|
Rafalsky article
I began to work in Publishing house "Economy" on the 1st of February 1964. Before the work in publishing house I was voluntary left on front, passed front actions by the private soldier of platoon or regiment reconnaissance, in 1947 has been demobilized.
My labor activity before arrival to publishing house has begun with work at factory MAP (in Luzniki) the technical secretary of a department of the Bureau of rationalization and invention, after on the Moscow aviation factory, in 1949 - 1952 studied in absentia in Publishing technical school on a rate of is art-technical editing. Studying in technical school, I have been invited by a comrade from group to work as the non-staff artist in "Gostorgizdat". It was somewhere spring of 1949. I had some abilities to drawing. Still going to school, I was engaged in drawing club at the regional house of Pioneers and as more "presented" has been directed to a fine art studio at the Museum name Pushkin.
I worked as a non-staff worker in " Gostorgizdat" till the 1st of February 1964 year. But for the artist of a press it is necessary to know a lot about the polygraph. Therefore I have begun, as they say " from floors ", from small copying various subjects for textbooks and other literature. The technical illustration demands special carefulness, accuracy, and sometimes and literally jeweler execution. The technical school gave quite good knowledge of fonts, ornaments, the general concepts of registration of books, both external, and internal prototyping, ways of printing etc. During that time I was taken at the staff as an artist or art-technical editor of the magazines " Cultural and educational work ", " Scientific and technical societies of the USSR ". In parallel offered a material in "Crocodile", but not as the artist.
All of the fiftieth years together with my wife earn on the side in magazine " Knowledge-force ", she started to work “on the side” in "Torgizdat" since 1955 besides that she drew in the Central fashion magazine, and in sixtieth we came to work in magazine " the Science and a life ", there I sometimes replaced the main artist. In those days there worked Rada Adjubey. Communications with the publishing houses such as "Science", "DOSAAF", "Colossus" and others were adjusted during that time. But my basic non-staff work remained in "Gostorgizdat".
Our friendship with Nazarov Boris began in the middle of the fiftieth. It occurred on one publishing evening. At that time it was the deputy editor-in-chief of "Gostorgizdat", he has offered my nominee on a post of managing art editorial office.
Since February, 1st, 1964 I became the regular employee of publishing house " Economy ". From first days it has appeared that there are more difficulties in work than enough. The first and main difficulty is that the publishing house was in four places of the city, the second - nobody knew noone. But work was adjusted relatively quickly. At publishing house there was organized a group of non-staff artists which worked in "Economizdat" earlier, "Gostorgizdat" and publishing house Tsentrosojuza. According to the specialty they were shared on designers of (covers, reliures, a title and other kinds of registration, an art illustration, breadboard models), graphic artists (a technical illustration), draftsmen, retouchers of photos. There were two women who only signed drawings and figures, according to the book standard.
Except me three were three art editors, two were engaged in book editions, they served magazines: "the Soviet trade", "Public catering", "Planned economy", I had some editions too. In " Torgizdat " from fiftieth years were begun to publish the bulletins " the New goods" and "Trade abroad". "The new goods" was the first magazine which has started to do professional advertising in color. It had greater success and had the big circulation. First time I worked on it partially. The second bulletin – small formatted and small volumetric, placed the information on novelties in foreign trade. Then in fact the new equipment for shops and a public catering has started to appear: refrigerators, the refrigerating show-windows, new kinds of racks, every possible carriages and other. Somewhere in the middle of the fiftieth the newspaper "the Soviet trade" started to be issued. The half of its last strip has been given to advertising. Figures were, generally, lined (mainly, subjects), and I made out all this strip with the comrades.
Visiting all places of "disposition" of publishing house, I have quickly got acquainted with all the collective. I shall be frank, it was convenient for me, since I also visited places of my non-staff work.
