cag annuals research - part 1
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CAG Annuals Research - Part 1TRANSCRIPT
Research study of Communication Arts Guild’s Annuals from 1950 to 1996… by Ranjan R. Joshi. part one
REASEARCH INSTITUTE OF VISUAL COMMUNICATION, CENTER FOR VISUAL LITERACY (Thane, Maharashtra-India)
• Research started from 29/9/2010. (From 2000 A.D. as part of my association with Global Graphic
Design Education from Canada, U.K., France and U.S.A. in Mumbai)
• This is a prototype research survey done by Mr.Ranjan Raghuvir Joshi in associations with
Mrs.Vidyalaxmi Ranjan Joshi that analyses the Cag’s 1958 annual issue and intends to do for all the 60
years (1948-50 A.D. to 2010A.D.) annuals. From the angle of Late Dr.G.M.Rege’s famous table of basic
human desires that relate to buy product being advertised. It also tries to understand the each
advertisement being showcased from the angles such as: (A) Visualization, Concept, and
Ideation. (B) Illustration (C) Typography (D) Copywriting (E) Photography and (F) Design/ Layout
presentation
• It also tries to see how Conceptual Elements, Visual Elements, Rational Elements, Practical Elements
are applied in the above said points. These points were part of my global graphic design education
connection as a Sr. Faculty for graphic design education
• The detail definitions are discussed given herewith for the reference
This is an attempt to summarize total-37 (Thirty Seven) annuals
(1)1950-First annual, (2) 1951-Second annual, (3) 1952-Third annual, (4) 1953-Fourth annual, (5) 1954-Fifth annual, (6) 1955-Sixth annual,
(7) 1956-Seventh annual, (8) 1957-Eighth annual, (9) 1958-Ninth annual, (10) 1959-Tenth annual, (11) 1960-Elventh annual, (12) 1961-
Twelfeth annual, (13) 1963-Fourteenth annual, (14) 1964-Fifthenth annual, (15) 1965-Sixteenth annual, (16) 1966-Seventeenth annual,
(17) 1967/68-Eighteenth annual, (18) 1968/69-Twentyeth annual, (19) 1969/70-Twenty first annual, (20) 1971-72-Twenty-third annual, (21)
1973/74/75, (Twenty-third /Twenty Fourth/ Twenty fifth are combined annuals), (22) 1974-76-Twenty-seventh annual, (23) 1976-77-
Twenty-eighth annual, (24) 1978-Twenty-ninth annual, (25) 1978-79-Thirtieth annual, (26) 1981-Thirty-second annual, (27) 1981- 82-
Thirty-third annual, (28) 1982-83-Thirty-fourth annual, (29) 1983-84-Thirty-fifth annual, (30) 1986-87-Thirty-seventh annual, (31) 1987-
Thirty-eighth annual, (32) 1987-88-Thirty-ninth annual, (33) 1991-92- Forty third annual, (34) 1993-94 Forty fourth annual, (35) Is this
1994-95- Forty sixth OR Forty seventh annual?, (36) 1996/1997-Forty eighth annual.
Following Annuals are not available… (1) No. (13) Nil.1961-1962Thirteenth annual, No.( 2) (22) Nil.1970-71 Twenty-second annual, No.(3)
(31) Nil.1979-80 Thirty first annual, No.(4),Nil…1988-89, No.(5),1989-90, No.(6),1990-91, annuals, No,(7)1993-1994 annual, No.(8) 1995-96
annual.
This is which one 1994-95- Forty sixth OR Forty seventh annual?
Newly found Cag’s annuals from Prof. Mukund Gokhale on 29th June 2011 are 1962, 1966 and 1970. The gist of
these annuals are newly included in their respective sequence of annuals chronology.
The Media/Category applications such as : Calendar, Folders, Booklets, Leaflets & Dealer’s Aids, Posters, Greeting Cards, Magazine Ads,
Miscellaneous, Press Ads, and Student’s Work, were almost same till 60’s.It started changing after the new print methodology was made
available to the professional practice.
It reminds us of typical Bauhaus School Visual developed by
Herbert Bayer. A Modernist approach.
It is in dark burnt umber color at the background and visual shows a big hand drawn finished condensed serif roman type in lower case hallow casing in white as main visual, and white Annual word in type set sans serif Universe type opened space along with Exhibition word in white colour Connecting Script, and Number One in solid white. There are photo cut outs of Ear, Eye, and smiling Mouth with a bow pen line drawing instrument. All these visual elements are composed as a collage in a particular sequence depicting a theme of Communication art.
