RI DIRECTORS18TH ANNUAL ART DIRECTORS 18111 ANNUAL

ADVERTISING

This book is designed for art directors, advertisers, artists, students of advertisingart, and for all who would view the changing life of our times as reflected in the art of advertising.The314 illustrations are from the exhi- bition of the Art Directors Club of America, held in New York, Chicago and Philadelphiain the Spring of 1939.

LONGMANS GREEN & COMPANY PUBLISHERS NEW YORK COPYRIGHT 1939 ART DIRECTORS CLUB INTRODUCTION

WALTER B. GEOGHEGAN, President, Art Directors Club

To you-gentle reader and interested looker-on.

This is the eighteenth year that the Art Directors Club has published its Annual of Advertising Art.

This volume, and its seventeen predecessors, form a running record of Advertising Art in this country-art that has achieved capital letters through the sponsorship of the Art Directors Club which was founded to encourage the use of good art in advertising.

Each year has made its contribution to this program and this purpose. This eighteenth volume adds its share; and here it is for your pleasure and profit in reading it, looking at it, and in referring to it. It should- in the light of progress-be better than previous annuals. It should fall short of those to come. For art is life and life is ever moving, ever chang- ing-and for the better, we hope.

5

CONTENTS

For the second time-in this series of Annuals of Advertising Art-words are admitted to partner- ship with pictures. They give pattern and pause to the book and explain some of the problems the art director is called upon to solve in advertising and selling the products and services of his clients.

page

Introduction ...... 5 By WALTER B. GEOGHEGAN, President, Art Directors Club

Awards . 9

WHAT IS AN ART DIRECTOR? . . . 13 By WILLIAM H. sCHNEIDER, Art Director, Donahue and Coe, Advertising Agency Mass Magazines 16

ADVERTISING GROWS UP. r 2 By GEORGE GALLUP Class Magazines 54 Trade Publications 8o

DISPLAY TYPOGRAPHY'S URGENT JOB . 98 By DOUGLAS C. McMURTRIE, Director of Typography, Ludlow Typograph Company Newspapers 102

Booklets . . 122

A SHOP TALK ON POSTERS . 137

By HOWARD SCOTT, Poster Designer and Consultant

Posters and Magazine Covers . 140 Lettering . . 16o AN INDUSTRIAL DESIGNER THINKS ABOUT HIS JOB169 By HENRY DREMISs, Industrial Designer

Packages and Product Design . . 172

PICTURES THAT PULL PEOPLE. . i8o By LEONARD LUCE, Arthur Kudner Inc.

Indices: Artists, Advertisers, Advertising Agencies . 185

The Art Directors Club . . 191

7 ART DIRECTORSCLUB MEDAL MEDALS

COLOR ILLUSTRATION COLOR PHOTOGRAPHS to Mamas Benrimo to Louise Dahl -Wolfe Advertisement designed by Art Director Advertisement designed by Art Director Francis E. Brennan for Fortune. Lester Jay Loh for American Viscose Corpo- page 56 ration through J. M. Mathes, Incorporated. page 55

BLACKAND WHITE ILLUSTRATION BACK AND WHITE PHOTOGRAPHS to R. Willaume: to Marvi, Becker Advertisement designed by Art Director Advertisement designed by Art Director Myron Kenzer for Bonwit Teller. Franklin D. Baker for Caterpillar Tractor page log Co. through N. W. Ayer & Son, Inc. page 81

CONTINUITIES AND COMICSTRIPS to James Thurber Advertisement designed by Art Director Leon Karp for Ladies' Home Journal through N. W. Ayer & Son, Inc. page los

THE BARRON G. COLLIER MEDAL THE KFRWIN H. FULTON MEDAL

CAR CARDS INENTY-f OUR SHEET POSTERS to Joseph Binder to Albert Staehle Advertisement designed by Art Director Advertisement designed by Art Directors Burton E. Goodloe for Peter Ballantine & Stanford Briggs and Howard Scott for Stand- Sons through J. Walter Thompson Co. ard Oil Co. of N. J. through McCann- page 1.16 Erickson, Inc. page 141

9 AWARDS FOR DISTINCTIVE MERIT

COLOR ILLUSTRATIONS to Alexey Brodovitch Advertisement designed by Art Director ALExEv BRODOVITCH for Harper's Bazaar . . page 155 to Buk Ulreich Advertisement designed by Art Director CHARLES T. COINER for Cannon Mills, Inc. through N. W. Ayer & Son, Inc.. . page 57 BLACK AND WHITE ILLUSTRATIONS to Peter Helck Advertisement designed Art Di rc(turHAS' 'ER for Tide Water Associated Oil Co. through Lennen & Mitchell, Inc. . page18 to Miguel Covarrubias Advertisement designedby Art Director FRANKLIN D. BAKER for Hawaiian Pineapple Co., Ltd. through N. W. Ayer & Son, Inc.. page 18 COLOR PHOTOGRAPHS to Uhiting-l'ellows Advertisement designed by Art Director LOUIS -MARIE EUDE for "Town & Country through Hearst Magazine, Inc. . . page 156 to Herbert Matter Advertisement designed by Art Director PAUL DARROW for Cannon Mills, Inc. through N. W. Ayer & Son, Inc.. . page 59 BLACK AND WHITE PHOTOGRAPHS

I 'dor!Keppler \!\(!rtisenien I designed by Art Director HAROLD C. MCNULTY for Corning Glass Works through Batten, Barton, Durstine & Obsorn, Inc. . page 57 to E. S. Lincoln Advertisement designed by Art Director ELMER LASHER for Popular Publications, Inc. through T. J. Maloney, Inc. . page 82 CONTINUITIES AND COMIC STRIPS to Edwin A. Georgi Advertisement designed by Art Director LEON KARP for Yardley & Co., Ltd. through N. W. Ayer & Son, Inc.. page 58 to Herber, S. Lenz Advert iyilient designed lmArt Director ItFRBERT S.1.1. -Az fur R. H. Macy & Co. page 105

LETTERING ANDITS ACCOMPANYING DESIGN to Raymond DaBoll Advertisement designed by Art Director BERT RAY for Abbott Laboratories through Runkle, Thompson, Kovats, Inc. page 161 to Howard Hardy Advertisement designed by HOWARD HARDY for York Ice Machinery Corp. page 161

10 DESIGN OF COMPLETE ADVERTISEMENT

MASS MAGAZINES to A. G. Limbrock Advertisement illustrated by PETER HAWLEY for H. J. Heinz Company through Maxon, Incorporated . page17

CLASS MAGAZINES to Manley Dusek Advertisement illustrated by KENT STUDIOS for National Distillers Products Corporation through Lawrence Fertig & Co., Inc. . page 6o

TRADE PUBLICATIONS to Lester Beall Advertisement illustrated by BLACK STAR and CHARLES PETERS for George Bijur, Inc. through George Bijur, Inc. . . . page 82

NEWSPAPERS to Lester Beall Advertisement illustrated by rER NYHOLM and R. CLEMMER for Time, Inc. through George Bijur, Int . page 104 BOOKLETS, DIRECT MAIL AND OTHER CORRELATIVE MATERIAL to Robert A. Schmid and John Averill Booklet illustrated by JOHN AVERILL for Mutual Broadcasting System, Inc page 123 to M. Martin Johnson Booklet illustrated by M. MARTIN JOHNSON for Chicago Art Directors Club page 123 to Ted Sandler Booklet illustrated by HARRY BROWN for Columbia Broadcasting System. page 124

DISPLAY POSTERS to,ile.veyBrodoz,tich Advert iscittem illustrated by ALEXEY BRODOVITCH for Harper's Bazaar . page 153

MAGAZINE COVERS to M. F. Agha and Horst Advertisement illustrated by HORST for Vogue through Conde Nast Publications. page 157

PACKAGES AND PRODUCTS to Sherman H. Raveson Package designed by SHERMAN H. RAVESON for Propper McCallum, Inc. through Hartman & Pettingell, Inc. . pap: 173

11 WHAT IS AN ART DIRECTOR?

By WILLIAM H. SCHNEI R...I rtloi , Donahue and Coe, Advertising Agency

Is the art director an artist who does not draw very well, or an executive who does? He occupies a key position in creative advertising and yet the precise nature of his job has rarely been defined. This is probably because of the broad scope of his work and the varying importance attributed to him in different advertising agencies. In some he is considered a facile right hand with a knack for doing rapid chalk talks on a layout pad, in others he has risen to the inner councils of advertising planning and policy. Some art directors are not held to the boundaries of advertising art alone, but apply their talents to problems ranging from merchandising ideas to staging sales conventions. Whether you think of him as pencil pusher or executive, the fact remains that with the growth of the scientific approach to advertising, layout is no longer an exercise in abstract composition, and the buying of art no simple question of pretty pictures. This Art Directors Annual is testimony to that fact, and it is here that we should re-examine the various facets of the craft and the background the art director brings to it. HE IS ARCHITECT OF THE AD Planning the physical appearance of an advertisement involves the use of structural principles similar to those used in planning a modern house. The materials and stresses are different, to be sure, but consideration of purpose, salient features, design and materials are definite and important prob-

13 lems. The effectiveness of the advertisement is in proportion to the imagination and skill that go into its make-up. Each advertisement demands its proper arrangement of elements, its emphasis on certain factors and subordination of others to attain its maximum efficiency. This planning requires a definite understanding of advertising and psychology, as well as technical facility in composit ion.

The final layout is a blueprint of the projected advertisement. From this blueprint the adver- tiser is sold and the buying of finished materials, art, type. and lettering is accomplished. Since pur- chasing this material often involves considerable expenditure, expert judgment must be used in the selection of the proper artists and mediums of expression.

HE PICKS PICTURES FOR LOW BROWS AND HIGH HATS The art director must know how to sell merchandise with pictures. To do this he must know what kind of pictures stop people. He must analyze public taste, the kind of art people like as reflected in popular prints, their feeling for furniture and decoration, popular preferences in color and design, and what is fashionable in clothes and accessories. The art values of the laborer, the office worker and the sophisticate have to be analyzed for their points of coincidence and points of difference. What people look at, and look like, is the art director's province. He must know the capabili- ties and capacities of artists, photographers, and designers to anticipate and satisfy these values. Selling with pictures is deciding whether Dali, Hesse, or Soglow will sell more of a certain product to its proper market. HE ADDS UMPH TO THE WORDS A message is effective in proportion to the kind of reading it commands. In this, close collaboration of copywriter and art director is essential to a flashing finished product. Many writers have the ability to think in visual concepts and contribute pictorial as well as verbal ideas. Likewise basic ideas for campaigns have often emanated from art directors; and it is usually up to them to discover the pic-

ture plus in a piece of copy. It is the art director who through a skillful handling of lettering gives the headline a maximum of emphasis and meaning. His treatment of type extends an invitation to read

the message. The endpoint of creative effort is at its finest when there exists a mutual balance of critical and intellectual effort between writer and artist. Many highly successful and lasting teams, such as Stirling Getchell and Jack Tarleton, William Esty and James Yates, 0. B. Winters and Paul Newman, have

operated on this basis. Advertising pays off on a unity ofcopy and art effort.