The first director of publishing house "Economy" was Pervushkin Serafim, he was a scientist. The editor-in-chief was Torsunov - heavy, elderly, with some external features of people from the region of Volga. Management at the trading editions and one central soviet were situated on B.Gruzinskaya street. But soon we were sent to the periphery, and our room was occupied by some editorial office. We lodged on Kropotkinskaya (now Prechistenka) where we have received a greater room. There is Denis Davidov's private residence, and in its yard - instead of horses there were situated such magazines as "Soviet trade" and "the New goods". At that time the employees of publishing house worked on B.Gruzinskaya street, went to have dinner in a dining room on territory of the Zoo, but soon it was closed. It was necessary to go to shop in the skyscraper on the square of Revolution or in the House of cinema and the House of writers, there were so called dinners on duty.
In a year I got rid of sitting on management and editorial meetings where I understood nothing. I shall be once again frank, in the institute I didn’t attend the classes of political economy and history of the C.P.S.U. All the tests and examinations were handed over by the friend for me, and then we celebrated it.
Since June, 1965 when I passed to a post of the senior art editor. I supervised five different editorial offices. With all of them there were very good relations.
At that time the condition of our polygraphic opportunities was more than poor. In the West there were reliures and covers under a film already, in Russia to edit a cover - there was a problem. Somehow at a meeting in Committee an acted person who has just returned from a book exhibition from abroad, choking with delight, described the design of the foreign editions. And here it is exact his words: " … I enter into one hall, and there as though light is off. It is our hall. A hall of the Soviet books " … At that time fonts for reliures, covers, titles and other were drawn by hand. Negative influence on design of books, as a whole, played the design of editorial offices of Politizdat. There all was maintained in primitive, strict fonts which on figure have been taken with type-setting. I shall dare to make small deviation. The editor-in-chief of magazine "Knowledge-force" decided to change external design which has been still created in the thirtieth years. There was established a competition of non-staff workers. Has passed a variant where the name of magazine have placed from below upwards. A font was grotesque fat, number and year below under the first letter. But after a while the editor-in-chief was called in the Central Committee and have chided for self-will.
Now about an essence of my work in publishing house. Having received the form-order, I went to the editor of the future book, specified the importance and character of the edition. After that selected the artist-executor for external design. Depending on a core element inside, on character of illustrations executors from a trade-union group of our non-staff workers were selected. If the book should be "important" the designer did also a breadboard model. For especially responsible editions were invited known masters, and design was shown in our department of Committee and the Main edition of the public and political literature. [1] Under the "roof" of this edition were "Politizdat", "Science", "Economy", "Idea", "Colossus", "World" and "Progress". Concerning the last two there was a problem during its publishing when the typist has mixed the order of places. As a result publishing house which should be "Progress" was named "World", and another on the contrary. But the nomenclature management of such trifle was not noticed.
During the work with complex and responsible editions it was necessary to meet authors, first of all, with authors of textbooks. Draft copies of figures consisted of cuttings of various books, a tracing-paper, a blueing and something drawn by the author. And here often began the real "trade". The matter is that one of our requirements was that each figure was clear for the executor. And in fact there were greedy authors who "drew" some images, moreover saving a paper: the electroscheme of a refrigerator was presented in such kind difficult to understand anything. And in fact it was possible to order these figures to the explanatory students. But in fact it is necessary to pay for it! I categorically rejected all this … there were lots complaints. I always had one answer: " The artists are not grannies-fortunetellers to understand your botched work ".
Some figures were removed due to "uselessness". For what, for example, in the textbook for high schools appearance of the same refrigerator when there is also a working drawing, of electrical and cinematic schemes. Sometimes unexpectedly for the authors we "improved" the design and even lead up the edition up to "gift" level. So it has turned out with the book "Stories about Russian kitchen". The editor called and asked to come up to her.
- Get acquainted, professor Kovalev. Look, will these schemes be clear to your draftsmen?
I glimpsed and understood that the book is good enough for the improved edition. There were reflected the applied and historical part of our today's kitchen the date and the origin of different vegetables, fruits etc. I have stated the offer and have insisted on it. It was necessary to make changes to the plan and to transfer terms. Very good book was turned out.
With the design of the economic literature there were problems, it was more difficult both for the editor and for the artist, especially in those days. Very seldom someone from authors or editors suggested to bring any graphic elements on a cover. Sometimes I interfered with the name of editions. Many books began with a word "Problems … " Certainly, all I do not remember, but here is an example: "Problems of economy of ocean ".