1950-First annual:
(1) 1950-First annual: The opening page of the credits’ says that
Copy and Theme for layouts is by Homi A. Kharas. It means the cover must be
by the same artist. It is in dark burnt umber color at the background and
visual shows a big hand drawn finished condensed serif roman type in lower
case hallow casing in white as main visual, and white Annual word in type set
sans serif Universe type opened space along with Exhibition word in white
colour Connecting Script, and Number One in solid white. There are photo
cut outs of Ear, Eye, and smiling Mouth with a bow pen line drawing
instrument. All these visual elements are composed as a collage in a
particular sequence depicting a theme of Communication art. This is a typical
Bauhaus School Visual developed by Herbert Bayer. A Modernist approach.
At the bottom repetition of type font applied for ANNUAL stating Commercial
Artists Guild with 1950 in slightly bigger size.
The reason to describe this in detail is to make a point that it was a beginning of
new visual language in India. The opening page of the credits’ is composed in Gill
sans all caps type fonts with variations of point sizes. The layout is symmetrically
composed typography, in hot metal composing system. This system does not allow
close type composing due to metallic type letters.
The Word Cag is hand drawn logo
in extra bold. Next page is perfectly
right and left aligned mixed
typography in a well balance type
distribution. This typography is a
good example of hot metal type
composing design. Total Annual
layout displays this esthetics of that
time. This is interesting to read
in the editorial that it is called a first
Hand-book and the aim is to raise the
standard of Commercial Art in India
through annual exhibitions. It’s a self
education and matter of
enlightenment for a public at large.
The list of competitive section is small but apt to the time of early beginning.
Articles like “From Planning to Production” and such is worth reading to
understand the standard parameters of the time. The overall display of the
winners work depicts the stage of searching an identity devoid of French,
German or American influence. The impact of Victorian academic visual
thinking is strongly visible. The letter press and block printing gives a vigorous
color/b/w. visual pleasure. A special detail study of each artist’s work is a must
to those who are interested and also to professionals of this field. It’s a
treasure of early beginning of Art of Indian Advertising. The impression of
hand drawn work in all section has a personal touch which is rare today.
(2) 1951-Second annual:
The second annual’s cover is not available but the one seems like a cover in black and white. It’s a combined effort of Mr. Umesh Rao and J. G. Deokule. Both are actively involved from the first annual’s publication and they have done a great job for us today. It is surprising to read that Cag was having five centers namely Delhi, Bombay, Calcutta, Madras (Tamilnadu), Gwalior, areas and small towns. The venue for exhibition was always Sir Cowasji Jehangir Hall, Bombay.
Sorry Clean image of the cover is not possible due to pixilation…
(2) 1951-Second annual: The second annual’s cover is not available but the
one seems like a cover in black and white. It’s a combined effort of Mr. Umesh
Rao and J. G. Deokule. Both are actively involved from the first annual’s
publication and they have done a great job for us today. Other committee
members have been supporting this important task. Mr. S. Das Gupta,
Mr. Umesh Rao, Mr. Ratan Batra, Mr. V.N.Adarkar, Mr. P. G. Pradhan, Mr. R.H.
Willis, Mr. S. M. Pandit, Mr. Victor Fernandez, Mr. T.S.Mani, Mr. D. B. Anand, we
should be grateful to them all. It is surprising to read that Cag was having five
centers namely Delhi, Bombay, Calcutta, Madras (Tamilnadu), Gwalior, areas
and small towns. The venue for exhibition was always Sir Cowasji Jehangir
Hall, Bombay. The introduction by Mr. Umesh Rao is a good dialogue even
relevant today.
His article in this second issue on “Commercial Art” is insightful to understand
the basic concept of this new art profession just coming up in “New India”.
Another article by Prof. V.N. Adarkar is indicative of new era to come in this
“New India”. The work published is a gradual transformation visible in terms of
search for Indian Art Identity in the area of art applied for the first time for
commerce and industry. It may be little chaotic as regards to layout,
illustration, text synergy aspect.
The Textile section is strongly visible because of its
importance just like that of today’s I.T. industry.
The impact of letter press printing methodology is
visible due to vigorous image print.
A cover designed by Kanu Basu. This is a typical fine art oriented very spontaneously executed visual.
(3) 1952-Third annual:
The editorial notes that, this is for the first time Indian Commercial Art being showcased as against the vast archival of European and American Commercial Art available to all of us. Mr. Stronach reminds us in the article published in this annual that it was in 1920s’commercial art come in its application in India.