14. A DIPLOMAT WITH A PAWNBROKER'S EYE As liaison officer between the artist and the account executive and his client, the art director must have both tact and patience. Standing between the fire of the man who puts it on paper and the man who knows what he likes is a tough assignment. I believe the exhibits in this book are a tribute to keen understanding between the artist and art director. This factor is well known to artists who find themselves stimulated by certain art direc- tors, hampered and hamstrung by others. The artist must have confidence in the ability and author- ity the art director exercises in interpreting art (selling it may be a better term) to the brass hats up- stairs. He must have confidence in the logic of the corrections and revisions. How much is a piece of art worth? Since the first cave man scrawled a reindeer on a cave wall this question has been an irritant. Appraising the value of a drawing in relation to its sales and media importance calls for a pawnbroker's eye. Today this is a field of well established but actually untabu- lated values. The only guides are past experience, acquaintance with artists and their prices, knowl- edge of the account, and a sense of what is fair to both artist and client. The relationship among artist, agency and client is balanced on accurate judgment in this field.

THE ART DIRECTOR MUST STUDY REPRODUCTION Unfortunately the public rarely sees the original advertising art. What it does see is one of a million reproductions. To make this reproduction as nearly as possible a faithful facsimile of the original conception is a matter of scientific mechanics. It demands from the art director a thorough knowledge of paper and ink, of plates and printing. His art, typography and lettering must be planned with the mechanical limitations of publications in mind. Sound layout and direction save time, effort and money in the preparation of the physical ingredients of the advertisement.

By working closely with the mechanical department of his agency, by unifying their experience with his own concept of the finished advertisement, he can make the fullest use of the resources of typographers and engravers. In this article I have endeavored to define the art director's job. The visual vigor of American advertising is positive evidence of how well he is doing it.

15 MASS MAGAZINES Artist:Peter Hawley .-triDirector:A. G. Limbrock Agency:Maxon, Incorporated Client: H. J.Heinz Company

AWARD FOR DISTINCTIVE MERIT 17 Artist: Petei C. Hekk Art Director: Hans Sauer Agency: Lennen & Mitchell, Inc. Client: Tide Water Associated Oil Co.

AWARD FOR DISTINCTIVE MERIT

1.,

Artist: Miguel CovarrubiasArt Director: Franklin D. Raker 1 gency N. .e'er Son, Inc.Client: Hawaiian Pineapple Co.. Ltd.

AWARD FOR DISTINCTIVE MERIT

8 re5' rilLVY

Artist: Norman Rockwell Art Director: Alfred C. Strasser Agency: Batten. Barton. DurstineOsborn, Inc. Client: Curtis Publishing Co.

'9 Artist: David Hendrickson Art Director: Frederick Halpert Agency: Young & Rubicam, Inc. Client: The Centaur Company

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Artist:Albert Dorne Art Director:Robert E. Wilson Agency:Young & Rubicam, Inc. Client:The Travelers Insurance Co.

20 Artist: James W. Williamson Art Director: John J. Fischer Agency: N. W. Ayer & Son, Inc. Client: Edw. G. Budd Manufacturing Co.

Artist: Floyd Davis Artist: Jon IVhitcomb Art Director: Hubert F. Townsend Art Director: J. Burton Stevens Agency: Sherman K. Ellis & Co., Inc. Agency: Pedlar & Ryan, Inc. Client: Hiram Walker & Sons. Inc. Client: Bristol Myers Company

21 Artist: Underwood Sc Underwood Art Director: Hubert F. Townsend Agency: Sherman K. Ellis & Co., Inc. Client: Hiram Walker & Sons, Inc.

Artist: Leo Aarons Art Director: Jack Anthony agency: Young & Rubiann. Inc. Client: Chien, Pcabody & Co.. I

22 NO WONDER HIS PATIENTS LOST PATIENCE! Iv

Artist:Johan Bull Artist: James H.Gilchrist Art Director:Hari Art Director:A. C. Limbrock Agency:Batton. Barton. Durstine &Osborn, Inc. -Igency:Maxon, Incorporated Client:Brown & Williamson Tobacco Corp. Client:H. J. Hcinz Company

Artist:Leo Aarons .let Director:f.u.k Ant Agency: Voting 1:111..iin. Inc. Client:Cluett, Peabody & Co.. Inc.

23 Artist: John Atherton Art Director: Robert E. 1Vi!son Agency: Young & Ruhicam, Inc. Client: The Travelers Insurance Co.

Artist: Victor Keppler Art Director: Harry Payne Agency: Batton, Barton, Must ine & Osborn, Inc. Client: Hamilton Watch Company ... 04441"

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25 Artist:Horst Artist:John Paul Pennebaker Art Director:Arthur T. Blomquist Art Dirrctor:Wilbur Smart Agency:J. Walter Thompson Co. Agency:The Buchen Company Client:Pond's Extract Company Client:Northwestern Mutual Life Insurance Co.

Artist:Albert Dome Art Directors:Harry Payne. Harold C. McNulty gency: Batten. Barton, Dti rstine & Osborn, Inc. Client:Hamilton Watch Company

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list: ik1..mstni Art Director: Ted Sandler Client: Columbia Broadcasting System

Artist: Finley -Jones Art Director: Fred S. Sergenian Agency: Voting & Rtibiuttn, Inc. Client: Parke. Davis & Company

27 Artist:John Falter Art Director: Fred S.Sergenian A galley:Young S.: Rubicain, Inc. Client:Gulf Oil Corporation

Artist:Robert Fawcett Art Director:Harold C. McNulty ..Igency: Batten. Barton. Durstine S.:Osborn, Inc. Client:Servel, Inc.

28 Artists:George Hughes, Stevan Dohanos Art Director:Fred S. Sergenian Agency:Young & Rubicam, Inc. Client:Thomas J. Lipton, Inc.

Artist:Fred Ludekens Artist:l'erry Peterson Art Director:Fred Ludekens ArtDirector:Deane H. Uptegroe Agency:Lord & Thomas Agency:Alley & Richards Company Client:Galifornians,Inc. Client:W. A. Taylor & Co.. for Martini & Rossi Artist: Leo Aarons ArtDirector:Fred S. Sergenian .1 gency:Young & Rubicam. Inc. Client:Life Savers, Inc.

Artist:Albert Dome Art Director:Fred S. Sergenian Agency:Young & Rubicam. Inc. Client:Gulf Oil Corporation

world's finest motor oil

30 Artist: Nickolas Moray Art Director: Carl Lins Agency: Young & Robicam, et FitOtee49'Z677 he Client: Personal Products Corporation ti4 -

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Artist: Nickolas Moray Art Director: 11'alter P. Glenn The Problem of the Ugly Gitt Roo, Agency: Young & Rubicam, Client: Singer Sewing Machine Co.

3I Art Director: William Strosahl Agency: J. Walter Thompson Co. Client: Eastman Kodak Company

Artist: Cy Klauck Art Director: Paul F. Berdanier, Jr. 4gem'y: J. Walter Thompson Co. Client: J. B. Williams Company

32 Artist:Peter C. Helck Art Director:Fred S. Serger. tan Agency: Young Sc Rt_bicam, Inc Client:Gu.F Oil C3rporation

Art.st:PaulHesse Art Director:Gordon C. Aymar Agency:Compton Acvertising, Inc. Client:Procter Sc Gamble Company 33 Artists: Joseph Gering, Black Star Art Director: Lester Beall Agency: George Bijur, Inc. Client: Time, Inc.

Artist: George Hughes Art Director: Fred S. Sergeniat! Agency: Young & Rubicarn. Inc. Client: Thomas J. Lipton, Inc.

34

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Artist:A. M. Cassandra rtDirector: Chatle. loiner Agency:N. \V. Ayer Son, Inc. Client:Hawaiian Pineapple Co., Ltd.

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/Mist: Peter Helck .4it l)iie(101-:Leon Karp Agency:N. W. Ai Son. Inc. Client: AmericanTelephone S.: Telegraph Co.

36 Artist: Peter Hawley ,Irtist: AntonBrnehl Art Director: A. C. Limbrock Art Director: Herbert Bishop Agency: Maxon. Incorporated Agency: Voting & 14 iibicam, I ii. Client: H. J. Heiliz Com pa y Client: Frankfort Dist Wei its.I nc.

Grass! more importan- to America than strikes or taxes

Artist: Fred Hauck Art Director: Harry Pas ne Agency: Batten, Barton, Durstinc &Osborn. Inc. Client: Time. Inc. Y GENTLEMA Spokesman tot Agncultere

Artist: William Brouard .trt Director: William A. Irwin Agency: McCann-Erickmm. Inc. Client: Curtis Publishing Co. Artist: Underwood & Untie' ooti .Mist: jai nes E. Allen Art Director: Hubert F. Townsend Art Director: Hugh I. Connet Agency: Sherman K. Ellis & Co., Inc. Agency: Federal Advertising Agency, Inc. Client: Hiram Walker & Sons, Inc. Client: Sinclair Refining Company, Inc.

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Ai Leslie Saalburg Artist: William Rittase Art Director: Hubert F. Townsend Art Director: Robert E. Wilson Agency: Sherman K. Ellis & Co., Inc. Agency: Young & Rubicam, Inc. Client: Hiram 1Valker & Sons, Inc. Client: Agfa Ansco Corporation

38 krir ERECOME TUORIDAS

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Artists: Albert Stachle, Glen Grohe Art Director: Build Hemmick A gritty: Arthur Kudner, Inc.Ghent: Florida Citrus t.onimission

eel Wm llon 'aft ir wen le. en....e *pen anew anal *ewe ab . job - is ok...1=1. 0. lan L .10.1 len N. ~wooer. ft....a.. neas 61.1nem we, Pe. =plena.= Chnen....1 na. no mese a.. Ie. en, nee ea.. mal eel TO. =2...... ea. ....1 son. INma .1 i lese .111J. = Co. MP MP Awe= Wel.. C..

