diff erent ways of reading audience ratings, with a photographic montage by Arik N epo,

The drawing by David Stone Martin announces a UNICEF program



. .



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:'>0 pm CBS Television WAAA·TV~CHANNEL 00

Contrasting approaches:

Whimsical treatment of a theme for a local television station ... Stark photo for a newspaper ad ...

Typographic wit in an ad for a New York station






Cover and sample pages of a J,8-page report

on the television coverage

of the 1956 political conventions, illustrated by Feliks Topolski

major issues of the campaign rn. a special, series of eight half-hour Wednesday nJght programs entitled "Pick The Wilmer.'~

'I'hrQ.ugbout each week, 2 hours and 20 minutes

of the n~tworks eleven scheduled news. programs were bj}ing devoted primarily to the reports on t.he p.rosnss 0,( the Clindi.Wl.te~s and the cgmpatgn. In a4ditiO~, the television audience kilpt posted

on the developing P91itical .sittJ,;lti9g each Sunday afternoon between 6 and 6 wttb uF'a~ ]'be NatJon"

fI I

and!'Bandngon ':;6," ~e network's public affairs programs presenting. "live" interviews with the leading spokesmen of both parties together with analyses by CBS News commentators.

Tempor.arily idle during tbel two conventions. the mobile u~it of the CBS News Campaign Cavals;ade resumed us bot pursuit or Democratic and Republican candida.~ as they sped across the countty appealing Ior the support of the voters.

Adhering to its pra.«;ti'ce of previous years thtt network arranged to PJ'ovide the fa,stest and Bloat complete coverage 01" the election by re·a.ssem.'bUng tlM!. same team of CBS News reporters and a.nalysts who covered the conventions. In 1952 television '8


To reproduce faithfully

the pen-ink-pencil-wash techniques of Feliks Topolski,

the" Blue Conventions" book was printed in four colors on blue-gray paper


Each party allocated an afternoon to "Ladies' Day" during which various women high in the party councils addressed the delegates. At the Democratic

"Ladles' Day" se.5SlOD Governor Frank Clement, Democratic keynoter, announced: "I don't know how many people are DOW watching television,

but they are probably all women, and I know they will be interested in seeing the pleasant, proceedings th.:'lt are now about to Lake place."

Both parties held stop watches on the ncar

demonstrations and called time on their speakers.

At the outset of the Democrauc proceedings, Permanent Chairman Sam Rayburn announced that all demonat.rancns would be restricted to 25

nuautea and seconding speeches to (I minutes each.

Bepubhcaa Chairman Joseph MartlD acted similarly, counnmg the seconding speeches {or the

Vice Presidential nomination til 2 mmutes. Although these restr-ictions were not unifonnly observed, the

speeches were generally held within their time Ilmita.

The demoustrauon following Governor Btevensoa's nominatron exceeded it.s prescribed limit by 2t.-'!! minutes. Observing the principle of "equal time

and treatment," Rayburn permitted the Harriman





All in a day's work:

Children's morning program -a presentation.

Report on a continent

-a promotion kit cover. Folksy morning commentator -cover for a program booklet. Evening entertainment

-a newspaper ad.

Mid-East program promotion kit cover


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Visual environment of advertising

(The nature of communication provided the theme for the Ninth International Design Conference held in Aspen, Colorado, June 21-27,1959

which was attended by an outstanding group of international scholars

and designers. These included the noted microphotographer, Dr. Roman Vishniac; Prof. Lancelot Hogben, the distinguished mathematician; Prof. S. I. Hayakawa, the eminent semanticist; and the well known Br-itish scientist and

industrialist, L. L. Whyte. Mr. Golden was among the American designers

invited to present papers before the Conference and to take part in the

closing panel discussion. The text of his paper as well as excerpts from

his remarks on the panel follow.)

I happen to believe that the visual environment of advertising improves each time a designer produces a good design-and in no other way.

There may, indeed, be some cause for concern about the chaos the designer is bringing to the visual environment of advertising.

I think we tend to do this each time we leave our work for the lecture platform or the typewriter. We tend to overstate our case in the most complicated manner, and to confuse the simple purpose of our perfectly honest, useful, little craft with the language of the sociologist, the psychiatrist, the scientist, the art critic, and sometimes even the mystic.

The obvious function of a designer is to design. His principal talent is to make a simple order out of many elements. The very act of designing exposes elements that are inconsistent and must obviously be rejected. When he is in control of these elements he can usually produce an acceptable design. When


A Conversation with

Dr. J. Robert Oppenheimer

Director, Institute for Advanced Study, Princeton) N.J.

Tonight on "See It Now"

edited by Edward R, Murrow and Fred W. Friendly

10:30 on channel 2



someone else controls them the best he can produce is a counterfeit. This is why at some stage of his maturity he feels the need to have a voice in the content itself. If the advertising designer begins to "examine the purposes to which this vast communications machinery is put" (as a prospectus for this conference suggests), he can run headlong into his basic conflict with the business world-a dissatisfaction with the content he is asked to transmi t.

For Business the question of content is very simple. Its objective is reflected in its most important single printed document -the Annual Report. This is the yardstick by which all its decisions are measured. If the Report is unfavorable for very long the business will cease to exist. Whatever contributes to its success is right. Whatever endangers the financial statement is wrong.