(3) 1952-Third annual: A cover designed by Kanu Basu. This is a typical fine
art oriented very spontaneously executed visual. An Elephant is shown
moving forward. Brush strokes in blue, white, and yellow on black
background and on the top figure 3 prominently placed with Cag and annual
1952 slightly slanted gives a kinetic movement to the whole cover. The
editorial notes that, this is for the first time Indian Commercial Art being
showcased as against the vast archival of European and American Commercial
Art available to all of us. Mr. Stronach reminds us in the article published in
this annual that it was in 1920s’commercial art come in its application in
India. It was meant only for imported articles. The Art Directors were Anglo-
Indians and their approach was mostly English cultured. It will take some time
to be completely Indian till then it is following American pattern of practice.
“How Modern Advertising and Commercial Art started in ….
“How Modern Advertising and Commercial Art started in India” an article by
L.A. Stronach is eye opener at that time.
Mr. L.A. Stronach has been the most influential personality in shaping Indian
Commercial Art. There are interesting articles by others as well.
This annual is worth collection because we see rare
drawings, illustrations of the famous Satyajit Ray who
was an Art Director of D. J. Keymer & Co., Ltd., Calcutta.
This issue is a feast of illustration with touch of class.
Scraper board drawing is of international standard and
one hardly feels the lacuna photography.
(4) 1953-Fourth annual:
Mr.S.V.Waghulkar is a pioneer personality of Indian Commercial Art who experimented widely and brought this practice to a touch of class during his long career. He is one of the few who understood the potential future of Indian Art of Advertising.
(4) 1953-Fourth annual: Cover designed by S.V.Waghulkar. Painterly visualized
concept, in which a group of Women moving hurriedly encompassed in a grid of
fine lines and a brush is a silent element with a flashy black and white play,
graphically composed vertical top CAG logo is a sign of visual transition from old to
new. Mr.S.V.Waghulkar is a pioneer personality of Indian Commercial Art who
experimented widely and brought this practice to a touch of class during his long
career. He is one of the few who understood the potential future of Indian Art of
Advertising. The CAG remained grateful to people like Mr. S. Das Gupta, Mr. Umesh
Rao, Mr. Ratan Batra, Mr. V.N.Adarkar, Mr. P. G. Pradhan, Mr. R.H. Willis, Mr. S. M.
Pandit, Mr. Victor Fernandez, Mr. T.S.Mani, Mr. D. B. Anand, and J. G. Deokule and
Mr.S.V.Waghulkar who are actively involved from the first annual’s publication.
In the editorial of this issue, Mr. Harold George has been
quoted, saying that Indian Commercial should be free from
the influence of French and American commercial art. It’s
an interesting piece of write up. The annual also carries
many interesting articles to read. That was a time
exchanging of thoughts was valued. This issue showcases
the same narrative Indian visual vocabulary throughout in
various types of works. Mr. P. N. Sarma’s caricature black&
white drawings are visual delight.
(5) 1954-Fifth annual:
It would be insightful if we are able to decode such types of early methods of visualizing. The cover is piece of class aesthetics.
The period of this Indian Commercial
Art is like a renaissances where it is
trying to identify own face against big
players like French or American Art of
Advertising.
The English rule of 150 years did give
us little edge to climb the international
platform easily. These 40’s, 50’s,
visuals showcases this dilemmas.
(5) 1954-Fifth annual: Cover of this annual is designed by Noshir Chapgar. The
visual concept is derived from the inspirations of old illuminated manuscript
pages. Each letter of Cag is artistically decorated with hand skill rendering. The
letter ‘C’ is depicted as communication with Europe symbolizing it with their
graphic forms for landscape and trees, a bird in the sky moving with blood red
background and illustration in white, letter ‘C’ in solid black.
Next Square is in European badge color
and letter ‘a’ in leaf green with migrating birds moving around. Beautiful
motifs intermixed from Indian and European spreading around. On the right
hand corner vertically placed Fifth annual letters which are in serif
decorative type letters. Out of total four square divisions the one bellow on
the left corner is showing some traditional motif from the Indian origins. It
would be insightful if we are able to decode such types of early methods of
visualizing.
The cover is piece of class esthetics. The content of the issue is worth reading to
know various angles of Art of Indian Advertising. Let us see few titles. “Press
Advertisements and the Layman”
By Geoffrey Dempsey, “Is Indian Advertising Art related to Social Life?”