LA PROVINCE DE QUEBEC

Artist: Robert Yarnell Richie Artist: HerlicaNlatter Art Director: Vincent Benedict Art Director: Paul Darrow Agency: N. W. Ayer Sc Son, Inc. Agency: N. W. Ayer & Son. Inc. Client: Climax Molybdenum Company Client: Province of Quebec

39 Art Director: William Strosahl Agency: J. Walter I hompson Co. Client: Eastman Kodak Company

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Artist: Ewing Galloway Arti.st: Victor1 raumdin Art Director: William A. Irwin Art Directors: A. C. Limbrock, J. T. Fran/ Agency: McCann-Erickson, Inc. Agency: Maxon, Incorporated Client: The Curtis Publishing Co. Client: H. J. Heinz Company 40 Artist: Homes L Mettee Art Director: Henry Bender, Jr. Agency: Batten, Barton, Durstine &Osborn. Inc. Clint!: Armstrong Cork Product!. Company

Artist: Leo Aarons Artist: Dr. Ernst Schwaru A r; Director: Gordon C. Aymar Art Director: Robert E. Wilson Agency: Compton Advertising, Inc. Agency: Yc ung & Rubicam, Inc Client: Procter & Gamble Company Client: Agfa Ansco Corporation

41 Artist:Edwin A. Georgi Artist:Lucille Corcos Art Director:Kenneth Paul Art Directrrs:Lester J. Loh, J. H. Tinker, Jr. Agency:Batten. Barton, Durstine & Osborn. Inc. Agency: J. M. Mathes, Incorporated Client:United States Steel Corporation American Viscose Corporation

Artist:Dan Content Art Director:Arthur Deerson Agency:Warwick & Legler, Inc. Client:Seagram Distillers Corporation 42 Iilist:Rudolph Dirks Art Directors:John J. Hill. Edward G. Jacolisson Agency:Kenyon & Eckhardt, Inc. Client:Kellogg Company'

Ra,EN No IMPUDENT RASCAL. YOU SNOW I CART GET 41.,116 WITROOT EM! MOW IMO, VIA skl, OF I SEEP. YOU SUPPER YES? WELL,MT EAT CONSTFPATION IT EVERY DIOR. MG AND N40 .4646E6 DORM DIENWOr WATER - adore° u BE MINING , MEAINKNAOSURES. Wily DER 0005 1110 REOuLAPV. ilNUW!DiR GPVMP; DONT YOUTRp No-rinE DBE DAYS!!-- - - OLD -DOWN -'N DIN Nou ! 10.4010 ANEW - NOW NIONT 05 YOU IN 350 50 I ST KEIRMG CRUMNY ALLIIRAN UND YOU REGULAR! r6AE;t4'1iigTVD°R9 NEVER M55 DER NUS, 511027., a Ls<_ 4,_ I?iI

_ rd.. Artist:C. A. %bight GOSN .1%40 NEW NATE AND-MR.6 New SOMETIME SSE 3 -.EN, 5051 ARE A'REAAJLAW.AA! COmE,DARLINKS!mAMIA SAYS ArtDirectors:John J. Hill, Edward G. Jacobssoil SHE GOE SOME ALL -BRAN MUFFINS FOR ALL DER Agency:Kenyon & Eckhardt, Inc. .111IGULAKTELLERS! - Client:KelloggCompany

.irtist:Paul \Veld) Art Directors:John J. Hill. Edward G. Jacobsson Agency: Kenyon & Eckhardt, Inc. Client:Kellogg Company

Yots arm sNsMANS airtynt obom cenerNwEn NWT AU DWI Nort ALL BRAN3IJII,001 Artl 1104 we, IN,. Neon. NsTIMM. MO

Artist:Fontaine Fox Art Directors:John J. Hill,Edward G. Jacobsson Agency:Kenyon & Eckhardt, Inc. Client:Kellogg Company

DOES I IFitBS WWY DO DARLING. ) AND Ti.411.44 lurrLEWE k, OA/ USE TWAT EVEv..7.4E jr ..:0S-1' ,A4S.D.f.y 470.1,ZEDVOU4 490:1- 10

' 7 WANDS 4 DA, TJ USE 10N,G1-11" .4.4:E E 2E" : _ . )1 IVORY FOR aswas. II

.ilists: GI ai icel Fit, Martha NVoody, K. Gunnor Petersen ArtDirector:Gordon C. Aymar Agency: Colninon Advertising, Inc. Client:l'rocter & Gamble Company

43 COMPLETE ADVERTISEMENTS MASS MAGAZINES

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51 ADVERTISING ART GROWS UP

By GEORGE GALLUP

Advertising illustration has shown an amazing development in the years since the first World War. Twenty years ago there were only a handful of men capable of turning out illustrations for advertisements, and in the beginning the stilted and stylized work of this group was the only source of supply.

With the realization that effective illustration was a valuable advertising tool, a new genera- tion of picture -makers sprang up. Their early efforts produced a hodgepodge of advertising pictures- a confusion of techniques often more concerned with manner than subject.

Came 1929-and the cold, gray dawn. Out of it grew a new attitude toward advertising pictures and their importance to advertising. We discovered the appeal of the news photographs. We learned about rotogravure reproduction. We discovered candid camera photography and naturalness in pic- tures. We found ways to learn what it was that appealed to the public. Advertising illustration could now be measured in terms of public reaction. Artists became reporters. Readers responded to pictorial realism, photographic truthfulness, sentiment, drama and humor. Agencies studied the problem of what to picture and how. Readers were quizzed, their re- actions tabulated, analyses made, deductions drawn. Today nothing is more important to successful advertising than the pictures used to illustrate 52 the advertisements. Successful advertising pictures are not the result of trick techniques. Pictures must be clear-obvious-visual expressions of the copywriters' and art directors' ideas. Today art directors are advertising men, intent on promoting a sale or a service. Today adver- tising illustrators are men possessed of a skill to attract and explain by their pictures. Today there are hundreds of competent artists and photographers turning out finer work than was ever turned out before. Their prime concern is that the pictures they create may attract attention and keep them and their talents in demand. They are salesmen and to remain successful they must be as progressive and alert as anyone in business. By active competition, by study and research they must keep up to date. If advertising illustration is to be a compelling element in the complete advertisement, there can never be a moment of relaxation in this matter of ingenuity and visual impact. Advertising illustration has made long strides to improve its effectiveness. It is succeeding through a sharpened understanding of the resultful ways of using pictures and by an intelligent search for those elements in pictures which have popular or specific appeals. As to the number of ways in which creative men can express themselves, no one dare hazard a guess. But with an ever-increasing knowledge of readers, their interests and their habits, the me- chanics of advertising illustration are being perfected. The useful application of this tool is up to the art directors. In this volume are illustrations of some pictures that were made to be salesmen. They were sent into homes of American customers in the newspapers and magazines. They were posted along our highways and placed in street cars and busses, wherever people might notice them. They were sent out by mail. As to which of these illustrations were good "salesmen," you will have to decide. If you can explain why, you are an advertising expert.

53 CLASS MAGAZINES Artist: Louise Dahl -WolfeArt Director: Lester Jay Loh Agency: J. M. Mathes, IncorporatedClient: American Viscose Corporation

55 ART DIRECTORS CLUB MEDAL FOR BEST COLOR PHOTOGRAPH Artist: Thomas Benrimo Art Director: Francis E. Brennan ("lbw/ rot m

ART DIRECTORS CLUB MEDAL FOR BEST COLL RILLUSTRATION 411, .11=I =IPIMMINB. APO M. .

Artist:Bilk 1reich ArtDirector:Charles T. Coiner Agency:N. W. Ayer & Son, Inc. Client:Cannon Mills, Inc.

AWARD FOR DISTINCTIVE MERIT

ictor Keppler

I / for:Harold C. McNulty : Batien. Barton. Hurst ine & Osborn, Inc. Client: CorningClass M'orks

AWARD FOR DISTINCTIVE MERIT

57 Artist: Edwin A. Georgi Art Director:Leon Karp Agent-) .\ . W. Ayer & Son, Inc. Client: Yardley & Co., Ltd.

AWARD FOR DISTINCTIVE MERIT

58 AWARDf OR DISTINCTIVE MERIT

Artist: Herbert Matter Art Director: Paul Darrow Agency: N. W. Ayer & Son, Inc. Client: Cannon Mills, Inc. y a, xa /a?,

/./ . /r., eysep,,,,//, ipailatcll(7/////r./iit /U f"( a 477//moiyir."7404/1,A,-1#1--. ,114.': oLoc, r T i-4Wri::::':'.A. --,i ../ty7 /..,, ...K,,...ii-/.. / :,.,..;-.,,:,.,,,,,.4_.--447. 1.a. Inal 60" / .,-,1,,..k.r43.-

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Artist: Kent sl mhos .lit Director: Stanley I)usek I encs I ence Ferti Iu., Inc. Client: National Distillers Products Corporation

AWARD FOR DISTINCTIVE MERIT

tio Artist: Fred Freeman Art Director: William H. Schneider Agency: Donahue & Coe. Inc. Client: Angostura-%Vtippermann Corp.

Artist. henry Wax7nanArt Directors: Lester J ty Loh. J. H. Tinker, Jt.Agency: J. M. Mathes, IncClient: American Viscose Corp.

...... w....41NO1b4=40.,11.0

.41 wont* .4gouworlo°4 rsimarre--.00410C!

.4aPirmar-,,.:".;;4110P- -t Artist: Leslie Saalburg Art Director: Walter Reinsel Agency: N. W. Ayer & Son, Inc. Client: Lincoln Motor Company

Artist: Leslie Saalburg Art Directors: Walter Reinsel, John S. Fischer Agency: N. W. Ayer & Son, Inc. Client: Lincoln Motor Company

Artist: Anton Bruehl Art Director: Walter Reinsel Agency: N. W. Ayer Sc Son, Inc. Client: Lincoln Motor Company Artist: Toni Frissell Art Director: Eleanor Mayer Agency: Abbott Kimball Co., Inc. Client: Charles W. Nudelman, Inc.

Artist: Mac Ball Art Director: Lester Jay Loh Agency: J. M. Mathes, Incorporated Client: Maryland Casualty Company Artist:Mac Ball ArtDirector:Albert Marshall gency:McCann-Erickson, Inc. /die' Client:"Itlon. Incorporated Ilell"

slideWOO."' ..,th %own ell°`"a

r.

Artist:Lcsict Gaha Art Director:George McAndrew

Agency: Batten. Barton. Durstine & Osborn. . Client:E. I. du Pont de Nemours & Co., Inc.

64 Artist: Victor Keppler Art Director: Harold C. NIcN . Igen, ten. Barton. thirst ine & Osborn. Inc.Client: Corning Glass Works

Artist: Victor Keppler Art Director: Harry Payne Agency: Batten, Barton. Durstine & Osborn, Inc. Client: Hamilton Watch Company Artist: Albert Adams, Adams Studios Art Director: Herbert Bishop Agency: Young & Rubicam. Inc. Client: Frankfort Distilleries, Inc.

Ai wt. G. G. Christensen Art Director: Budd Hemmick Agency: Arthur Kudner, Inc. Client: General Motors Sales Corporation, Buick Motor Division

66 IfIfee.at sorra.. by op.. 1./ nom. *--Agegligur ran pial. moo a,w,._ Ps ova S`c'c1a on. into 2.20.psi. tbro *so a4 mom so. to I.. IP 4?. ****III1P* - . ovll of woo psoltis. sots prICOP as est ... se*, Is. fill op.. 0' 0

,0,0 122.1 pod at. do PP Ls. .1.1 Pao 7110.000 1W Ys.4s ct Mt Jb Po... sp. 11. PO hew .1 1. wind sow and sows sobs sped TITS fill /1.. pm Pr Om Swarm toll ow. Po. Gov troot fill Psyll L.. to. gel Pop 1.2 cors vs MS S. .2. 0.12 so. otos tor at mi. Dm. it aoho VOW. rIfiCt vs. o fibsIscs of 21/ VCI.APEJin St D . a you to./ staltest urs Oa. mos Pro. ows A11 .111 Aospso so .4 show roes 1.1. Inial Ws veepmalty N., sod _a sr. ot Ma... pomp... a,,. too. - ,hay mair P.m, 2 II soy mom .2. .1.61. *at Pe osents. 2. 1d popo snth et. v. rho 11. fill who sr.films pas. 11. Ps Mrs PPR sod 1. 1.4 /// pot do. b. me> ssos . 10111/.. Y 1.1 Ps to tets Iosh. I.- mamodAmsois. Toy N. WM'. MON ha. 04.1 d nwlf corporoso - to no. besitensodal Paps.. film some- pet .11. A /op nib M. 6161 c74 T. d Aporm. an I. Por osso Ps. 1.6 MCP tyro. P.s. 02./ .y "NM xtiew solasig.os pat. can Po. poto I. ow pos. .0 /woo . nolts Cl osor Pons 01. stasst moo I. dos. B.. oo the Spotto

9oP TIME * THE WEEKtYNEWSMAGAZINE * Client: Time, Inc. Artists: Richard Clemmer, Underwood & Underwood Art Director: Lester Beall Agency: George Bijur, Inc.