Thus the morality of Business is clear and reasonably defensible. The morality of the businessman may be something else again, but as Business gets bigger and bigger, his morality is less and less operative. The man himself tends to disappear and in his place the Corporation Executive begins to emerge.

His first responsibility is to the Corporation and not to society. He would say that in our economy what is right for the corporation must inevitably be good for society, because the successful corporation provides more employment, more products and services, and higher tax payments which pay for still more social services. So without having to make a single social decision the corporation executive can tend strictly to business with the comforting assurance that no matter how it is conducted (short of public scandal), his energies will be socially useful-if the business is sufficiently profitable.

-~ I



Drama and humor of a time:

The simplicity

of a photographic document ... The polished elegance

of a Rene Bouche portrait


'"-CBS Television broadcast the most popular 9O-minute show of the aeaeon-c-anotber Ford Star Jubilee program "The -Iudy Garland Show."

Last Saturday night CBS Television presented the second" most popular hour-and-a-half program of the season, "The Caine Mutiny Court-Martial" ... and brought into still sharper focus the picture of CBS Television as America's favorite source of exciting entertainment.

The theme:

Success story of a television program The artist:

David Stone Martin

Anybody here

you don't know?

Overnight fame

for anonymous people:

A double-page trade ad

on a popular quiz program

The dilemma of the literate advertising designer is that emotionally he is part small businessman and part artist. He isn't strong enough to cut himself off from the world of business to make the personal statement of the artist. He isn't a pure enough businessman to turn his attention completely a way from the arts.

He somehow wants the best of both worlds. He becomes a kind of soft-boiled businessman.

When he turns to Business he is told that the content of our time is The Fact. The Fact of Science. The Fact of Business. The Fact is beyond suspicion. It has no views on Art, Religion or Politics. It is not subject to anyone's opinion. It can be measured and tabulated. It is non-controversial.

In an era of mass-marketing, controversy is assumed to be bad for business, for no potential consumer must be offended. Though Business may have no legitimate interest in people, it has an abiding interest in consumers.

The designer for the most part would be willing, I think, to accept The Fact as the content for his work. But he soon discovers that despite the prattle of the public relations expert about "lean, hard facts," the designer is seldom called upon to work with them.

For Business wants him to help create an attitude about the facts, not to communicate them. And only about some of the facts. For facts in certain juxtapositions can offend some portion of the market.

So he finds himself working with half-truths, and feels that he is not using all his talents. He finds that he is part of a gigantic merchandising apparatus in which the media of mass communication have reached a miraculous degree of technical perfection and are being operated at full speed to say as little as necessary in the most impressive way.


The importance of public office

is emphasized by the documentary styling of a brochure

(containing script and film clips) and a promotion kit cover


A photograph

of aNew Jersey backyard

And this, too, is what the advertising designer is called upon to do. If he can adjust himself easily to this framework he can work very happily, and may even be handsomely rewarded for his efforts.

If he is reluctant to accept the role of a propagandist for business, but looks further for a deeper meaning for his work, he might find greater solace on the psychiatrist's couch than he will in Aspen.

provides the cover for this

quarterly reference booklet

There is one inviting avenue of escape that seems to give comfort to an increasing number of designers, and certainly to almost all the younger ones. It is that wonderful panacea that came to full flower in a disturbed postwar world: the abstract expressionist school of painting. It is in itself a Fact. It is acceptable because it is Art.

Business can accept it because it is successful, and oddly enough "safe" since it says absolutely nothing. The cynical advertising designer can embrace it because it can help him demonstrate his independence of content. The young designer finds it a wonderful shortcut-a do-it-yourself Art. And anyone can find delight in its total concentration on technique.

But I doubt the necessity to search in so many fruitless directions for a solution to the designer's plight.

Once he stops confusing Art with design for Business and stops making demands on the business world that it has neither the capacity nor the obligation to fulfill, he'll probably be all right. In fact I think he is pretty lucky. In the brave new world of Strontium 90-a world in which craftsmanship is an intolerable deterrent to mass production-it is a good thing to be able to practice a useful craft.

It is a craft that is susceptible to further growth and that can so far do something that neither the Management Execu-


Cover of a folder and a

double-page advertisement with drawings by BenShahn


Each year America's rooftops yield a new harvest-a vast aluminum garden spreading increasingly over the face of the nation.


The past season produced a bumper crop on all counts: a', million new antennas bringing the total number of television homes to ;H,567,OOO.

The average television family spent more time watching its screen than ever-;i 1/0'1/1';:; ((wi!/) iu iu utc« II tiLlY·

Day and night CBS Television broadcast the majority of the most popular programs and during the past season extended its popularity by enlarging the network to 209 stations-a 75~';, increase in a year.

Today CBS Television delivers more homes for less money than any other network, and in comparison with

its closest competitor, offers an even better buy than it did a year ago.

CBS Television advertisers invested $165,268,000 over the past 12 months -a 20<;;, greater investment than was made on any other network.

By demonstrating television's ability

to move our expanding national product into the American home mos! (1/ic.iently, CBS Television has become the world's largest single advertising medium.



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The CBS Television Network

Ludwig Bemelmans

illustrates a neiuiork announcement,

Joe Kaufman's drawing

promotes local sales of television time

good Sl101 to be ill!

tive nor the electronic computer can do.