By An Art Director, “Publicity and the Five Year Plan” By Manu Desai, “Our
Publicity Abroad” By an Agency man, “What the judges say .”
The art of every country reflects the character, customs, feeling and,
thinking of its people.
The period of this Indian Commercial Art is like a renaissances where
it is trying to identify own face against big players like French or
American Art of Advertising.
The English rule of 150 years did give us little edge to climb the international
platform easily. These 40’s, 50’s, visuals showcases this dilemmas.
(6) 1955-Sixth annual:
Cover design by Nagendra Parmar. This is once again a visual statement of the time depiction. The color palette is painterly in taste.
What do you think of the prospects and future of commercial artists in general? Have you any suggestions to offer?” many more to read for you in the original…
(6) 1955-Sixth annual: Cover design by Nagendra Parmar. This is once again a
visual statement of the time depiction. The color pallette is painterly in taste.
Editors K. D. Aga, and P. N. Sarma is having most introspective dialogue with
the guild members. I am trying to quote few thoughts from the same. “. We hit
upon the expedient of inviting the views on specific questions of those who
deal day to day with art in its commercial sense, namely, art directors, agency
executives and advertisers. Questionnaires were sent out to these three
groups. We are gratified with the response. The answers received gave us a
great deal of pleasure to read and in presenting them here in summary form,
with' a few of our own comments, we trust that they' will give the reader not
merely 'the sally pleasure, but -much enlightenment too.
Art Directors• A among the artists working under you or for you, have you noticed any progress in. ( a )intelligent development of design, (b) layout,(c) illustration, (d) Lettering? In which field would you consider progress has been mad (most?
The consensus of opinion seems to be that there has been hardly any noticeable progressing these fields in the past year except in the case of layouts. Even here, layout artists tend to play safe by keeping to the beaten path. The spirit of adventure, of gamboling pastures new, seems to be lacking. The bulk of the illustrations are still being done in stereotyped manner, without any attempt to draw intelligently. More intelligent uses, however, are being made of typefaces and lettering based on typefaces. Here again, the average lettering artist is content merely with improving the standard of lettering without adding more of variety to his stock. Similarly, have you noticed any progression the part of the artists in the understanding of mechanical reproduction and technical execution to meet the requirements of mechanical reproduction? Replies to this question are fairly encouraging. It appears that artist’s are taking more interest in the understanding of mechanical reproduction. This progress, it would seem, is more as a result of experience gained rather than serious study. Where, in your opinion, are understanding and execution acquired-in their studies or in the course of their employment? There are no two opinions among art directors that proper understanding of art requirements and correct execution are acquired by artists in the course of their employment.
This need not necessarily be so, if closer contact between art students, while they are still students and the professional artists. What is Caliber of the young men and woman entering the field of commercial art?
Is it better or worse than before? Please give reasons. The caliber is still mediocre. Standards have improved (notably in scraperboard), but generally speaking, not up to international standards. There is still a dearth of artist’s specialized fields, like figu.re drawing, fashion drawing and re-touching. What do you think of the prospects and future of commercial artists in general? Have you any suggestions to offer?” many more to read for you in the original… Both of them are seriously trying to do some analysis of the situation.
(7) 1956-Seventh annual:
Cover by A. Barua, Layout by Nagendra Parmar
and Edited by K.D.Aga. This annual contents
which covers subjects like, “Cag needs more
contacts”, “Humor in Advertising”, “The State
and Art Adversities”, “From Agency Art Director
to Movie Director”, this article is archival
because it gives the first account of Satyajit
Roy’s( Ray) entry into this new medium from
Commercial Art. This annual continue to
showcase the period of Indian Commercial Art
in the transitional phase of renaissances.
Illustration still dominates the 40’s and 50’s and
gradual shifting towards new wave of 60’s and
future is visible in few works.
Sorry “original colour cover” not available…
(8) 1957-Eighth annual:
Cover Design by Mr. Manu Desai is like Picasso imagery overlapping on Indian imagery. It is very radical in approach. This is a beginning to change to the modern visual thinking.
(8) 1957-Eighth annual: Cover Design by Mr. Manu Desai is like Picasso imagery
overlapping on Indian imagery. It is very radical in approach. This is a beginning
to change to the modern visual thinking. What is commercial art? To the curious
the pages of this Annual furnish the answer.