Artist: James W. Williamson Art Director: Paul Darrow Agency: N. W. Ayer 8c Son, Inc. Client: Bermuda Trade Development Board 67 Artist: James Schucker Artist: I,in.tn Anderson Art Director: Elmo Anderson Art Director: Elmo Anderson Agency: Frank Presbrey Company Agency: Frank Presbrey Company Client: New York Life Insurance Company Client: New York Life Insurance Company 68 BLACK AS THEACE OF SPADES THAT'S WHY ARTIS7'S LIKE TO USE HIGGINS INDIA INK

COLORS

ALLIRATAMOOI AMERICAN INDIA INKS Re ew &copeYeAere (Long, 0qe Pro'rmoro Red ,Scorler, Ree

Red Veer ATILIA001 Low Blue T,puo,se Somdreee

&e, leof Ne../o, T...? SOORRA

CHAS. M HIGGINS l CO. INC. U. NINTH STRUT, BROOKLYN. N. Y.

. I rtist:U'alter B. Geoghegan

.I rt Director:1Val ter B. Geoghegan Agency: Calkins & Holden Client: Chas. M. Higgins ft: Co.. Inc.

Artist: Leman Andel'AM Artist: Francis MAI Art Director: Elmo Anderson Art Director: Art hill \\'cilhas Agency: Frank Presbrey Company Agency: Cecil. Varwick & Legler Client: New York Life Insurance Company Client: Elizabeth Arden

69 Artist: Stevan Dohanos Art Director: Robert E. Wilson Agency: Young & Rubicam, Inc. Client: The Trawlers Insurance Company

Artist: Stevan Dohanos Art Director Robert E. Wilson Agency: Young & Rubicam, Inc. Client: The Travelers Insurance Company

70 ica 0 ...." . , ,- '- ' . V' t - s -..r.:

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Artist: Louise Dahl -Wolfe Artists: Ray Albert, Ehrlich -La Zink, Inc. Art Directors: Lester Jay Loh, Claude Hurd Art Director: Eleanor Mayer Agency: J. M. Mathes, Incorporated Agency: Abbott Kimball Co., Inc. Client: American Viscose Corporation Client: Revlon Nail Enamel Corporation

Mall NNW MM.. Pa

dzuel 7i .1.6" Lovely skin is de rigueur*

0.157

, 1, 1 ,.1 kolo's ...... (Tv\tr.'SW, , Yln mos, unt's

Art Director: Elwood Whitney I rtist: Harry Brown Agency: J. Walter Thompson Co. 1 rt Directors: Lester Jay Loh, J. H. Tinker, Jr.

Client: Lever Brothers . I gency: J. M. Mathes, Incorporated Client: American Viscose Corporation

7 cvi"1 s Os

tikarTYChils%° A-tsge

frooleln. TT. erns* our Mkodol and wive drorloord

WO 1/1 la 1.01dfrono dohs Hat will go ad *nodal dr of radon/re Ion... 4..,.,, Ude *suer Trier wowed Ir. Is ropporT Trod snood ,nodal TAI, HMI. I.ood TelI pa Int yd.. way thorough lweloo

room of Id.....11t arisen.. 1116.11... this homy, Odom ..

.114 111.1,..10 In.., Ill.1 5-41100

Artist:Marcel Arthatul Art Director:Leon Karp f(9011 _%I Agency:N. W. Ayer & Son. Inc. Client:French Line Artist: James Art Director:Myron Kenzer Client: Bonwit Teller HARMONY *

a

Minh mannrials and north< d s.nehroniannd for predo.flon of b1. pa packa ros

errs CONTAINER CO ZPORATIONOF AMERICA

Artist: Louise Dahl-Wolte Artist:"limy Zept ArtDirector:George McAndrew Art Director:John J. Smith Agency:Batten, Barton, Durstinc & Osborn, Inc. Agency:N. W. Ayer & Son, Inc. Client: E. I. du Pont de Nemours & Co., Inc. Client:Container Corporation of America

72 Artist: HennI. Rundle Art Director: I lenry M. Rundle Client: R. C.. t. Maniihicturing Co.

Athst: Gordon C. Ross Art Directors. Henry Harding. Earle H. Bean Agency: The Balla Press Client: Iiiierty Mutual Insurance Company COVPLETE ADVERTISEMENTS CLASS MAGAZINES

14.4 IVOLe. et1Z '4--

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lil

8o ART DIRECTORS CLUB MEDAL [JRBEST BLA]K A\H WHITE PHOTOGRAPH

Artist:Marvin Becker ArtDirector:Franklin D. Baker Agency: N.W. Ayer & Son. Inc. Client:Caterpillar Tractor Co.

81 AWARD FOR DISTINCTIVE VERIT

Artists: Black Star Publishing Co. Charles Peters. In Director: Lester BeallAgency: George Bijur, Inc.Ghent: George Bijur, Inc.

-14

Artist: F. S. Lim ()I I I TM rt m : F !mei R. Laslier I Lr.encr :1. J. Maloney, Inc. Client: Popular Publications, Inc.

AWARD FOR DISTINCTIVE MERIT

82 Artist: John Scott ArtDirector:Valter K. Nield Agency:Young & Rubicon]. Inc. Client:Young & Rubicon]. Inc.

Artist:E. Mecrkimper ArtDirrrtor:Ben Collins Client:The Beck Engraving Company

Artist: John Scott ArtDirector: l%'alterK. N iehl Agency:Young & Rubicam. I nt . Client:Young & Rubicon]. Inc.

83 The rise and fall (f -Shall I? How to make people

:Iliupand do things

1111.011102 Da% one of our agents pro. ,,natents ;nekoopoold bo full of them, Dolled .ah a story that tartly bulged to bo released, Noy, then.Late In Ihr .Inter of Inlo a gentleman Lund her war Imo our place " Ilr n.nell a bankThe berk nun., Ile no. a very thrr, . ,

man na, the ben , . I

It to tali rne, 11,%(.1111( if doialiltm,11

%%c ..ght begin oh an oho." ruLL the ,, To. 00* uhered 2040 i inT. dr.. raw.. el million p.p.. kne .raten ho these lam. TIntoth, the ttfler, tuntionra aunt Into. .4,11 Lee, nn alnnont -.mile." a, 111( ear of retw. a len! Int 'Orwell, -20,000 ..w Sif.Ift L owy ntod nt the , eguens and the lt,the *O4 11 ohew 000 benadtrs, he, ereated

ar prubeEla Apt. on, staale ea hum, thrt .e ran .11 h auhr 1,, Ire yttlie beaten ten .11 o,iR,, 4 ,uu'd a are In he,

it really mn't neeesarn tam anal 10 in b , 'se. tante .1,1 tcec

Art Director: Ross Craufurd Art Director: Ross Craufurd Agency: Bamberger Broadcasting Service, Inc. Agency: Bamberger Broadcasting Service, Inc. Client: IVOR Client: IVOR

Avalanches always start at the to!

ea. ...nen, o rt. el It.. on. nth. . nm-yetenn.

o ritla h 0, the h.....

c. II the T I the Tan ...1 'nu an, non , go al Alim he maw... s ant retwane L -.now

Advertising& Selling .9 FAST :11(111 ST.. NM' YORK.

Artist: John Averill Art Director: John Averill Agency: George Bijur, Inc. Client: Advertising & Selling

84 Artist:Stanley Ekman Art Director:Scott A. Runge Agency: N.W. Ayer & Son, Inc. Client:Container Corporation of America

Artist:Keith Ward Art Director:Frederick Halpel t Agency:Young & Rubicam, Inc. Client:The Centaur Company Artist:Erik Nitsche Art Director:Erik Nitsche Agency:George Bijur, Client:Mutual Broadcasting System

85 flow I rust: I.ester Beall .I it Diredol: I.ester Beall Agency: George Bijur, Inc. Ghent: George Bijur, Inc.

Rill It. , ittri k1111 Mt %/ N.N.

Artists: I.ester Beall, NI. Ackoff Art Director: Lcstcr Beall Itlifilf1/1111111 fifififfil" Agency: George Bijur, Inc. C/ient: George Bijur, Inc.

1.1.01,1111.11.11 INC 11104.1.1111111,111/. OTT

IDEAS tityInto action Artist: Carl Albrecht Art Director:Lcstcr Beall

rms. gromod Agency: George Bijur, Inc. Client: George Bijur, Inc.

- GEORGE 1311URINC 9 ROCKEFELLER PLAZANEW YORK 4 YEARS LATER )--

Artist: Edwin 1Vay Teak Art Director: Ben Collins Client: The Beck Engra% ing Company

Artist: Ro!. Snow Art Director: T. V. Tinker A geucy: Batten. Barton. Dursiine & Osborn, Inc. Client: E. I. du Pont de Nemours & Co., Inc.

Artist: I la' old ki alma Art Director: John B. Breunig Agency: Needham. Louis & Brophy, Inc. Client: Eagle-Picher Lead Company

87 Artist: Lejaren A. Hiller Art Directors:David Silye, C. Carroll Adams Client: Davis &Geck, Inc.

Artist: John Averill ArtDirector:John Averill Client:Collins, Miller & Hutchings, Inc.

88 4rtist: Melbourne Brindle,4rt Director: %Valter B. Geoghegan Agency: Calkins & Holden Client: Sanderson Sc Porter

Artist: Herbert Roese Art Director: Walter Lloyd Client: %Votnan's Home Companion

CBS... CoversBoth Sides

p

Ir.. ...Y., Ye.

Woo N. Onodonge. 1,

.4 ?list: iam Golden Art Director: led SandlerClient: Columbia Broadcasting System

89 1111.

N

to cut costs of distribution

GEORGE BIJUR, INC 9 ROCKEFELLER PLAZA NEW YORK

Artist: P. Ns holm Art Director: Lester Beall Agency': George Bijur. Inc. Ghent: George Willi. Inc.

.Irtist: NIelhourne Brindle Artist: Fred R..kr( her Art Director: \'alter B. Geoghegan Art Director: Elmer R. Laslier Agency: Calkins & Holden Agency: T. J. Malonc-. Inc. Ghent: Sanderson & Porter Client: Economics Laborator. Inc.

