drawer TOP It seems about time to assess the year's activity, and to give you a notion of what is in störe for the future. The core of our 1953 editorial theme has been "Programs in Print." So far, time has permitted only two of these featureson United Fruit and Columbia Broadcasting. Both have been so successful that we feel encouraged to continue the series through 1954. Special mailings of the issue containing the pioneer- ing United Fruit Störy brought many complimentary responses, from within and without the Print fold. Typical is the following letter from the President of Columbia University to E. S. Whitman of U.F.: September 9, 1953 Dear Mr. Whitman: I have just returned to my desk after a trip abroad and the vacation period. For this reason I have only now had an opportunity to read the story of United Fruit Company s program in Print which you were kind enough to send to me. In reading the article I could not help but feel that there is a close parallel between United Fruit Company and Columbia University. Both are dedicated to the public Service. It was particularly en- lightening to me to learn of your work in restoring the archeological treasures of Central America, your work in the fields of medicine, public health, soil utilization, agriculture, and Community welfare. It was equally gratifying to me to learn of the emphasis you place upon the printed word and the graphic arts as a means of conducting your overall public relations pro gram. The fact that leading national advertisers do have this appreciation of the graphic arts makes our decision to establish a Graphic Arts Center at Columbia University seem all the more sound. Incidentally, I am enclosing a brochure describing this program just in the event you have not seen it. Let me congratulate you again on the splendid public relations program for which you are responsible and let me also express the wish that through this continued policy of Community Service the Company may continue to prosper. Sincerely, Grayson Kirk The Christian Science Monitor, describes a novel show of printing put on initially by the Boston Public Library, under the title "Printing Un- inhibited." In response to the joint invitation of Dorothy Abbe, (designer for Columbia University Press and teacher of illustration at the Boston Museum of Fine Arts) and Jackson Burke, (Director of Typo graphie Development for Mergenthaler Linotype Co.) 48 casual printers have contributed a charming assortment of greeting cards, booklets and other printed pieces. Gay and imaginative, the proprietors have conjured up amusing names for their spare time Operations, such as the Hellbox Press, the Attic Press, the Hippagripp Press, the Quercus Press, the Golden Spoon Press, etc. The amateurs or quasi-amateurs include such diversified workmen as Ben Grauer, celebrated radioman; Ray Nash, professor of fme arts at Dartmouth; Arthur Rushmore, eminent book designer; a postmaster, a realtor, an airline navigator, an optician and representatives of many other callings. The exhibition will appear in various cities all over the nation, finally end up in the rare book department of the New York City Public Library. Miss Abbe writes that so many worthy candidates have come to light another and larger collection is contemplated. Those of our readers who still fool with a "Kelsey" or similar contraption may wish to offer their work to posterity. Someday, we hope to cover these "fun" enterprises more fully. -»>•«<- The first fall session of the AIGA Magazine Clinic was a "critique" of the annual Magazine Show sponsored by the Institute. George Samerjan, chair- man of the general committee in charge of the exhibition headed the meeting of Oct. 21 with members of the jury sitting as a panel of moderators. In his introduetion, Mr. Samerjan noted that the pieces chosen were only a third of the 1952 total. Among many quotable remarks of the Speakers were these examples: Alvin Lustig (Chairman of the Jury): "We wanted a select showing of quality, not a big, back-slapping mutual admiration society." Milton Zudeck: "selected pieces show admirable restraint and balance between illustrations and head- lines one or the other teils the story." John Peter: "art direction is a form of editing." Ted Sand ler: Graphic art of today is getting back to basic ancient illustration; as a result most of the choices are simple." 6

Print Magazine en | 1953 | | page 8