What is good commercial art? The student, the beginner, the practitioner will
find here specimens of commercial art as good as any produced elsewhere in the
world. What is the best commercial art produced in India in the year that has
passed? You will acclaim, as those who’s difficult but pleasant task it was to
choose the most outstanding out of many worthy entries, that this Annual
indeed represents the cream of the work turned out in 1956. This confidences
shown by the team of Cag of 1956/57 was indicator of new era to come in the
world Indian Commercial Art. The annual work presented is more graphical due
to proper tuning of print reproduction methods.
(9) 1958-Ninth annual:
It reminds us of the famous European design sensibilities such as Bauhaus School’s grid system and Swiss’s constructivist grid system. The designer P. N. Sarma was ahead of time.
(9) 1958-Ninth annual: The cover of this issue is modern in terms of visual
elements such as rectangle, square and circle. The background is black and
these basic shapes are composed that gives vertical and horizontal eye
movement. The play of blue, red, yellow colours with white is very interesting. It
is like using overlap and juxtaposition design system. The figure 1958 is placed
typographically moving in upward direction. CAG word and 9th annual are well
balanced as regards to the proportions of type font sizes are concerned. It is an
interesting use of Helvetica type. It reminds us of the famous European design
sensibilities such as Bauhaus School’s grid system and Swiss’s constructivist grid
system. The designer P. N. Sarma was ahead of time. There is also an interesting
article by Arati Mukerji of Lintas Ltd., talking about the Female form in
Advertising.
Mr. P. N. Sarma in his Forward gives a gist of this annual. The general standard of
the Commercial Art has gone up as evidenced in published work in this annual,
lack of Art-Training facilities and of recognition of the value of applied art in the
Industry. The general trend in Press Advertising seems to be the use of heavy
solid blacks, though a few hardy souls still venture into the use of photographs,
probably due to the reasons the printing of various newspapers is still far from
satisfactory; and production costs of supplying master half tone blocks to the
innumerable newspapers. Mythological themes still form the bulk of calendar
advertising, there is an increasing use of contemporary Fine Art, either specially
commissioned or brought from the various exhibitions.
Though there is variety of consumer goods produced in India, there is hardly any
design innovation in the packaging design section. He talks about the future of
Applied Art which has long way to go, if it is to be accepted as an important and
integral part in the industrial development of the country. There is growing
awareness of importance of publicity. He also regrets to admit that there is still
considerable plagiarism in the publicity material produced. He feels there is
dearth of creative artist and many advertisers could not care less whether
publicity is really creative or not. In this annual for the first time cartoon film
drawings is included where he feels is a fertile field for the aspiring commercial
artist. In a country where multi-publicity of languages is a constant hurdle to
wider publicity, anything that can interpret a hundred words in one picture is
positive of bright future.
There will be a great demand for this medium. The criteria for the selection of
the entries are based on whether the particular entry has tried to “tell” the story
effectively. The reproductions in this annual have been selected from well over
3000 entries which represent a fairly accurate cross-section of Advertising Art in
India, during the year 1957.It is worth noting creative artist like S.V.Waghulkar
who pioneered new Indian applied visual art language that is seen in his works
of Air India’s International Poster series and many other such works. P.N.Sarma’s
scraperboard black & white beautiful illustrations and idea based campaigns is
visual delight for any Communication Art lover. O.C.Ganguly’s simplified
animated drawings are most modern even in today’s standard. Bhai Patki’s
pioneering dynamic typographic campaigns are of world class.
Advertising Photography was developed by Mr. R. R. Prabhu when Indian
Advertising was just shaping. This issue is a classic example of true Commercial
Art in terms of business with touch of aesthetics. The students work section is
dominated by Calcutta Art School. In Miscellaneous section the work of story
boards by D. G. Godse and animation drawings by R. L. Bhalerao, Mrs. Nalini
Sardesai, K. Rathod, R. Potnis produced for Hunnar Publicity is interesting and
vibrant, to note because then it was just beginning against today’s multibillion
dollar animation industry.
Media/Category application: Calendar, Folders, Booklets, Leaflets & Dealer’s
Aids, Posters, Greeting Cards, Magazine Ads, Miscellaneous, Press Ads, and
Student’s Work.
(10) 1959-Tenth annual:
This is very important annual because of completion of the decade of the Guild. The cover by Mr.S.V.Waghulkar is interesting piece of simple typographic design. On the inside page it is displaying the previous Cag’s covers which gives an idea of visual transitional thinking that has taken place over the years. A Special Cover Designed for 10th Annual by Mr. O.C.Ganguly is an excellent visualizing because it very perfectly illustrates modern art and Indian art hybrid and the state of Commercial Art business. This is one of the best archival covers ever made which must be showcase properly.