90 Artist: Joseph Gering Art Directors: Lester Beall. Joseph Gering Agency: George Bijur. Inc. Client: Mutual Broadcasting S's stein

Who Said RADIO Is Eipenstre'

THE MUTUAL BROADCASTING SYSTEM COAST TO COAST

malaime choke thetisecond vot.;TIME PolleyOleis ttsucance AutomolA

TimEThr 4ret \r,

Artist: Gilbert Bundy Art Directors: Pail! Smith. 1Villiam A. Lang Agency: KentonEckhardt. Inc. Client: Munsingwear. Inc.

*40 1.o

11114161

Artist: M. Ackolf 40% SE p Art Director: Lester Beall A genry: Philip Noble 'a %big( Client: Time. Inc.

91 1. alitoa9 sturpy stuepy sollmits 7-16' ...topa.tta Logo)! uttetussp9 stuepy sownis

0009 SCIOHd

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;,It Artist: Albert I)ornc Art Director: Daniel W. Keefe Agency: McCann-Erickson, Inc. Client: Talon, Inc.

rt4. VCAN'tAFFORD c_ TO PAY TIE OMAR

6 6 6 6

VJus, rsv,nOUR fROStS OUR JOUR',' STATE EcoRE7V 8!

Artist: Max Hodge Artists: Ledo Studios, Dorothy Monet Art Director: Max Hodge Art Director: Robert Engel Agency: N. W. Ayer & Son. Inc. Agency: Fuller & Smith & Ross, Inc. Client: Ford Motor Company Client: Mark Cross

93 COMETE ADVERTISEMENTS TRADE PUBLICATIONS

D&G Sutures NW IN/ IMP INV NNE' VI. I

even on Cliffs of Sand

CATERPILLAR

DOG-GONETHED06 PAYS/ k

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95 IL I Whg does evergone so Yesto Mrs Wilson?

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SNDIOSOM S11140111SON Pow

Il ,1 hac -\.. 4 SHEER STYLE PAJAMAS EVEN THE RU MANS KNEW IT! 4

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Thrrice andfrill4 -Shall Bow to make people :it up and do lags

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TOE MUIUAL MAICAS11116 SYSIIM COAST SO COAST

97 DISPLAY TYPOGRAPHY'S URGENT JOB

BI)otit;LAS C. NI U RT RI E,Director of 14ograph . Ididlow .4pograpli Comp:illy

Art work in advertising attracts attention in the first instance, and creates a favorable attitude on the part of a prospective purchaser. But after attention has been attained, typography must carry on and tell the sales story. It would, I think, be unanimously agreed that there are two stages of telling a copy story typo- graphically. The first stage is represented by the display lines which seek to enlist the interest of the casual reader in the merchandise or service advertised. The body matter then goes on to elaborate the sales argument at greater length. The burden on the typography of display, if this display functions successfully, is to deliver a message quickly-or not at all-in this fast-moving world. A like task, but one not quite so difficult, is assigned to the body types carrying the text of the advertisement. Under these circumstances, we should plan printing to meet the fast-moving tempo of prospec- tive readers. The messages we are called upon to put into type must meet successfully this test: If looked at for a fleeting moment, will they tell the gist of their story? The printer has at his command one very potent tool to meet these present-day requirements: Display. For display is to the compositor what intonation, inflection, and emphasis are to the orator. Display serves to index advertising copy for us, making it easier for us to locate offers of mer-

98 chandise in which we are interested, in just the same way as the tabs or cut -in letters on theedge of a dictionary help us to locate a certain word which we maywish to look up. Within a single adver- tisement, folder, or booklet, displayed sub -heads lead us directly, without waste of time, to the para- graphs or sections dealing with features with which we may be specially concerned. Display is, therefore, an important factor in today's composition. Display lines first attract the attention of a reader and then intrigue him to read further into the copy. Since they do perform so important a function, let those of us who set composition treat our display lines respectfully. Let us make sure the lines we display most emphatically aresignificant, mak- ing the point in the sales message most likely to attract the attention of a reader whose eyeis casually roaming across the page. Make sure they really stop the eye of this reader; that they are large enough andinsistent enough to do the job, and not fail because they are half-hearted. There are those whoadvocate light display and even gray pages, but I cannot throw in with them, when the necessityfor commercial re- turn is concerned. We may here recall the question often asked an advertiser: If lost in a wildernessand calling for help, would you prefer a thousands whispers or one loud shout? Having attracted attention, let us organize and index the text copy by sub-heads to make it easy for the reader to find the paragraphs dealingwith features or points in which he individually is especially interested. Again, we cannot afford to risk a wide expanse of even color typecomposition.

Above all, let us who set type make sure that when a reader once favors us with amoment's attention, there be no question in his mind as to what our customer has to sell. All of us canrecall looking at advertisements and mailing pieces and wondering what on earth they wereabout, and whether the man who paid for the printing was selling watermelons or real-estate.When our atten- tion is drawn away from one advertisement by some more comprehensible sales story, we canunder- stand that the advertiser who loses out may well be skeptical regarding the -powerof print." After all, print has no power except when it is intelligently planned andexecuted. Printing which is effective is the only printing for which buyers can affOrd to pay--ior long! And herein we find the strongest argument for the training and building of competent,thinking printers, who realize the potential power latent in the types and matrices which pass betweentheir fingers. Competent craftsmanship in setting letters into lines is not enough today. Facing newdemands

99 because of the speeded -up tempo of modern living, able compositors must think about thecopy they handle, and adapt their practice to these demands. More successful results from thecopy they set afford the soundest and most logical approach to increased earningpower. A thoughtful analysis of copy is the surest guide to presenting it eloquently in typefaces. But there remains also to be considered the factor of current style, which changes constantly, thoughnot too rapidly, with changing cycles of taste.

Ten years ago, the influence of "modern" design in the applied arts made itself felt intypog- raphy. This influence has brought about a number of changes in the best ofour composition in the service of commerce.

First, it has simplified both typefaces and layout. Applied to typefaces, the influencewas re- sponsible for the simplification in design observable in the sans serifs, flat serifs, and other modern typefaces. Applied to layout, it has produced the rather severe geometricarrangements which are today so widely used.

The second important result of the modern influence is that the long -cherished central axis of restful typography has gone by the boards, perhaps never to returnIt has been supplanted by non- symmetrical layout which is unbalanced rather than balanced, dynamic rather than static, disturbing rather than soothing. The modern typographer endeavors to substitute clarion calls for lullabies. As to the present trend in typefaces: In spite of repeated rumors that the traditional oldstyle romans are returning to favor, the usage of the best composing rooms and the sales of the typefounders and composing machine manufacturers show modern typefaces still in the ascendant. The flat serifs apparently now lead the sans serifs in popularity, probably because of their higher degree of legibility.

There is a feeling on the part of some authorities that the next typeface family likelyto rise to a position of popularity and importance will be a sans serif with strokes of variable weight. Such a typeface will, by reason of "thicks and thins," be far more legible than the monotonesans serifs, and will appear more brilliant. Yet it will retain the simplicity which is the essence of sound modern design.

The skyscraper motif of modern architecture is reflected in the favor with which tall and slender typefaces are now regarded. The newer typefaces being produced are relatively narrower than stand- ard in relation to height, and markedly condensed faces in the Bodoni and and Gothic families are being widely used. 100 A reaction against the severity of geometric layouts and the simplicity of monotonesans serifs is evidenced by the popularity of scripts. Or perhaps they are usedas a foil for severity. At any rate, any good new script typeface is still assured of a warm reception. It is my belief that informality is more attractive than formality in a 'script used to promote sales.

Prediction of future trends is hazardous, but we know from historic precedent that stylesmove in cycles. There is on the horizon a "cloud the size of a man's hand" which seems to foretella return to popularity of some of the decorative typefaces which were consigned to limbo-with appropriate ceremonies-ten years ago.

Of this we may feel certain. No style. however sound or commendable, will last forever. For every action there is a reaction, and perhaps ten years from now we may be inflicted with typography which is ornamental rather than functional. We can then mourn the passing of the clean, lithe sim- plicity of the present era in which the legibility of type and its functional effectivenessare respected as they have never been in any period past.

101 NEWSPAPERS

102 Flow do YOU make friends?

ith tlx lb.%I, -,I, Inornal t .1Apirt inI br . being F. . ',arbor, lb. .. bor. Journal r bus .ng Int h rr.ltral to. a WA fo, 1.,.....al on I wear.. ...win... /.Iirth..1tb.L....1 ,../. ormuirr i ht i.111I., 0 -plc.!. tau 11,0,1Ift'lb......

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Thy. ...I. to. ni ..n J.11l.i .16.64 wonning frernd ....tn.Irry.rn.I on thenund frirwi Rh, 1...... +1

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..I. .1 dm in, mow JOURNAL

1,114: jam, I burlier 1)itei : Leon Karp

I \. Son, Inc. Client:Ladies' Home journal

ART DIRECTORS CLUB MEDAL FOR BEST CONTINJITIES AND COMIC STRIPS

ART DIRECTORS CLUB MEDAL FOR BEST BLACK AND WHITE LLUSTRAHON

R Will: Art Ditectot :N1 Ion Kenni.Chen!: Bonwil Teller AWARD FOR DISTINCTIVE MERIT

tr.

Y FACT ICNAL F

THESOO. FROU 31k OE% '0 OS. Folicss ANt Sp_ APP Sausage Shapes over London can makemore Fords go by

Come on, now, don't be so far fetched. How can new air defenses with the 5599's and S774, for new Fords. What's so all.fired different about Depression III One market England have one blessed thing to do with selling an American There's nothing casual stout their need fig i.news. They dissolves, another weakens. Still another stays secure-makes car to Americans, care enough to want all the important news-straight unsnarled. SECURITY BASE for any advertiser. TIM 8's market stays secure. 41Mws Mies Mims 4.Pin41 Because it's news-and the news has been making changes in responsibly told. TIME readers just proved it all over swam in a recent survey the very Americans that buy Fords and furnaces. radios and rayons. So 700.000 of them read TIME. Every week of the year they of 50.000 TIME families. Proved it for any advertiser Proved it so It's been changing Amencans for some years now. It's changed read TIME-to Rod out. specifically for passenger car advertisers that it seems like the the people you know-it's changed you. A few years ago, news And that has plenty to do with sell ng ram or anything roe selling argument to end all selling arguments: was a pastime, take it or leave it. dip into it around election time important to Americans. When you advertise to people who want Pr TIME FAMILIES PLAN TO BUY 91.000 NEW CARS and forget it must of the time. to find out, who are eager and alert, you're getting your own news Pr THE BALANCE OF THIS YEAR. Then things happened. Abroad. dictators ripped out booming of new models. new prices through on the sharpest inwnsity level OTHER TIME FAMILIES PLAN TO BUY 268.800 NEW phrases of war and ripped up treaties and pacts. At home all the you can find anywhere. ****** gar CARS DURING 1939. -11. banks closed and new era opened. Men began to ask other men And getting it through. in TIME, to people with money to spend What's the price of getting your lick in to the market? Five about new bills. new taxes. new unions, new powers It began to this year. Ten doom surveys prove that TIME readers have sta- to ten thousand dollars a page, No. that buys mass circulation. dawn on people that the news was something happening to them bility far above the mass average: 83% are of profissional or fine big masses. -sitting up there in their business ledgers looking at them. perch- executive status; they make a market that doesn't dis.olve under A TIME page costs less than 12500; thirteen pages cost ing on their tractors. making marks or leaving blanks on their pressure-that stays secure. 130,550; twenty-six cost s57.050 sales chests. I II - It stayed secure the last time there was pressure; during the That doesn't buy mass arculanon-that only puts your news And now the news matters as it's never mattered before. Most sox years of Depression I. advertisers discovered that, /old TIMES through to 700000 substantial TIME families. ALL of whom want of all it matters to the most intelligent people. The people with the passenger car advertising rose 141%. Because it paid out, that's the news and whacking bigger Jobs and paying farms. people in the professions. People why it rose. lot of whom want newels,. TIME * THE WEEKLYNEWSMAGAZINE mmosmom WITH THE SECURITY BASE

Artists: Peter N)holm, R. Clemmer Art Divert() r: Lester Beall Agency: George Iiijitt .Inc. Client: Time. Inc.