If he doesn't like the end his craft serves, he can probably find a client whose products or services seem worthwhile. He can "improve the visual environment of advertising" by a fiat refusal to do bad work for anyone, and thus maintain the standards of his craft.

He can take pleasure in the fact that the performance of his colleagues in graphic design is improving all the time.

He can even take pleasure, as I do, in the fact that a number of designers are beginning to watch their language.

Maybe they realized that we were beginning to frighten our clients by our strange literature. (After all, it wasn't very long ago that clients were suspicious of any advertising design that merely looked handsome.) Maybe they are finding work more rewarding than talking about it. But whatever the reason, I think (and hope) that there is a detectable change in the climate which once produced the young man who wanted to change the course of the graphic arts.

Even Leo Lionni has become weary of his preposterous invention of the New Renaissance Man, and is ready to embrace anyone who can do one thing well rather than many things badly.

Will Burtin has announced that he just doesn't care whether or not typography is an Art, so long as it does what it is supposed to do.

Saul Bass had admitted that "our typographic designs are . . . ridiculously small expressions of a profound cultural pattern."

Even this present conference concedes that the only way to demonstrate the process of communication "by Image" is by visual exhibit.

It may be useful, however, to reconsider this simplest, most

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TA R ~ fT In 1955 CBS Television achieved a

nine-year objective: delivering the most popular programs to the largest audience at the lowest cost in all television.


A variation of the trademark becomes the illustration of the theme

"what's Steel doing?"

valid, of our group activities. We have annual competitions in which we give each other awards and, by demonstration, set standards for our craft.

This is a sincere but disconcerting activity of perhaps questionable value since the criteria of these exhibitions are usually so poorly defined. Their purpose is to impress and to educate the business community and to honor practitioners in our field.

Yet, who hasn't heard the familiar client refrain: "I don't want an ad that will win a medal. I want one that sells." And who among us hasn't said with some embarrassment, "Sure it's nice to get a medal, but they gave it to me for the wrong job." Obviously we aren't talking to each other very clearly in our exhibitions either.

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Let me try to summarize my own experiences as a juror. In a relatively small regional show the generous jury found no more than 30 pieces they thought were worth hangingand only two that seemed to merit recognition. The exhibition committee was aghast. They instructed the jury to hang a predetermined quota of 80 and to award 12 prizes. The jury was thus forced to give its endorsement to pieces which in their opinion had no merit whatever, and an incompetent piece of work could thereafter be cited as having set a standard.

In another regional show the jury awarded 9 of 10 prizes to a single man. He was clearly brilliant in every category. The exhibition committee explained that it was not only "unfair" to the others, but that it would so alienate the other local advertising agencies that they would boycott future competitions. The brilliant young man was awarded 2 prizes.

In a large exhibition with a large jury "democratically rep-

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Newspaper ad announces a major advertiser's move to the network


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CBS Television presents the premiere tonight of an adult and provocative dramatic series of the old West


starring James Arness

Hailed by critics as the "High Noon" of broadcasting when it first excited millions on radio, you arc certain to be caught up 10 the tension which hangs over a sun-baked frontier community. and to applaud a new star on television. Tonlaht at 10, channel 2




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"CBS would appeal' to have a winner"

"Got off to a fine start."

"Trip notch quality ... superb photography, realism and pacing ... "


"Will outdraw its Western competition"


, \.


____ ._. _'--"'---'",_h_

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"The best (of the new candidates) ... '. "~"';)I'tHW~t'

"Loaded with suspense, full of realism.

authentic ... " '." ..... ".""."

"An irresistibly funny television series"

"A very funny <lnd well don.' show ... Silvers is a great comedian"

"Packed with humor. .. (Silvers) is SUP8I'b"

"We haven't laughed so much in years ... Silver>; ... will b~· the comedy standout

of the 1955 season"

"Perfectly wonderful"

"Triumphant production"

"There's never been anything like the one woman show staged

by Judy Garland ... over CR.'> ... pure magic, CBS had the best spectacular to date"

"WiII so down as another triumph ... an hour-and-a-hal f of excellent televiewing"

"She proved herself

as great a performer on television [1>; ill the movies and on the stage"

"Rousing entertainment ... first rate ... "",",~." • .,

"The answer to those who have bevn crying for entertaining quality shows for youngsters, .. of interest to old and


Tilt' excitement t}f th~ cdtk.~ U\t'T the l!I.;'W CBS Tdl'\"biun prugr..,m:.< \\",1:-; matched by the I:)lthu~ia~m pf the audience. (MaTI.! I)t,~upll'. (or (,· .... ample. watched the tir~t "Ford Star .lubilec" than any other uu-mrnute prul{funJ 'In <l.11}" network in It·!t'\ i.~lt)11 his.tory. And it 1'011.'; idt~'ltllietl with a _<'iNyif, «pousor+)

Tv Ild\'l'rtist'l'!! the I"Iwl .~illnitil'lj!1tl· of til\"; achievement ls that with ':licn program the performance W<I.'; l:.:qu.HI to the pl·omi~. POI" the. P:aJlt four year!" tht.'y have known tilut (BS Tt!h~\'ilOklll 'bas d~li\'er~d mere of the most (JoQpul a r J)l'ognm'lll at a lower cost llt'r thousand than .11'1:. other tc\\!\'i\\ig[J network. Now thf,lY can count 011 CBS Television to cnbaoce il~ value E'H'n further duriJ1K the coming ;wa;;oll.