This is an attempt to recreate the original inside page designed by Mr. Waguhulkar. The colour covers are from old issues which are digitized and due to un-sharp image the visibility is low. The final cover by O.C.Gaungly is at the bottom of this page, and is photograph is given herewith to document the contributors.
(10) 1959-Tenth annual: This is very important annual because of decade
completion of the Guild. The cover by Mr.S.V.Waghulkar is interesting piece
of simple typographic design. On the inside page it is displaying the previous
Cag’s covers which gives an idea of visual transitional thinking that has taken
place over the years. A Special Cover Designed for 10th Annual by Mr.
O.C.Ganguly is an excellent visualizing because it very perfectly illustrates
modern art and Indian art hybrid and the state of Commercial Art business.
This is one of the best archival covers ever made which must be showcase
properly. Air India’s posters are visual treat. This annual’s work is culmination
of Western and Eastern visuals mixed. The series various articles published is
a good introspection of the decade long experience. This kind of dialogue is a
rare in the artist community
(11) 1960-Elventh annual:
Cover is designed by Asu Banerjee. This is a classic example of bold approach to Indian Art. The impact of Bengal school is positively visible in a sense of modern depiction of communication concept.
Art is the beautiful way of doing things.” This is a quotation from an interesting editorial of Mr. Nagendra Parmar.
“Science is the effective way of doing things. Business is economic way of doing things.
(11) 1960-Elventh annual: Cover is designed by Asu Banerjee. This is a classic example of bold approach to Indian Art. The impact of Bengal school is positively visible in a sense of modern depiction of communication concept. The symbolic use of motifs of Birds, Flowers, Fish and interlocking of figure 11, Cag etc. elements with typical bright colors, is of art to enjoy.
Asu Banerjee, Art Director, Everest Advertising (Private) limited, has made a
name as one of the finest artists in Decorative Art as well as Modem
designing. After receiving his diploma in fine arts from the Indian Society of
Oriental Arts, he worked for several years under the guidance of Dr.
Abanindranath Tagore and specialized in Indian Painting. Someone has said,
“Science is the effective way of doing things. Business is economic way of
doing things. Art is the beautiful way of doing things.” This is a quotation
from an interesting editorial of Mr. Nagendra Parmar. Editorial Committee R.
K. Joshi, Wilfred Maciel, V.G.Mungre and S Ramu have done a great job in
publishing this annual. Color pages give a different look to the entire issue.
We can sense through pages the transformation of visual vocabulary soon
happening after 60s’.
(12) 1961-Twelfeth annual:
“Every year we request a celebrated
commercial artist to design the cover
page for our Annual. CAG Managing
Committee meeting the task of
designing a cover for this year's Annual
was voted on me. Sitting at my
working table one night I thought of
Interpreting the commercial artist on
the cover, rather than creating a mere
design and -" Tight-rope-walkers" as I
call It, was the result. The commercial
artists unlike the fine artists have many
limitations and restrictions to work
with a all the while they are struggling
to keep perfect
balance in their work and that to, a tight schedule. Comparatively they have a very
practical and balanced out-look towards life and tight-rope-walkers is a befitting name
when they do all the acrobatic feats and still keep a perfect balance”
“We are proud to present this 12th CAG Annual which
contains the cream of Indian Advertising for the year, We
are very happy to see the standard and popularity of the
CAG Annual is Increasing year after year and is being called
for a review by Foreign Publications like Graphis and many
of our artists work is regularly finding a place in Modern
Publicity, Gebrauchsgraphic and other allied Graphic Art
Publications. This shows that our Indian artists are on par
with any other commercial artists of note in the
international field of Graphic Art.” President: Mr. Manohar
Joshi is expressing these views in one of the finest editorials
of the Cag so far.
The original cover in color is not available to us here
though one can definitely sense the kind of aesthetic
expression visible in the black & white version on the
inside page, by President: Mr. Manohar Joshi. He has
given the concept though it shows an impact of famous
artist Miros’ work. The content page is a classic
typography and over all work published symbolizes the
confidence of contributors. This annual is Edited and
Published by Mr. Ramesh Sanzgiri (then Art Director
Times of India), On behalf of the Commercial Artists'
Guild of India. President: Mr. Manohar Joshi, Vice-
President- Mr. N. Chapgar, Chairman Mr. V. N. Ranade,
Hon. Secretary- Mr. V. V. Shetye. Hon. Treasurer:
Mr.V.G.Mungre. These members of Cag symbolize the
confidence that was gaining in course of time.