104 We've been put inourPlace!

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..t ;:-..! ..-: :-...r.-_.: t....'.:.-!..7t.'.-t-.;'...t:',:.'_-- AWARD FOR EISTINCTIVE MERIT

-irtist: Herbert S. Lenz Art Director: Herbert S. Lenz NO ONE IS IN DEBT TOMACY'S Ghent: R. H. Macy Sc Co., Inc.

Artist: Herbert Greenwald Art Director: Herbert S. Lenz Client: R. H. Macy Sc Co.. Inc.

105 .1 rtist: \l at Brody Art Director: I Ira Am mist ei 1 ie$ 01 A. Client: Saks Filth Avenue 1$'

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IERSIILLES GREIS

Artist: Eric Mulvaney Art Director: M. L. Rosenblum %EN Mill% 1111111-..,..... Client: I.. Bomberger k Co.

1 o6 Artists: Jean Spadca Dora Abrams emit Telly Richard Young Bonwit Teller

Ay/ Director: M% ion kenzer ChresIrnot sole BonwitTeller . .

.10.0topaz 10 00 Stealth breech

M.b. ...ebb* bee. be. bleb be.

be

Bonwit Teller

for the awry worldlings on sear list 'Iis

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WHICH PIANO

'13E6 Artists: Fred Chance. George Connelly ;NISTEINWAY -1rt Director: John J. Smith Agency: N. NV. Ayer & Son, Inc. Client: Steinway & Sons

107 -

Artist: EricMulvaney ArtDirector:M. L. Rosenblum ''Sq Client:L. Bomberger & Co.

4

..-"""4111111111111War. kEEP 10111 EIE 01 1111111EINEIES I 1939.. woo, on rd.. Apt 4.

.. .. .1.11.14 s,or th./so .

IS. otoll e_ mho, rise foeri .1... I t. re.r.ollthe. Lem. No "'". I., ea roarore

In ob. tr." $11. In.. I ...I I. "Obi Ihr nom, tom. qui semis.. oal maw, ... I. WM

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IS...... ,.,. IS. ff,fo o bob low %1111111.- of ow off mt. god pre th....mt.. ...rem.: Artist:Joseph Feller ArtDirector:Joseph Feher Client:Chicago Tribune Ii4.11ST\ 7°1'. SUE 11fillili +4,1 .11fERTARY sAlf

Artist:H. Foster Ensminger Art Director:Paul F. Berdanier, Jr. Agency: J.I'alter Thompson Co. Client: The Curtis Publishing Co. o8 Artist:Allen Saalbtog ArtDirector:Paul W. Darrow Agency: N. W . Ayer &Son, Inc. Client: Steinway &Sons

EVERY SKYSCRAPER LOOKS LIKE THIS...

Artist: J.\\ . NI( Manigal .-irt William A. Irwin OUNTRY ENTLEMAN Agency:McCann-Erickson, Inc. Client:The Curtis Publishing Co.

Artist.-Robert Philipp Art Director:Paul W. Darrow Agency:N. W. Ayer & Son, Inc. Client: Steinway &Sons

109 Artists: Eric Mulvaney. Thomas Gray Art Director: M.L.Rosenblum Client:L.Bomberger & Co.

A.' Joy

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Artist: Keith Void Art Director: Hari Payne Agency: Batten. Barton. Durst Inc& OsIxtrit, 1101T-11111110-... Client: Borden's Farm Products 1111 HITS

11,11111

Artist: Keith %Van, Art Director: Harry Payne Agency: Batten, Barton, Du rst ine &Osborn, Inc. Client: Borden's Farm Products .: tiZ .1 -%`..-- i''''A . ,---.---fr A' ?.;*...,i

Artist: Eric Mulvaney Art Director: M. L. Rosenblum 11S1111111111.11 Client:L.Bomberger & Co.

110 Artist: Elden L. I lokinson Chen': R. II. S: Co.. Inc. .111 /)itet : Herbert S. Len/

GosH, AVM STANWYCK, I SHOULD THINK A SCREE TRR WOULD DIE OF JOY EEiNG SO ADMIRED BY EVERYONE

/". A SCREEN STAR'S

MUCH MORE uKf LY M DIE OF HARD R i ch a d otlerwtxxl linlerucxxl .1 rt I)irector: I .csi Bea II WORK,MY DEAR!

.1 grw v: George Bijiir. Inc. Client: lime. Inc. 1111r1 sotSyr:, .41 Shifting the Olympics can shift more Nash gears u_s.1 SUPPOSE SO. EIL/T THEN IT MUST BE TROULLINO ID BE W ADMIRED ALL THE TIME

111.1 FVFN HE No V. .40 TA11, 0400.1. YOU /-0,,E TO WATCH YOUR vLF E. LOUR 14MR, YOUR SKIN

00 alt5,1- A 7.P 0,1 CA=E! c10%

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MAYBE YOUVF BEEN LETEINIC. COS/MIS SKIN DEVELOP BECAUSE YOU DONT REMCVE COSMETICS romtpitonag SCREEN STARS vSE WOE LB Toon Sow BECAUSE IT NAS ACM( LATHER

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9 out of 10 Screen Stars use Lue Toilet Soap

,lr/Ditr(lui:Ehmott Artists: George Hurrell. Gilbert Burnt% .4 genty: J. Walter Thompson Co. Client: Loci Brothers MN NMI TIME * * IIIIII-

III .lrlist:Victor Keppler .IrtDirector:Harry Payne Agency:Batten, Barton, Durstine & Osborn. Inc. Client:E. R. Squibb & Sons II.-a ' -mull nuuiIlc... a _t'ralIlya Ii It Is tillit

E. H. SQl Si INS

Artist: Mac Ball ArtDirector:Herbert S. Lenz Client:R. H. Macy & Co., Inc.

Artist:Irwin Smith ArtDirector: ion C.Perley Agency:Lennen & Mitchell. Inc. Client:Carstairs Bros. Distilling Co.

Artist: HerbertGreenwald Art Director:Herbert S. Lenz Client:R. H. Macy & Co., Inc.

11 2 Artist:Russell Patterson ArtDirector:Herbert S. Lenz Client:R. H. Macy & Co.. Inc.

P4STE THIS Artists: II.Foster Fmminger. Villiarn Sakren ArtDirector:Paul F. Berdanier, jr. IN YOUR HAT! genry:J. Walter Thompson Co. Chen!: General Cigar Co_ Inc.

IMP FIT FOY ARIaellTle P.' 14,1C,AIN,

Every Woman wants *o be Kissed-

Artist: Edward Johnson Art Director:Fred S. Set -genial] Agony:Young & Rtthicatn. Inc. Client: Chaett.Peabody & Co.. Inc.

I I 3 Artist: Stanle Ekman

IP t Director: Ros I . ashlmin ' I gencv: McCann IiiLwnt.Inc. (dieni: Stand:lid Oil Company (Indiana) , -.I a.....,,.% 4(P)

i 4. ilit.. .=-.-...... mft. --4-- -- 1. HURRY WORRY

1, 11 T.+1 ..10P.S. .,..- " y1(P011 AOC RN( .--0 41,0 !!, . ':.. . A - 'Ve.

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Ilk...4,... ,-....ii.A% -tom 4ma ..do. FORESIGHT DELIGHT ..,

GET CRITICAL -GET KRUEGER'S! MilesSTR-ETC-H -the more STOP and GO the longer milesgrow - 4,771

044

le ie. vArrill. vow WE ECti CRITICAL -1W GOT KRUE6ER-7S--3 ti11. as .E geom.* THE tILEK 100 CRITICAL TASTES! Pj1

7,1

MAKE THIS WEEK -END TEST Poo,. rod,ORDER IEEE POR rms WEER -ENO ASK EON .TOE6VYS. KRUEGER THEN COMPAREII MINdm DEER OV ADP AND 60 MOVE EVER TASTED. .S e DISCOVER KRUEGER. COOL, falga-AEPRESIIIIPS 6000NESS IN DOITEES,CANS -OR ON am., BEER & ALES AI YOUR Amman, ravekt. SOMEPRONOUNCE N KRMEITS. ANN I AIN. DIANNA/ SOME PRONOUNCE IT xestegsors... Our EXPERTS PRONOUNCEor fur LOOK 4:30 K Uusent min* asoNTIN.....,

.1 rtist: Walter Richards LlisL%Valter Early Art Director: Elwood %VII it ties .4 rt Director: Gustave Sigritz A genry: J. Walter Thompson Co. Agency: Voting & Rubicant. Inc. Client: Shell Oil Company Client: Krueger Brewing Co.

114 Jp ITV BOO.,

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114: %VI II aIll SaIs I II !Mei HIStlu..11iI ig."1,1:J. %Volt," .1 hunll,4nl Cu. P. Ballan6ne Sons

ON THE JOB WASH DAY! by Mobm. )6NaNiff IN EATING ANOINT,. BONI ..----I 612APS.hurrs- IN A 610..40 Boy, AREAJEW DOUaLE -RANOLL. iOw FrAIGS Toq.M.= -11.1Ve. Nhasta. HI Ty 1:456 r,aSTw1gYSaAI (- W4C13.. ALWIIT aor. Sancw -lb (- ' )61& zes- . ' r, - ( , -'S I.C.10,4e

.lrlist: \\-alter Hoban Art Ilirrryfin: joriel Agency: Young k [it (:/ictit:($ent.ial Foods Corporation

Ll "1 HAVE MY CHILD'S LOVE BACK AGAIN !"

7-0)

..A J..Al> To' ER

osi) =-"'" f' ,ral .1:1,1 ,AJ.1 NATI 1011

frek

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TLIECIIIIIEI CASTOBIA C. 7A,OAIT lS, C.11.0,11,11 LOW IT Oi

Client: Flie Company 101111I lolitigien .1ri /Meant: Frederick Halpert gency: Yowl/4 Ruhicam. Inc. 115 Artist: Albert Dome Art Director: W. E. Wheaton, Jr. Agency: Badger and Browniii,.; I lersey. Inc.Client: American Chicle Company

AN ADVERTISEMENT FOR FRESH DATED "EVEREADY" BATTERIES

tist: Howard Williamson ArtDirectors:Lester Jay Loh. John H. Tinker, Jr. I gency: J. M. Mathes, Incorporated Client: National Carbon Company, Inc.