Thia confidence i~ perhaps the und ..... rlying- reason why Amerteau busin~M conunuea to i_n,cVfl more on CBS Televieion than on any other single ud\"('rti~ing medium in the world. C •• T.L.I!VI810fll)


How to make the most memorable impression on the human mind is the subject of a now classic debate among the, advocates of mass communication media,

It started with the advent III radiIJ and the thesis that the living '*' WIiOYed .. to action because it couJld tall yoar stoI:7! with human persuasiveness, gin it tile precise emphasia your mesaage required, JUIId make every line a headliDe.

The, partisans of the printed

word, the use of pictures could

evoke a mood and a desire to spoken word alone could never


For we've never found anyone who

the strongest, impression. But i.t was

certain to make it with comparable

Yet television already wins larger audiences than any other mass medium, And it ah"eady reaches more people per dollar than printed media .. To deliver the same total circulation today, television costa half as much as a group of magazines and a quarter as much as a group of newspapers,

And in all television, the network with the lowest cost per thousand is CBS Television - 20% lower than the second network.

Advertisera, convinced that the eye and ear work best together, seem to have settled the debate with some finality. In the first quarter of 1954, they made a greater investment in the facilities of CBS Television than in any broadcasting network or national magazine.



resenting every school of thought" the jury was broken up into small groups-each to judge different categories. The standards of one group were totally at odds with the next and yet its task was to produce a single cohesive exhibition.

I saw the work of an artist eliminated from one category because he had been represented in the last 10 exhibitions and wasn't "new."

In another category he was singled out for special attention by a group which had less interest in novelty than in distinction.

One group was earnestly trying to select a "representative cross-section" of advertising. Another was selecting only those entries which corresponded to their notion of the avantgarde movement.

One refused to hang any part of a large campaign-clearly the best in the show-on the grounds that another single ad in the same series was awarded a prize the year before. Yet another could select the same work in another category because it "continued to maintain the highest standards."

I saw one group reluctantly eliminating work that it admired because their category called for a fixed number of exhibits while another was having trouble finding enough to fill its quota.

On stilI another occasion the exhibition committee discovered that the jury had failed to find a single example from an industry that was the largest user of advertising in America. This was immediately corrected though nobody before had discovered anything worth hanging.

I have seen jurors sometimes unhappy because memorable work which they had seen in publications never appeared among the exhibition entries. They didn't see how their show could truly reflect the year's accomplishments without the


CBS nI.~_.,II- ill I""!J-.u N"'~, prNAt. dro-''c ......u-ldH,..,..-r1 II'!II.\! "1lOI4 .......... toJk ... ,'-al ~i«al dnfl~.!

A rt school props

dramatize the television story in this trade advertisement.

A drawing by Rudi Bass

is used on th e cover

of an annual year-end program


early returns on THE



Il'~ olf In a ,l!Tl'<ll ~\;ll'l' In iI>, li)'~\ Ii", da~'~, It increased sets in lise by :19' ,

It won over 4:)', "hue of audience.'

It covered areas= includirur all major market~with close to 2:l million television homes:

It offered the largest early morning station line-up, It sold at the lowest over-all price in "II television. It broug+it its first sponsor ]6,:);')8 replies to a single announcement'

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missing work, but they were prevented by exhibition practice, from showing it.

I have even known entrants who prayed that the jury wouldn't select more than one of their entries, because they couldn't afford the hanging fee. They had submitted many entries since they couldn't know whether the jury would be "old guard" or "avant-garde."

Perhaps my most puzzling experience as a juror was to serve with a man I had long admired. He had been demonstrating for years that any page in which the hand of the designer was evident was a bad page-that a good concept flawlessly and simply executed should be the objective of every art director.

The category was "Magazine Advertising: Design of complete unit." I had found an ad which consisted of an outstanding photograph and a single line of copy. It didn't seem to be one of those accidental photographs, but a clearly thought out solution to a problem. My co-juror snorted in derision. "This is nothing but a picture and a caption. Where is the 'design'? Anybody can put a caption under a picture. He hasn't done anything to it."

A n antique weather vane

becomes the symbol for advertisements, brochures and on-the-air titles

for an early morning program.

The promotion folder for a mystery show is illustrated by David Stone Martin

For me the wheel had turned full circle. Now that we had demonstrated how very difficult it was to produce something simple and were beginning to train our clients to understand it, we had to parade our bag of tricks to demonstrate our agility more obviously.

It would be useful, I'm sure, to discuss ways to define our exhibitions more sharply.

Should they be representative or selective? What standards should they reflect? Is it wiser to have large or small juries? Should there be different jurors and different standards from





The Sunday nill.'ht brMd_C'H.IIl of Tiff' Diam~M JHbilf'1J III MuhJ on all four ~t~'o!'kl\ ~hr;t!J" brighl.(>I!1 ron CBS Terevteton where it won M higher Trendex TIlt'inl; thl:t,n 011 1(11 the other Mtworh combined.