I offered the following: the word "Ocean" and as though a subtitle "The economic problems " is largely written. Accepted! Some books were noted by diplomas of international and other exhibitions, and rewarded on VDNH. Somewhere in the beginning of my activity the publishing house has received the order for reprinting American multivolume book about management. All the volumes had to be placed in one volume, in the same place there were about fifty various and very complex schemes. We have consulted with the work. We were waiting for this book at Kosygin and in the State plan. After a while the editor has informed me:
- I was in the State plan, has taken an interest, how is the book? One person answered me frankly
- if to be guided by this book it is necessary to work!
I remember one more situation. There was ordered the booklet to an action. One young artist executed quite good sketch to it. But on a cover there was a black rod, in the form of a laying brick. And here I’m standing in a cabinet of the editor-in-chief of the Committee. The sketch is in hands of the editor-in-chief, the former secretary Ryazansriy public Commitee on propagation. Analyzing how he holds the sketch, I’ve got an impression, that he has never held the book in his hands. He looks at the book very close, behind a back two officials, who looks at book very close too, probably expect the main thing. At last, it slowly turns and utters: " Why did you draw a black coffin?" My reaction was instant: " So in fact all the Soviet coffins are red! "A mute scene. Now all three look at me. I hardly constrain laughter. " So, you, artists, consider it normal? ". " If we considered in another way, I would not stand here. The design is modern enough, is made with greater taste. And of black color be not afraid ". I have literally blurted it out.
Signed!
There were difficulties which have been connected with the attitude of editors to artworks in connection with external design. When I received the sketch of reliure or a cover, I did not need a lot of time to pass the decision. I knew handwriting of ours non-staff workers and in a choice of the executor I seldom made a mistake.
All editors could be divided into three groups. In the first group were involved the people who don’t care how the book will look. Often it was necessary to set leading questions - usually answers received hardly. I felt, that they do not understand an essence of questions. The second group – are the people who agreed with the shown, sometimes in the delicate form did remarks. And the design of these books, as a rule, turned out successful. The third group –was the heaviest. They have been assured, that they understand these questions better than any artist. Often they rejected the design without any arguments or like "color of this cover is not pleasant to me". And all! I answered them: " And you are going to sew an attire from this cover? ". Or "And whether it is possible to draw here this letter not so?" On what I said: "Each font has the figure, and in another way to alter any letter it is impossible ".
From the whole nomenclature which has passed through a management cabinet, certainly, I remembered the director of "Gostorgizdat", Grachev Leonid, the first director of "Economy", Pervushin Serafim, Moldavan Vasily. Perhaps, the most explanatory and real director. During his work the prestige of publishing house has risen very highly. From our editors-in-chief I remember Nazarov Boris from "Gostorgizdat" - the person of the big erudition, the participant of defense of Leningrad, the poet was remembered, acted with his own poems but very seldom. The first major person of "Economy" - was Tursunov, then was Moldovan who became a director soon. They varied somehow very fast, as presidents in any banana republic. Later Grechischnikov became a director. At last, Mazin has appeared. I had quite good relations with him. It has appeared, that he is big amateur photographer whom we with my wife were related too. Though she was the artist-photographer (her works were exposed in Russia and abroad), we have enough themes for conversation.
Periodically passed Art Boards where our works were examined. The committee sent the reviewer and that, having familiarized with a material, made a report. On the board there was also our curator from a department, and the main artist of Committee. More often reviewers did not say something really important and essential. The main mistake of many reviewers consisted not in an estimation of our works, but in expression of own opinion on the design of the book.
In the meantime, difficulties in work, especially in the field of polygraphy, have started to grow. The time when paper-vinyls, lederins and calicoes "disappeared" came. Books were urgently translated in covers or in ¹ 5. But one publishing house had all. It was, certainly, "Politizdat". We had good relations with their art editorial office.