(13) 1961-1962Thirteenth annual found on 29th June 2011 from Prof.Mukund Gokhale.
This year India was shocked by China’s aggression in the Himalayan border. Indian Military had tough time due to unpreparedness. The cover though does not express in either textual or in a visual form directly about this episode yet the composition created by then dynamic K. K. Save’s ideation shows its reflection.
K. K. Save an art director of AIR INDIA gave very modern
visual interpretations. Funky collage with doodled
renderings, mix and match of ink blots and shadows
with strong sky blue patch on the top. CAG letters in
kinetics space. This annual is not carrying President’s
note. Overall look is tidy, clean and properly designed
print. Works by Arun Kolatkar, S.G. Garud, R. K. Joshi,
S.G. Gurav, P. N. Sarama, Waghulkar, K. K. Save, Chapgar,
and from Calcutta artist like R. A. Dutt etc. shows the
Indian Art of Advertising grown into matured graphic
design. Illustrations are touch of fine art visible in many
advertisements. Prepress and postproduction are seen
perfectly applied in many works.
The cover of this issue is designed by Mr.
Bhai Patki. He has innovatively explored
the creative application of photography
combined with printing four color
separation methodologies. It is a perfect
marriage of art and technology which is a
pioneering approach at that time. The
overall trends of transitional stage of
commercial art taking place in India are
visible in this annual. The judgment for
selection is based on aesthetic value of
the advertisement i.e. the distinctiveness
of the layout, the quality of illustration,
the choice of types, etc.
(14) 1963-Fourteenth annual:
Media/Category application: Calendars, Posters, Press Ads., Magazine Ads.,
Direct Mail, Greeting Cards, Miscellaneous, and Student’s Work.
The layouts and illustration techniques exploited during the previous years have been
discarded. The special mention must be made of entries like calendar-illustration by
artist like Ravi Paranjpe, Manohar Joshi, Pabitra Roy, Ranen Ayan Dutt, Alokedhar, R.
Goswami, P. Roy, and D. G. Godse. Visualizes like Bhai Patki, J. B. Cowasji, Peter Cardoz,
R. K. Joshi, N. Chapgar, Arun Kolatkar etc. are worth noting. In miscellaneous categories
the work of R. K. Joshi done for Hasmukh Shah, printer in silk-screen Flexography (Dye
Printing) also the work of P. G. Bhattacharjee for J. Walter Thompson Co. Pvt. Ltd.,
Calcutta is worth noting. Overall students work is very contemporary and creative.
Media/Category application: Calendars, Posters, Press Ads., Magazine Ads., Direct
Mail, Greeting Cards, Miscellaneous, and Student’s Work.
“This Annual reveals that the
press is still the most powerful
medium of communication and
the development of graphic art
is inextricably tied up with the
development of press as a
medium. Due to the low
standard of reproduction, no
serious attempts made
to make full…
(15) 1964-Fifthenth annual:
use of photography and wherever this has been attempted been limited to either
heavily retouched photographs or very simple photographs without detail. In the
field of direct mail and point-of-sale again, there have been limiting real creative
work. There is a greater emphasis on a layout rather than ideation which may be
due to the absence of serious competition in sellers market”. This is what
Mr.P.N.Sarma the international value in the following years to come. The overall
work n President expresses in his Editorial. The cover design is showcasing first
time Indian Scripts as a means of Graphic expression visualized by R.K.Joshi who
gave new face to this art an inter international value in the following years to
come. The overall work published in the annual shows graphitization of Indian
Forms.Media/Category application: Calendars, Posters, Press Ads., Magazine
Ads., Direct Mail, Greeting Cards, Miscellaneous, and Student’s Work
(16) 1965-Sixteenth annual:
(16) 1965-Sixteenth annual: The cover by Arun Kolatkar is innovative in
terms of visualizing the idea of cover by applying his self hand writing style
combined with creative copy writing approach. This is spread like a jacket
covering front and back in total as a visual solution. This is out of box thinking
visually even by today’s standard. The calendar section is trendy which
showcases creative visuals of artist like G. Waghela, K. S. Raje, Isac Joe, Badri
Narayan, B. V.Doshi, and V. V. Shetye. Similarly Art Director likes J. B. Cowasji
for Air India studio, the team of J. Walter Thompson Co. This particular issue is
worth studying to understand the renaissance of Indian Advertising Art from
60’s onwards. The work by Y. T. Chaudhary was the indicative of European
visual vocabulary blending in the Indian Advertising Art. There are many more
examples of other creative artist which is worth watching.