This .......... a surpr;i1\e to nobody !tin« the P.I:ogrllrn il1Lmedi&~I)' fol· lowed CBS Tel(>'+lIion',~ TrJ(J,~' of thf' Totnl whieh habitu .• Uy has II hi .. her rAti!18 t.h'm an)' oUler SUfldll)' ni~ht p,r;o8l'am. It ~jmply 1'91.flnn~ wbet every udn·rtj.IOt'T know»: namt'ly, the treml".ndoll!l va\ul';o( IIljrroun(jing H .'Iinl{ll· progn.m with lhl!'!'l1:ongecl po.-t~"ihll!- sebedctc.

Actu!ll!)', t.hill t.'x~ri(!.nc(' becQm~ even k&~ exceptianal when you consider t!:lt" ~lr<'ngth of th~ (-ntirl'· CB~ T("l~"i!iion ~'ht'duh·. For In thr., ""ftjl}T ID.Rrkf.'~ wh:en: network~ compet(,--Ilrrd porlJh\rit~· ('alll!{' directly c.o.mpa.n-d -the a"'~'rltgt', preg'ram 1)11 C6.t5 T(d~\'i~il)fl, dM.)' or n!llbt, ~ons.i.!(~lTlIy winl! the IRrt':'~t lIu.djenl''''~. And wins them at th elowt"'"lt cn~t rer thf)ll!-\O!.nO in network tI·j,'\·U;:inll. GBS TRJ.Y.VIS.ION

Brightest bulb-highest rating: An electric company's program appearing simultaneously on four networks


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Humor is the subject, a solarized photo is the illustration




"rrendex. Oct. '53-Mar, 'S4. ·~n the IwO most recent occasions when sponsored proarams were broadcul 201 rbe same lime ever the Ie-lidin, net .... orllt.. lhey won a 29%-and a 96'/II-hif,her utinl on CBS Tdevilion.

It's no little trick to make a tentful of people laugh, But it's something else again to get a nation-wide audience laughing - at the same instant.

And laughter, as every salesman knows, is a most effective sales tool. And so are all the other moods an entertainer can evoke. For they help you shilt your prospect's interest - willingly - from whatever's on his mind to the product on yours.

This, perhaps. is television's greatest value to an advertiser. It creates a receptive mood in 30 million homes for more: than live hours a day. It is always part-entertainer, part-salesman.

This, certainly, is why CBS Television has always made creative programming its most important activity. And why, in the major markets where the networks compete - and popularity can best be compared - CBS Television consistently wins the largest average audience: 11 per cent larger at night. and 27 per cent larger in the daytime."

Advertisers have found that placing their programs on the most popular network gives Ihem a headstart in ratings" - and a headstart in sales.

That's why their investment on CBS Television for the first quarter was over 45 per cent greater than a year ago. (And in /953 it was the greatest in broadcasting history!) That's why it's still growing.

CBS Television can bring you the most receptive audiences in all America, because it has most of the programs most of your customers want.





To an advertiser this must surely seem the most rewarding and exciting season in tele .. -ision's history,

This )'ear for the first time Publishers Information Bureau report- a television network rolling up the largest seven-month total o] advertising revenue Qf any network, m .. \'~~ri.fll" or newsu n per-c over Si7 million.


turns on us power

This ~'e,-Ir television is c.xploiling all of its complex skills. In rll~lkt, it ;1Ii 1'\'1'1\ ~n.',ttr'r C:lL1puBt to 1531es.

This Y";lli, for exompl-. cq~ry ",J'C\"j"jOf} network .is exerting it, all-cue eflurt to brhll; thu richr>' possible "ariel}, of entertainment to its audience.

Take loni;!ht. Oil (Be;; Television you find the first of a

bn II ian I new ~ri~s cntuled "The Beet of Broadway:' origimHinc; from iL~ n "W modern Color Studio 72.

fonight'.;; broadcast -rars Helen Hayes. Claudette Colbert. Fredric March and (;kules Coburn in "The Royal ramify" ·--four Academy Award winners in a single plav.

You also find Arthur Godfrey. one of the cornerstones

that form the solid foundation of the CBS Television program schedule-sa schedule designed to provide I~ting entertainment value and low('s! rest-per-thousand.

11 is this basic design whicb gives the real clue to why .rdvcrusers today arc committing more of their investment In CB~ Television than 10 ,'lily otlu-r .::;inglE' medium.


The double-page ad in "Variety"

features the financial success and audience acceptance

of network programs.

year to year? Does the practice of awards encourage a community feeling among designers or contribute to their disunity? Shouldn't an exhibition announce its jury and its criteria before entries are submitted rather than wade through a mass of material that seems to have been submitted in error?

Must selections be limited by an exhibitor's ability to pay? I can't help but feel that if these questions can be fully discussed, and solutions are found for them, there would be fewer and more significant exhibitions. And the advertising designer will have taken a great step forward in improving his visual environment.

Excerpts from the panel discussion related to William Golden's paper at the Aspen Design Conference:

Q: How would you define the role of the designer as contrasted

to the role

of the fine artist?