Artist: Walter Hoban Art Director: Jonel Jogulesco Agency: Young Sc Rubicam. Inc. Client: General Foods Corporation 116 ,--WOOING WINNIE MOVIE OM -M- DO/ NEW! WONDERFUL, --r-.)E. LOVE THE NEW IDEA PuophvGS! JELL -0PUDDINGS ...... _ I II 3 LUSCIOUSFLAVORS , LA II P r-4 .v1,,. , Lf.) I 1.. RICH CHOCOLATEREALVANILLA MON".0. 4b ir' MELLOW BUTTERSCOTCH em 0 SOP -.P'' SAME LOW Allig§s iiL.:liMir ,- ..''' MCA S jLii., 4/111V4 ------i 1 L ...... , . JELL-O VANZI / i AT ALL l"t' II 1 ii, .'" GROCERS PlibbING II-

Artist: William Sak ten Art Director: Fred S. Scrgenian gency: Young & Ruhicam. Inc. Client: General Foods Corporation

Lightning Lent Foils Butch the Villain

NE144, NE', SE IN SiOYI055 THE 00.! OOWCWE5 Li4.1.1ThiNG LENT MINK TWO IORCH00/ DI MATCH COMES 0.0 1.4 8.11C.17 0JA ohjo'3Wi'T.7.°jOS ,I2SE 00.0 TNGtOu.i., sTAI:PHEr NOT COAAEE -LLLIS tCE see,' ,Siohr COACH, MONEY hNif[want, LENT, cAhl. .4 Sun! CO -16 7.70,1:KEIX.Nal°00C 7.42 CHAMP NE -or HAVE YOU AMMO! OAP, OVLe... CATCHWa Af IL O.W. 01.11, C01.2 15(

"MAN usi.-E55 NE :,0CHE6 P EE - VONA Su, 0.TC,1? THAT WAS \5NE- c,EA4 OF BOURN, SOH. 70&

SEPIT06.1T A LAYATive -Y5+,,.Bur / (177,404. THE& PLEASE THAT SAL HEO.STr,A Lau. 100,5 OFFENSE EE) A LAILAT,E NE NEE0 A 5, 044 I C. 0E - CHAA..E.; ANC, 4a, -4F2r4 0.5 1 0040 ALSO HELPS ILA.JZE .01.4TER&T .LiPoRANT Oh T..Th7h. A, 5. SOME AT ONCE NA ',WM TO T LOC,S I HE,NTH! AC,OIT, 1 Al SPEA,..,0 OW etalr VE0C.411 ) SAL HEPA-, A ! SO.7 CHEST

E's woN! NOJVE MACE 5550 HOPE - C. M. SO, TILE 5.ATIN.i CHAMPION ' Ai

Now 4. ;. W..,Mom On. 0, ose... tomb= r t11.1..../11 I

*aro 111.r

Ay/Lit:Joseph King Ail Director: Frederick Halpert Agency: Young g: Rubicam. Inc. Client: Bristol-Myers Co.

GRUMPY GUS 'DARLING! Al CRAZY ) A NEWTREAT! ABOUT THE NEW t) '* Puoo/HOS! FAJELL-O PI/PP/Nag ial:g :11.4 0 c ' RICH CHOCOLATE S MELLOTLLBLyUrETEALIFC3OITCH / 41111.41 ion 0.4140 6. '4.N.

J E LI:0 11\'1 L1 5aL-0%col kiNe ALEgls i.ppUrsbiNAGTEkil -'' 1 ck

Artist: W:II i am Sakren Art Director: Fred S. Sergenian Agency: Young & Ruoicam. Inc. Client: General Foot I. Corporation

117 DOWN OUR STREET Oh, Doctor! By Winifred Carter IT'S LIGHT COH! DOCTOR -QO...U YUN11 CRISCO AND EASY TO MY DOI. LY '5 PIE IT TASTES DIGEST.' LbwsADVICE /CRISCO SICK. THE BEST (THE SUPER -CREAMED PURE VEGETABLE SHORT- ENING) IS NOW PRICED SO LOW THAT EVERYONE CAN ENJOYCRISPS& MOBS DIGISTISLII MID FOODS. PLAKIEPLAAORN OIGESTISLI Pis CRUST. LIGHTER:MORE DELICIOUS CAKE. GET CRISCO TO- DAY. IT NOW COSTS SO LITTLE TO USE CRISCO FOR AU. YOUR COOKING. (a;

Artist:John H. Striebel Art Di/rt./or: Loren B. Stone Agency Compton AtIveitisi 1111-. Client:Procter & Gamble (:ompany.

.AT S THE MATTER THE GIANT CARRIED THEE. OFF MOTHER'S SHEEP GeoPEANUT HPH1 JACK? AND CHOPPED DOWN THE BEANSTALK. t COULD HAVE FOLLOWED HIM. HANPHP - NUTTY NOW I'M OUT jilISTICRY OF LUCK JACKTHE GIANT .K.9LLiS

.r." GIRR! - LED.T-.- - GADZOOKS! ZOUNDS !/ -', SC ,ATCm FOR H THEY ARE /.ESE (...... :t ...'-iS WOULD SLAY THEE AN_ mAG C 1 ARE B - T .-iT, T A SCORE OF OTHERS VOW DEI.,C.OvS,( G,YE YOU I ....!v'TRA PEP NEyER AND A'E ' ENERG, GO GET THEW HIM BEFORE JACK:

_. viiT7D PAT, -.U... THEY'RE Hew Y..,-'F-. Ye- SWELL FOB bousw-Roasne HIVE V011-1 0 0'. ' HOw m_CH BR DOE 0? : E^.JOY OA,..-IES AND Sit MASI FAIR A iNP PLANTERS ..cEr. YOU PS ,G2 ..... BETWEENMEALS ...WHEN YOU CAT TLAT A A NA ! LET- DCMA. PEEuNG ...EAT 'DOUBLE WASTED' ',OTHER -v PLANTERS PEANUTS- RAVI/ ("YE YOU an.E.VE DOTTAtEnbeeFLP nS1-10,1,14E0 PLANTotsAPZN.wAYS PRESThe 11134FeeRfg.sELLERML/NcNy.. 4/F-

WA 8A6/13dm/ 40, APINIVS,

Artist:Ham Fisher Art Director:Paul F.Berdanier. Jr. A genry:J. Walter Thompson Co. Client:Planters Nut k Chocolate Co.

VIC & SADE, Radio's Home Folks A Woman's Way! By Rush NO-THE SHADOW OF NO RAISE Iw RENT! AN' WE GET OUR LANDLORD DARKENS THAT tE2."orl'it,= SENT ABRASS DOOR KNOCKER, AN. OUR HAPPY ROME -BET ESETTER S EXTRA FLOOR PLUGS -UPS FREE ADVICE! CRISCO THEraclatAAzte.c2.0 (MOTHERMEN E smiTaso. MY HAND, SUPER -CREAMED PURE VEGETABLE MAKE! AND AXavET TO.lati,E5THE WITH ME. cRISCOTI SHORTENING) IS NOW PRICED SO LOW THAT EVERYONE CAN ENJOY MR. ERICKSON, CRISPER, MORE DIGESTIBLE FRIED TASTE THIS CHOCOLATE FOODS. FUUtOR, MORE DIGESTIBLE §"OADE.6.1:7 "y`ot.° PIE CRUST. LIGHTER, MORE DELICIOUS S OMACHowNEVER rt. CAKES. GET CRISCO TODAY. IT NOW COSTS SO LITTLE TOUSE CRISCO FOR ALL YOUR COOK NG.

Artist: John H. Striebel Art Director: Loren B. Stone Agency:Compton Advertising, Inc. Client:Procter & GambleCompany

118 COMPLETE ADVERTISEMENTS NEWSPAPERS

le ROM MOO TO YOU WITH LOVE one e the, 'urgers, imp. ter,Ir . rue ttr lieyreh you enrol ma convioulsour. Ape thtest wirer 13/0/ of the Burre in Or Borer herie.. guile nutter- Ire Putee ullyceeptered. may we art wort the purer. whole- onoret thcr rver.uelnuiper nee- arrival. Tt ner r Ord., Crust Orr. A It...nes 'horn the. to yc won ell Ute Pring ,Vre that Dr.., has ourt-tel in Ors Were= fir Plume ePtuer tree...wethe., tr true lenpurtant pure pule railth and heipporreer grrorne chirren. Wrn nay the Borden run reef prim, SI your Pore, ,r,..'.Pants Prorlorts STE I NWAY .41-r liN kl,arr-4 a,

"seaever' tt- - - tatt-

WE LIFT OUR GOLDEN CREST VOICES Please pardon usSinging bit our of our 0 line But we Just can't help carolling few moos to you - of glad tichngs. and happiness. and good health for this and every seasonWe'll make good on these good wishes. too. with your *7 - kind permission. Just leaveitrate tomorrow telling your Borden Man.In, changing to Golden Crest Vitamin D. the milk with the sunshine yams... in itWill you-for happy. healthy Christmasand NewYear? NOA. eon . ote. ti tat10 III110.11 Borden's Farm Products. 7

/ DREW 4 SALUTE FROM THE ADMIRAL

Beeman). deliciout, tent) freahnent it due to the air. tight naekage that keepe this. fine flat or at it4 to of frerth STEINWAY AIDS perfection. Treat ?ourtelf to DIGESTION a package titAn2!

STAMM MOM 4.IICOID SIIMON Oil 11111111,101

el I LWgr,

moot teatuoto toot nmn .Nn know .elonte Ale oe Meet 'Monet on to Om. MLI 01. IRkS urMoot MINE NALLANTINIC S-and ttlj get ettlea outmtnent out al everydot. 'Pero. Sod, F4v0r-those um', post aoNIN. Sot pnreless qoallueo you It ow. ant reoogeoze e. pcduco. ol one o, Amer No AA,* Wore.. Your lame oral toll !rm.Se,. dfleeee,n0., eiroo,l to tusetl. linr 52 so sad full gam, tot rolatnntaltats4 Nam /12 so and uuerr.

11111101 T11:1\1 111:111\ 111111 U111111 BALLANTINE'SAle &Beer CE=E21===.11=3 STANDARD OIL DEALERS

1 20 The Man who Cares saysC1RSTAIRS

\ ,,I1.1.11:I radii... since: /788

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IIRS, 1117% 1 \0l 11 01

111111 '1'11E11 111114A' TO t STIR* -

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AC VS

1 2 1 BOOKLETS AWARD FOR DISTINCTIVE MERIT

4

4

4

Artist: \I. Martin Johnson Art Director: \I. Marlin Johnson Client: Chicago Art Directors Club

Artist: John Averill Art Directors: Robert A. Schmid. John As erill Client: Mutual Broadcasting System, Inc.