The first big holiday has turned out on May, 9th, 1965. Before, this day was marked "by the articles in all newspapers". In these articles there was a continuous drumbeat and eulogy of our leader owing to which we have won. On the price of this victory it was forgotten to inform. My colleagues and I have decided to make a copy from a known picture "Terkin", we have decided the place of everyone. During the preparation it was necessary to stick together wall-papers, creeping on the floor to create figure, because all the characters were represented full-scale. I went with a reproduction and captured veterans. On the role of Terkin was invited the chief of the industrial department. When it was his term he did not want to hear about it. He was just about to quarrel. At last, he agreed. I have shown him the reproduction, having told, that he should hold a head, but here the naughty idea has come to my mind. Let he laughs as he wants. While I prepared an exposition, he has been borrowed by the work. At last, I have given a command - open the mouth, more strongly, even more strongly - and I have made a picture which then could see everyone.
On the 9th of May our panel had been already hung in a hall where there were also tables. When people got inside all the tables everybody did not sit down for a long time, and stood, as bewitched. Here I have noticed that many of them wiped tears. Some of them started to come up to us and thank. Then the feast began, I still remember the atmosphere reigned during the entire feast. A little bit later I have understood how long people have been waiting for this holiday.
By this time almost the collective of publishing house has got acquainted. Then we started to mark and other holidays and birthdays. We arranged the skits. The editor of the magazine "Public catering" has thought up "ECR" (economy, culture, rest), the beginning always was at 17 o'clock. The lecturer answered the various questions, including international, usually the lecturers were people of a high rank. In the second part acted the writers and actors. Actually I won’t remember all of them. There was F.Iskander, V.Gaft, E.Simonova, Pokrovski with Esenin’s material. All these actions took place before the time when Trozenko came whj thought the publishing house doesn’t need such actions. In March, 1965 B. Nazarov died, and in the end of the year Pervushin was dismissed. In one book on a rural economics there has almost passed a rough political mistake, and he has already sent it in press. The book was intercepted, and from the posts were dismissed both manager of editorial house, and the editor of the book.
By 1969 the building of publishing house has been constructed, and later and an apartment house - a 14-storeyed block tower. Almost all requiring employees have received apartments there.
When the book exhibitions have begun, we were attached to Poland. It happened not immediately. The structure of delegation included known writers, actors and artists. Some of them became my friends. We met in their rooms of the hotels; I invited Michael Bylina, the professor of Warsaw Academy of arts Cheslav Vilhorski, the main architect of Warsaw and the others. It was necessary to escort them in the city. There were a comic writer Hedgehog Vitlin among them and the author of the film "Four tankmen and a dog". In one of the trips they brought this dog without the prevention. Incredible sheep-dog, with the guide without any lead, they were even shown on the TV.
We have also got acquainted with the scenic director of Great (Big) theatre - Eji Boyar. For the first time he came with an exhibition of the Polish books which was opened in Leninka. Such fact is interesting. All the exhibition was brought on the pluriaxial truck, there was besides books an electric equipment, bars, board, several hundred meters of a fabric to drape the walls painted in ugly green color. All the publishing house has been mobilized for unloading of this machine.
- Where did you get so many workers so soon?
- So these are our employees.
- And editors work here too?
-Almost all of them…
The majority of editors are artists, and anybody from them was going to get one salary. But for long time we haven’t had a permition to work in our publishing houses. Also it turned out so, that for works which were done in the publishing house, the orders were given either to the non-staff workers, and it was favourable for them, since their "holiday moneys" increased or to the friends from other publishing houses. Only in the last years it was possible to do officially works for the publishing house. I cooperated with "Science", long enough worked as non-staff worker in publishing house "Dosaaf". I had to work very hard: books, albums to various congresses, by various kinds of military-applied kinds of sports, a lottery, posters. For example, we have issued 25 posters on safety of flights or " GOST on illnesses of trees ". Now it is simply color photos, and during that time we were given a heap of pieces of wood …
I’ve remembered one my intervention in editorial process, it was short, but it came to an end very interestingly. One friend-journalist has invited me in magazine " Socialist legality " which was body of Office of Public Prosecutor of the USSR. Despite of such terrible owner, this magazine was printed on the worst paper in the world. From different places we received the photo of the best workers, but the tone clich? on this paper did not turn out well, so I began to transmit it in shaped figure. And business boosted …..
Âåðíóòüñÿ ê ñïèñêó ñòàòåé
|