GOLDEN: I think they're two completely different things. I think all the trouble in this field comes from someone's assumption that they are maybe the same person. I think the fine artist makes a persona! statement about his world, and his reactions to his world. He makes it to a limited audience, or to a big audience-but it's all his. He controls every bit of it. The



A press kit

for color television

thing to be a painter. You have to have an awful lot of guts. But I don't mean to run the designer down. If he's honest enough, he becomes a professional who can do something special. But this something special is for sale-it is communicating something that is not his own. I think the trouble comes when he tries to make it a work of art, too. I think the two are completely different things. I think a lot of designers, who are talented and intelligent don't find this very satisfying. But they're not going to find it more satisfying by pretending it's something

advertising designer has a completely it isn't.

different function. He may be some-

one who thought he wanted to be a Q: Could you expound on the designpainter-but wasn't. It's a pretty hard er's use of the artist?



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GOLDEN: I'll try. I take an adver- uncorrupted, might not mind fiction tising problem where I am trying to being illustrated by painters. And she say something to somebody, and I run laid down one rule, which is the only through a number of ideas. It seems sound one. She said: "The only thing to me that a particular artist, because I will accept from you is something I know his work and some of his re- you will take back and put in your actions, might be able to bring more gallery." This worked very, very well. to this particular problem than, let's I think she got the best out of them. say, a photographer or a commercial

drawing. Now, I myself think it's absolutely useless to go to an artist who has values of his own unless these

Feliks Topolski illustrates the coronation of Queen Elizabeth,

in a full-page

newspaper ad (below)

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values coincide with what you're trying to say. Then you present your problem. But you don't tell him - I want a picture of this man, here-this man, there-and so on. This was done during the war in OWl where a lot of fine artists were listed for postersand they did a big bunch of junk that was never printed. You want what a certain man has-and then you leave him free to do it. You have defined what you hope will happen-but not precisely how he's to do it. I find that most of the time it works. Sometimes it doesn't work, and you simply don't print. You know the artist performed his job in good faith and you pay him. But this is the kind of a gamble you have to take.

There was a very good laboratory set up for this by my wife, Cipe Pineles, when she was art director of Seventeen. She thought that a magazine

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Q: What about the quality of the students and beginners who come to you with their work?

GOLDEN: By and large it's not of great value because it's pretty imitative. Students are apt to say: "We don't copy a Ben Shahn drawing. We try to explore the idiom." They just think they don't copy it. Probably the greatest struggle of all is to find out what you yourself can do particularly well. It doesn't have to be like anybody else. But it has to be valid in its own right. This is a pretty tough craft. It takes a lot of hard work. And I think that unless you can get some craft satisfaction in doing it, you're not going to get much else. Craftsmanship is something people have to nourish and hang on to. It's disappearing from our society. I don't care whether you're a shoemaker or a shirtmaker or a typesetter or a printer. Craftsmanship is valuable. I see nothing more rewarding than to try to do

for young people, who were relatively something as well as you can.

Topolski's cover of the 4B-page brochure (left) introduces on-the-spot drawings

of the coronation procession and ceremony




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Full-color center' insert of the procession

is bound into the souvenir brochure


Meet Mr. Lookit ...

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He climbed out Of our television 1It1 lind .. ked for a job ~ M W&l!. II!. J~:!. ~ -..r.k.~ Mm, wb.e.t he ~k!. do.

lie 'lid •• JEllte(! ~me .. w .. to emuee hi.8 mae.ler. W make IIUKh, to take hi' mind oft' irloomy world and by hi •. li ... t'!i..,,~.t mealt tQ M80111t iIJ hilloni'l! r.!ig~!:ItjQIJ< Pn!-t!y fane}' talk, ~t: U!ought. We t.otd hi!!! thankll, but we didn't Imow anyone theee dayll who could atrord to hire • private I!nt.t'rtain~r.

He said we were miMiIl{l the point. He'd eeen an awful lot of n1tertainmeot in the !.Nt couple of hundred yean and people never had it .110 ROO~ T.hey hed meee and bll!tter enteruinment at the Ilick of .. :lwitch than ai'lybody he ever worked for.

lie ml'lrlt television, of COUJ'lM'. But we weren't f&llmlt for this ob\'joul bulterinR-up_ Said we'd call him if IlJl)'tl'l,\ng turned up.,. but not to wait ~mJ,!n~ We aJ~ldy had moet of the moll! popubor progJlllm,tl in town. And &tWor all h~ WIUI a hat,·be-en .• I~~n. died out Ions ago. But we miKht rll:nt hi.a weird ji:l't·up for a <»8tu.m~ ebow 8Om~ tim!!' ..

Ht' got k.ind of aore at thi •. Said he'd been work.inilltea~y alllh~ lime. all ovtr the world. JUl!t u,ing dil!gu~§. In t..b~ circus, ht'. the c.\QW!I; in the moyies. he's the alap atiek comic; in the vE'ntriloquil!t act he's lbe clever rnp&rtee !.aiq

~ Lho;: "Dummy";!n tho!" OPE'rI. thulerE' and radio. hi.' uaed &ft""t"ent n~m\.,.;.. Tk<Y..\,ht it mil:; right he llhl."luld bo-,ot\ tetevision. Said he ,~:ou, televi .. ion.

