During the early sixties, there were very few “graphic design studios” in Boston: Polaroid with Paul F. Giambarba and later with Bill Field; or the design staff at Arthur D. Little; or Carl Zahn at Boston’s MFA; Herman & Lees,  or Omnigraphics with Alan Davis (one of the most competent designers, steeped very early in modular typography, having worked for Jim Vogelman and Jack Marmaras at Ciba: or the MIT Office of Publications was slowly emerging . . . at least the typical Boston advertising and book publishing communities were not yet aware of any European style design or modular typography, nor was it interested. The largest, Bill Gunn Studios through David Lizotte and Robert Cipriani was an all-around supplier of high graphics, but also served the advertising industry with illustration and advertising art. Actually, even a decade later, graduates from Basel could not find assignments (Jack Dickerson) in Boston, and although well-trained had to compete against large numbers of low level commercial artists. That changes in the late sixties with the studios of Frank Glickman (whom Jack Dickerson made very successful), Michael Sands, Emily Hiestand, Gil Fishman, Coco Raynes, Logovitz & Moore and a few others.