Media/Category application: Calendar, Posters, Press Ads., Magazine Ads,
Direct Mail, Greeting Cards, Miscellaneous, and Student’s Work.
(17) 1965/66-Seventeenth annual:
(17) 1965/66-Seventeenth annual: cover design by K.S. Raje art director
Shilpi Advertising limited. 'The wisdom of art consists in revealing art' this
line is taken to depict the concept. Graphic interpretation of this concept
showing on front and back covers traditional puppetry dolls of Male and
Female. This is expressed through core dotted screen of four colours that
gives graphic look. Two heavy masses sandwiching white space in title is
placed. Overall work takes you to the modern thing which was emerging
gradually. The year was because Cag being recognized by Mr. M.C. Chagla,
the Union Minister for Education who presented the coveted ISA·KHATAU
GOLD MEDAL TO THE COMMERCIAL ARTISTS' GUILD at a colorful function
held to celebrate the 13th Anniversary of the Indian Society of Advertisers’
at the Taj MahaI Hotel on Friday, February 4, 1966, Congratulating CAG,
Mr. Malatlal, President of Indian Society of Advertisers’, said “the Guild
had promoted a high standard of the visual arts in advertising and helped
suit them to the needs of the industry all along the past 17 years of
existence. The Annual Cag Exhibition had helped stimulate development
in a vital section of applied art and set standard for artists in the
advertising profession.” CAG naturally feels grateful to the recognition of
its services. The award symbolizes very strongly that advertising art in
India today is a fact of life.
“WHAT FUTURE HAS THE
DESIGNER?" In the field of
Exhibition Design, Electronics
Engineers are fast taking the
place of Designers.
Typographers are preparing
to step aside to handover
the job to computers.
Light & Sound technicians’ are
exploring new ideas for visual
communication.
1967/68-Eighteenth annual:
New words like computer graphics and logic designer are being coined - in fact,
a whole new language of sign and symbols for computers being evolved. In this
age of electronic expertise, when "language" is becoming highly specialized, we
are getting ready to go back to regional languages and perhaps regional
graphics too. Cover Designed by Shri Ramesh Sanzgiri then Art Director, of The
Times of India. Shri Ramesh Sanzgiri has used inscription seal graphically placed
on two color panels of blue and red. One can understand by the thoughts he
has expressed above clearly announces the arrival of new world to come in
years to come.
“COMMERCIAL ARTIST'S GUILD ANNUAL OF Indian ADVERTISING ART “this yet
another interesting publication’s cover is interesting piece of art. The work
published is showing new adventures of reproductions methodology.
20) 1
968/
69-T
wen
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h an
nual
: Yashwant Chaudhary, President, Commercial Artists' Guild saying, “At one time we were solely concerned with application of art to serve commerce and industry mostly in a decorative manner giving it perhaps a pleasing face Commercial Art, or let us say the Design for Industry now takes over few specific functions in the development of industry and in the building of a personality of people through communication.” The cover designed by him and Sudarshan Dheer is completely different. The moon landing took place in the same year. One can see the depiction of the sprit reflected in the cover. Mr. Yashwant Chaudhary,…
Chaudhary, one of the important communication artists who took Visual Indian Art in
20th cent. He has pioneered many innovative ideas in Design and Packaging concepts.
His true successor Sudarshan Dheer created his new world of modern visualizing in new
art of Indian advertising. “All media are extensions of some human faculty psychic or
physical”, by Marshall McLuhan. This line in Cag’s annual shows the dawn of Future
Society. Behavioral Science being blended with conceptual art itself shows the
transition. Annual designed by Sudarshan Dheer then Art Director with Mass
Communications & Marketing., expressing his thinking through this quote, “The ability
to relate and to connect sometimes in odd and yet in striking fashion, lies at the very
heart of any creative use of the mind, no matter in what field or discipline.
Mr.Chaudhary’s contemporary Mr.Roby D'silva first truly Indian Internationally known Graphic Designer
sadly not visible in any of Cag’s annual. It was because of his prime practicing years were in Europe during
1957/1967, when he came back to India 1967 the “Design Age in India” had not yet started. 1972 he started
Roby D’silva Associates in Mumbai (India) on lines of European Design and did brought modern design culture
of the world here in India. (Please Part Two of this presentation)