Thil!- got u~ prett y >:.Ion'. Wto "1J"p~cted he W>utl off hi" rcckej-, to". A,.~lc.[od him sc leave hi,; n .. me lind l,ut, above all to /"at""

Then he bl .. w hilt top, Said he Willi on fhe ,,,,,.ide tn td e,,'iNion. Said he nyl!'d in everybod)"11 tE'I e vialon M>t ... ~ Illl the telt"\--uion .hovo·I'! ... wu an authority on mod e m entert.inml'nt ... wanted to tell people which one. to look I't •.. Mid he Iiked our 1100"''' bnt 4I.hat old line!, and j't Wlt.~ his duty to pluK t.hem ... etc ...

W .. U. we couldn't Ket rid of him so we hirvd him.

Figured he couldn't do any harm sinee th .. "howlI he hkt'd are the show~ you watel! anyway. And th~rt: WIU\ M>methin@ about hil eyeM that appealed to U8 ..

So if he .,how., up on your ., e t lit hom e, prtc'h.·"d you haven't noli«d him and be'U !j:o B._Y. HI!'a !IOn of dopo.y, but he cen'r sive YW 8 wrong tilE-tn". ~Ullf!o in the ma.)o.!" ma-,korta where n~work!l compete end thl!ir proKJaPlIl can be -.n-Qlld dirrctr, rompD.m:J. people have liked our lbow, ~toyerthl'y"a~

And thi., ),l!f'Ir they 100(1. bet,~r tha.n ever.

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A nimated puppet, designed for use in network advertising and on-the-air promotion


IS A ~-


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Three trade ads

tell the network's story

with three different art approaches.


Seven-year-old Joel Levy, Robert Schneeberg

and Rene Bouche

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Sam Levenson offers you the gift of laughter ....

he's generous about spreading it around. He's made so many people happy that half of all the sets turned on at Levenson's time are turned on to see Levenson, and that's added up to a 22.5 Trendex rating.

He can make you happy

Now he's moved to Tuesday at eight, so that even more people can be happy over his wholesome, effortless humor and inspired story-telling.

One of those people could be a sponsor who knows how family pleasure can carry over into family buying.

That happy sponsor could be you.



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When the Romans said "Omnibus" they JIle8nt "for all- for everybody." And that's what we mean, too.

For this is a show that's drawn perhaps the warmest response

of anything in television .. .a big show. a very big show ... whose name can add something to an advertiser. And what it adde

is not alone prestige ... but

along with that, • powerful 8lI1es opportunity: opening and eiQIJing credits, a weekly two-minute commercial message, and every fifth week, a special five-minute program feature-a documenl'lly film beeed on some aapoet of the sponsor's business, produced at

no ""tra coot In him.

Because this show' is available to dve dilltil\gujahed 8ponoon,

the _t to each becomes moderate ... the value to each tramendOUB. It i8 obviously a program for

those adverti8ers whoee astuteness match ... their iJDportance. Like WilJy8.()verland Motors, Inc. and The Greyhound Corp., the first Omnibus epcneore.

It ill produced by the TV-Radio Workahop of the Ford F"uodation, and broadcaat over tho Ililciliti .. ,,(\he CBS Television Network.

Double-page trade ad

with critics' comments (left) echoes motif

of program announcement ad (below)


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Thie uJh'I'Doon. ~'fJU will ~"W·I-' Iht, tirst hrcadcast (If;l P"',pi(·, places. J11il_\~.". stxu-ieg, music. invent inn~ ..

totally new kind of television prcjrrtun. Ont: tb.u i... and !Ia: If'g"nf!;;; nnd blighter wnrt h s.1.'.\·in~.llt'ilriJ1,g

j,:;(Jillj.: tl) find many W.IJ.)'l'i to ~how you. Sunday «Itnr- and kl1'Qwin~ more about, T}H' prng:I':Hl!'S namt"

~UJ]dily • some of HiP Won(kF ll( thl.! wnri!d we ltv« hl_ Omnihu:<. it:-;"l>"I1i")I-: \',\'i!l.v,,'i·Ovl'l-land M"t.tlj~. 1')1(;,


Newspaper ads, mats, films and slides illustrate the theme of the booklet (right)

- 89

Studio One presents tonight

The Nativity

The story of the first Christmas as it was first told dramatically in the English language

Tonight television audiences. will have the rare opportunity of watching a classic drama about the birth of Jesus baaed On the text used Jn medieval England more than six hundred years ;lgo.

N'ever before broadcast in this cOWltry, The Nativity iii! from an ancient cycle of Mystery Plays performed by the medieval guil'ds ot York and Chester. It will be presented in the language of the 'Original versions, recapturing the g,race and pageantry of ancient times.

The famous Robert Shaw Chorale will provide ttle musical accompaniment to this drama of simple majesty that bridges the ages.



Lo. Angeles

Medieval woodcut

sets the mood for the announcement of a Christmas play.

