1961
YOUR MOBILGAS
1961
35 19!59
BIG , SAFER
BRAKES There's 27" more linina area, and you all know what tllol
means. Lou loneer linin1life.. And the wi~rbrake drums
extend into the air¡ stream. Brak<s otay cooler and are more restiU.nttofade..
and easy
to load! Tailgate folds down as easy as dropping
aplugintoastream. No liftgate to fool with (but more about
that later) . And the tailgatciswi~r,too,
for easy loading.
SECOND SEAT FOLDS EASY, SITS EASY, TOO Quicktrthanwccan say, you fold Chevy's comfy second seat& get a k>ng,wldta,jlot cargo compartment .
Chel!y wagons- wanted for all their worth
CA. January '62
19!53
36
CA, January '62
Exhibit
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Three posters by Philadelphia designer, Samuel Maitin. Left: The Print Club, 17 x 23. Above: Kraft Printing Company, 18 x 23 ¥2 . Right: An exhibition of paintings sculpture, graphics and ceramics by leading contemporary artists; sponsored by the United World Federalists; 9 x 18 Yz.
CA, January '62
PART 1
The purpose of this guide is to assist in selection of screen combinations for printing a process ( four-color) job. The applications are manifold: maps, charts, backgrounds, overlay separations, etc. In preparing the guide, we sought to show, as clearly and concisely as possible, what happens when process inks are combined in screen combinations. The number of possible combinations is staggering. We have confined this to combinations of two or three colors, and to the percentages that would seem most practically and logically employed for these purposes. Using this (or any other color guide) requires both understanding and interpretation of what is happening in color printing. It is an art, not a science. It is based on a number of optical illusions that every light source can alter. It is also fraught with a great number of variations that can occur even under the most painstaking production control. Every paper surface will produce a different color effect. Texture, color (there are hundreds of shades of white) and ink absorption will all produce variations that can only be determined by studying the results of printing on a specific sheet. Normally, harder surfacesespecically coated surfaces-will produce a greater intensity of color. You must be certain everyone concerned knows which colors are being used. There is no established industry standard for process colors. There are times when these will be varied to improve a given job. Film contacts, plate burning, the sequence of colors, ink coverage across a press can also vary. All of these, with know-how, are variations that can also be turned to an advantage. By enumerating the limitations and variables in color printing, we do not intend to underrate the value of the color guide. With an understanding and allowance for variables, the guide is entirely functional and quite accurate in indicating what tones are and are not available in process color printing. The effect of printing other colors under black.
10%
20%
30%
50%
70%
100%
10 %
20%
30%
40%
50%
60%
70%
100%
CA COLOR CHART COPYRIGHT 1962 BY CA . THE JOURNAL OF COMMERCIAL ART AND DESIGN
â&#x20AC;¢
PALO ALTO , CALIFORNIA
When millions of civilians were catapulted into highly technical work during World War II, there was an overwhelming demand for instruction manuals. It was immediately apparent that new educational principles and techniques had to be developed. One of the pioneers in this field has been Hyman Olken, graduate radio engineer from Harvard and test and development engineer for the Navy. He has been responsible for the preparation of numerous technical manuals and other government research and training publications. With this background and the cooperation of writers, engineers, draftsmen, artists, photographers, retouchers and printers, certain standards and procedures for effective communication were developed. At present Olken is with the Electronics Engineering Department of the University of California Radiation Laboratory at Livermore, heading a group that handles its specifications, standards and technical writing. This article is concerned with techniques of planning and designing illustrations of complex equipment in as simple, economical and understandable a manner as possible.
Effective Technical Illustration by HYMAN OLKEN
Fig 1. Sectional drawing lacking depth perception, making mechanism ,difficult to understand.
Fig 2. Airbrush rendering of same drawing making mechanism easily understood.
In the Navy, technical equipment includes everything from small, self-contained mechanical units to elaborate electrical, mechanical, and hydraulic systems. Such a complex installation may involve carloads of equipment scattered from one end of the ship to the other. Manuals dealing with such systems may use as many as 2400 illustrations and may cost close to a million dollars to prepare. Confronted with problems of this magnitude, it is obvious that every possible attempt must be made to cut preparation time and expense to a minimum. In addition copy and illustrations must be well executed and quickly understood. When illustrating a simple mechanical or hydraulic unit, the easy way is to pull out a sectional drawing, fig. 1. But the first educational requirement in illustrating the construction of any equipment is to show depth. From the maze of lines in figure 1, the eye must laboriously deduce which is a round surface, which is flat; which surfaces are in front, which farther back; which are stationary and which are moving parts. By properly airbrushing the sectional drawing, all this becomes easily apparent, fig. 2. Such an illustration has become a standard technique used in almost all manuals. But, in more complex units and systems, depth perception is not enough. To differentiate
CA. January '62
53