cag annuals research - part 1

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

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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)