The photographic building blocks (right) demonstrate the solidity

of the network's program schedule





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wld;,,!! ueu: .'{/tOI('S. /I(~U' per .... oualitr,> .... 10 'nst lIeor':-; .'llurdy !-l!ru..c/IIfT,

So keep your eye on CBS TELEVISION ~


A double-page trade ad illustrates the effectiveness of sound and vision


One subj ect-two different techniques:

Rene Bouche's portrait

and Arnold Newman's photograph appear on the same day

in different newspapers




:E DWAR DR. M U ,R ROW. broadc,ustiJlR"i:i most n':::!JM .. -cted reporter. brings a new dimension to television reporting

todav. In his new JwJf·hQurJ)rogram "SEe IT NOW" you will see the exciting potential of telc\:i:5:ion HI5 a nE'WS gatherer. YQU 'will watch a S(; edited report of the week's ~ih"1lifkant events, some (If it on film. some of it happening before your eyes. '(QU witt meet. fac.e to face. Idpgs and commoners, sckliers and sdenHsUi. politicos and plain 'PC'ople who are the maste-rs- 0:' the v ictims+of events that- affect us nil. From your OWl) armchair. you will witness the world.

-todl1Y nt. ./:30 01! Ow CBS 1'e1tl,isio)1 Ncno-wk WCBS .. TV ellal/flt'! 2

EDWARD R. MURROW. broadcasting's most respected reporter. brings a. new dimension to television reporting today. In his new half-hour program USEE IT NOW" you will see the exciting potential of television as a news gatherer. You win watch a scrupulously edited report of the week's ~ignificant events, some of it on film, some of it happening before your eyes. YOU' will meet. face to face, kin~ and com monel's. soldiers and S('ientist~, politicos and plain peul:Jle who are the nM~tl'r:-;- 01' the Victims-of events that affect us all, From your own armchair, you will witness the world.

-today 0.1 .j:.J() (m tic. CBS Television Ncticork: WeBS-TV Chfllwrl 2




The network's on-the-air identification serves as the theme

of this advertisement.

o¥ good


When this symbol shines out from a

television screen, it identifies, for viewers

and advertisers alike, the network where

they're most likely to find what they're looking for:

... where 6 of television's 10 most popular shows' are broadcast

... where average ratings are higher than on any other network'

... where television's solid-success package

programs come from ... shows like Mama, Toast of the Town, Studio One, Suspense,


Burns & Allen, Talent Scouts

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... where the new hits will keep coming from:

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I Love Lucy, Frank Sinatra, Corliss Archer,

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See It Now, An Affair of State, Out There, My Friend Irma


continuing importance of radio

is emphasized in this 1951 full-page trade ad

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... where 59 national advertisers ... including

15 of America's 20 biggest ... are profitably doing business today."

"This is the CBS Television Network"


Radio ... most 'versatile entertainer of them all

Nowhere hut radio is tlu-re such a widr-, free choice of entertainment.

1\I""t people tbe country over lind most of IIII' radio pro~rams they like on their CBS Radio station, ~'or the CBS Radiu 'I,,!\,ork has as'~lIIhll"d for you and yuur family the grea.te:oit stars. the richest varietv of program~. in all entertainment historv.

Da~ in, du) out, there's no plaee like radio ... anrl no radio like CBS Hadio,

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radio network



Full-color double-pages promote the radio network in national magazines.

Four paintings show how each artist attacked the same subject:

The court jester amuses the American family

Paintings by Jerome Snyder, Doris Lee,

Miguel Covarrubias and Leonard Weisgard


"The radio says

it's going


to rain"

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'"· .... I'_l<'J.~~lit.i>: 101,.....,_ ''Il00-'- T~,," -..I'ItCJiSI~.MO_~ . . ....",,,' ..... ,,,.

This is probably the commonest remark made

in America. Millions of people say it every day. You yourself are always saying it without. thinking. You heard it on the radio. so you act on it.

Actually the radio says no such thing.

It simply reports what the Weather Man says.

We wish people would think more carefully about radio. But the fact is nobody really thinks about radio. Any mere them he thinks about which foot to put in front of the. other. or how to blow his nose.

You can quote all the statistics you want about radio's amazing penetration and snlea impact to prove what a great medium it is, how much better than any other medium. The statistics are all true and available.

But somehow they seem relatively pointless beside the basic fact that people believe what "the radio 8a~ •. "

This is the real secret. of radio's power. This is why it is listened !9 by rnore people than any other voice in the land. This is why

it is such an accepted' voice ... such a useful" voice ... such a friendly and familiar voice.

Radio doesn't know whether it's going to rain

Radio is only a voice-anyone's voice,

It could •. ven be yours.

Columbia Broadcasting System

One 0/ a double-page series [eat.urin.q the public's dependence on radio

Says Variety: "The Egs!J All eyes are on this CBS Here's one show where you
will have little difficulty Television Package Program, concentrate on selling your
building a sizable midday dressed up witli all the ~, not the show itself,
audience, , . most viewers topnotch showmanship, cast, Inat's already been done.
will be presold ... should and production values that !~l!I is already beating
easily nab a sponsor within make CBS Television the ali the compelition in its
8 few more airings." plare both audience and time period. And because it
Says The Billboard: "the advertisers choose . . where takes full advantage of
Grade A label predominant ... ~L~tevisio~~~!~ most !!!Ie of the biggest box·office
humorous and heartwarming, popular programs originate titles in modem book and
undeniably rates attention where average ratrngs are motion· picture histmy,
from sponsors. II should gel higher than on any other irs midday television's top
and hold an aUdience." network. \Ir ___ Oct 1·1, sponsor opportunity. The title of a best seller becomes the illustrated headline of a trade ad