AWARD FOR DISTINCTIVE MERIT

123 Artist: Harry Brown Art Director: Ted Sandler Client: Columbia Broadcasting System

AWARD FOR DISTINCTIVE MERIT

124 From Moo To You With Love 41§-4 441 Nilir-

Artist: Keith Ward Art Director: Harry Payne 6cy Beulah Bc.cdeK Agency: Batten. Barton Durstine & Osborn, Inc. 14111111111111:111711/.11, Client: Borden's Farm Products

oh I-

ho ,11111,/

Artist: Taylor Poore Art Director: William A. Kittredge Client: R. R. Donnelley & Sons Co.

Artist: Fred Hauck Art Directors: Fred Hauck, Walter Lloyd Client: Collier's

125 Arti.sts: David 0. (;reen, 'lurk!! Korling ..Irtists: Henry Stahllmt, Dorothy (allney .4 it 1)irector: James NIangan Art I)irector: Dorothy Gaffney Client: NI ills Novelty Company' Igo/el': Abbott Kimball Co., Inc. Client: Strathmore Paper Company

Artist: e4tuIa. Inc.

I,ester Beall Art Directors: W. L. Rogers. Ra I 1 I I .es Art Director: Lester Beall Agency: Prc.. Client: The Sterling Filgra ing Client: %Vest Virginia Pulp .1)1111):111\

3 0 I.

55

ti

5. 11: I:I:IIsI 14: (

Artist: Ilowaid Art 1)itei aril Hai. Client: York !IC (.u11,.

Artist:Fred Hauck Art Director:Fred Hauck Chou: Socony-Vacuum Oil Company.

FROM PULPWOOD TO PAPER SHOW Gam on OW° For the big show. It's colossal-Stupendous-See the eye -filling splendor of the parade of new model announcemeats! Gaze at the thrilling, sales -winning editorial mid -way... that focuses the buying- atte;+tio of more than 2.620,000, affluent, active auto -interested families on the 1939 cars!!!! Get in line and get your ticket for the biggest show on earth -THE '39 MOTOR - BUYING SEASON, as produced by the editors of Collier's and America's leading automotive advertisers. lib

Artist:Fred Hauck .4,1Directors:Fred Hauck, Walter Lloyd Client:Collier's

Artist: V. Bobri Artist:Fred Hauck ArtDirector:Grace M. Jones Art Directors:Fred Hauck, Walter Lloyd Client:Nolde & Horst Sales Co., Inc. Client: 1Voman'sHome Companion

IIt I,11ttt 111111.1.il1111111cult s Lester Beall i! 5 Art Director: Lester Beall Client: The Sterling Engraving Co.

Artist: Lester Beall

Art Director: Lester Beall - ' Client: The Sterling Engraving Co.

129 in

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A nisis: Lester Beall, Joseph Gering Art Directors: Lester Beall, Walter Lloyd Clint: Woman's Home Companion

Artist: Erik Nitsche Art Directors: Robert A. Schmid, Erik Nitsche Client: Mutual Broadcasting System. Inc.

Artist: L. W. Froehlich Art Director: L. %V. Froehlich Client: The Bauer Type Foundry, Inc.

111h., day in the life of Ray D. O'Dollar

130 Artist:Alexey Brodovitch .1rtDirector:Alexey Broolovitch Client:Elimlieth Haters

Artist:Rockwell Kent ArtDirector:Elmer R. Lasher Agency: T. J. \lalonev, Inc. Client:Time, Inc.

2111Pirer.f7r="re!"27;;?!.444":;',N9,42k7"-or'7%.,e-frer.1517.5nr.17r7r..":"."'^1...7.9-,..-- --rk.?.,....c.. Artist:Robert Carroll Art Directors:Robert A. Schmid, Robert Carroll Client:Mutual Broadcasting System, Inc.

Artist:Gene Federico Art Directors:Stuart Campbell, Gene Federico Agency:Abbott Kimball Co., Inc. Client:Abbott Kimball Co., Inc.

132 0

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.;CLO REPR111.1CTION ID* AN OLIO MON Eli PRIN

Artist: Walter Howe Art Director: W. A. Kittredge Client: R. R. Donnelley k Sons Company

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Artist: William Golden Art Director: Ted Sandler P. -0 footnote fir historians from the Columbia Broadcasting System Client: Columbia Broadcasting System [33 , I .ttt

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I 1 Low,. -ttt t.0. 110010,0 .01. %It 1.0.11.1....et-I milt .0 1...0.1 awl Ilt.tt their Art Direct°, : Bert Ray lott-itit .1. ottl 1.11.0tet t. tr.I.. ot st. II -ttititlit Agency: Runkle, TBompson,Kovats, Inc. Client: .bbott Laboratories

Artist: Gene Federico Art Dirctor: Eleanor Nfayer Agency: Abbott Kimball Co.,Inc. Client: Strathmore PaperCornpan '34 Artist: Fred Bond Art Directors: W. A. Kittredge Willard G. Smythe Client: R. R. Donnelley & Sons Company

Artist: Howard NV. Willard Art Director: W. A. Kittredge Agency: R. R. Donnelley & Sons Company Client: West Virginia Pulp & Paper Company

INSPIRATIONS FOB PRI'VTERS NUMBER 110

135 A SHOP TALK ON POSTERS

By HOWARD SCOTT, Poster Designer and Consultant

DEFINITION OF A POSTER

There have been given many definitions of what a true poster is. I venture to add another, perhaps a bit more contemporary. I feel that a poster is an advertisement that exploits a complete situation with true sincerity in a split second. The poster must attract, hold, and in a flash bring home to the reader a complete understanding of the advertiser's message. It must leave a pleasing impression as well as a convincing one. We in America have leaned toward the human interest poster during the last few years. The moving picture, with its tremendous influence, and the great number of purely picture magazines that flood our newsstands have both contributed in shaping the visual conception of the advertiser's audience. Not so long ago, I had a very interesting talk with A. M. Cassandre. the well-known French poster artist. He has no peers when it comes to design, color and supreme ingenuity. Cassandre is a master of the purely symbolical or, let's say, the modern impact poster. He argued that America had no poster technique. We do nothing but blow up realistic paintings, and because we use them on twenty-four sheet poster panels, we call them posters. I'm sure he must have meant that our posters on the whole are not handled technically in the old flat poster treatment used by most of the Euro- peans for years. He failed to see that with a simple, powerful pattern, a strong poster can be had and

137 that any amount of realism within that primary pattern, if painted in its proper key so as not to destroy the impact of this pattern, adds both to the appeal and story -telling value of the poster. This, I told him, is America's poster technique that the masses understand. Exhaustive surveys have been made of the merits of our point of view and they have proved conclusively that as far as America is

concerned we are on the right track in putting on, as I like to call them, one -act plays to a five -second audience. USES OF THE POSTER

Right here I would like to say that perhaps the one form of advertising best suited to the speed and complexity of our modern living is the poster. Its use on the big twenty-four sheet panels, the three sheet and subway hoardings employs only a part of the space in which good poster advertising can do its work most effectively. Most people don't have time to read the lengthy lines of copy that accompany the average advertisement. They are interested in getting their information in capsule form-a digest of all things pertaining to their everyday living habits. The picture magazinesare giving the reader his news by way of the picture. Flash, vivid impressions; that is the true mission of the poster. I believe we shall see the poster technique used more and more in our newspapers, pub- lications and display fields. It seems a natural vehicle to use in getting the messageover to the reader.

CONSTRUCTION OF POSTERS

As to the construction of a poster, this being the most important feature of all, I will try to givea resume of what makes it tick. There is no formula in the designing of a prize-winningposter advertisement. First, and probably the factor contributing most in making a good poster, is that the agency and its client be in perfect agreement that once twenty-four sheet posters have been decided on as the media for a campaign, one cannot put everything, including the barnyard hens, into the design. Also, that there must be taken an entirely separate point of view differing decidedly from that of newspaper and magazine layout. Secondly, the poster should be entertaining. The poster is the one form of advertising that does not give away a "bag of marbles," so to speak, for the few seconds of indulgence by your audi- ence. Unlike radio, which gives entertainment along with the commercials, and the newspapers and magazines, which give you news and fiction, the poster stands solely on its entertainment valueas a compensation to the reader.

138 There has been some criticism of a so-called "gag -lined" poster's ability to sell. True, you cannot put a magazine ad on a twenty-four sheet poster, as most advertisers try to do. The reading time is too short. But you can pick out one paramount feature of your product, wrap it up with a good "gag" line designed into a well -executed pictorial element, add your product identification and wind up by having a two-fisted advertisement that's plugging for you twenty-four hours a day, thirty days out of the month, smacking home on your buying public thousands of quick -selling, pleasing impressions of why your gas starts quicker! Given a good "gag" line, you should explore every possible composition in your preliminary roughs that will tip the reader off to the selling line long before he is within reading distance of the actual line of copy on your poster. A simple pantomime pattern can pour your reader right into the few words in your message. The success of the poster depends on handling both copy and pictorial elements toward this end. You must trap your audience for a split second and then release it with a con- crete impression of your advertisement. Great care should be taken in choosing the actorsin your "poster play." Refrain from blatant colors that only tend to chop your design to pieces. Rather a black and white painting with good value relations than a red, white and blue circus poster that leaves you wide open to every garden club addict's contention that you are smearing the landscape with junk.

Use restraint and good taste and, above all, simplicity.

THE FUTURE OF THE POSTER

The future of anything, of course, is in the lap of the gods. However, I'll venture to say that given an opportunity, the poster will come into its real place in the years to come.It is surely the stream- lined medium of the advertising world, and as such can surely hope for increased importance in the field of propaganda. There is a lack of trained, poster -minded agency executives and artists in this country. However, if the progress made in the last few years canbe maintained, we shall surely see the poster graduate from the red-headed stepchild it has been into its rightful placein advertising.

139 POSTERS AND

MAGAZINE COVERS

.

1.10 THE KERWIN HALTON MEDAL FOR BEST TWENTY-FOUR SHEET POSTER

Siring POWER 4b46,,

444tili IP Essolee MOTOR FUEL

Artist: Albert Staehle Art Directors: Stanford Briggs, Howard Scott Agency: NIcC: -Erickson, Inc. Client: Standard Oil Company of New Jersey Artist:McClelland Barclay .171Director:Walter Geoghegan Client:Gulf Oil Corporation Inew Good GulfSmooth Powe I

Jou 04011111* (Vic?,i, 34rel7

FORD TRUCKS

Artist:Howard ScottArt Directors:Stanford Briggs, Howard ScottAgency:McCann-Erickson, Inc. Client:Ford Motor Company

142 Artist:Hayden \denArt Dirretnrs: Stanford Briggs. Howard Scott Agency\ 1,1 I i t, L on. Inc.Client:St andard Oil Company of New Jersey POWER from ist to3rd

MOTOR FUEL

Wins nQuality

11.747 111,14/D

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TWENTY GRAND N'IsAlz\\ \I10 Client:Axton Fisher Tobacco Co. Artist:Hayden Hayden Art Directors:Stanford Briggs, Howard Scott Agency:McCann-Erickson. Inc.

143 \ON \ 1. \'- \ON 0. .C '

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Artist: Joseph Binder .1rt Director: Burton E. Goodloc Agent N.1. \\-.111er Thompson Co. Client: Peter Ballantine & Sons PURITY BODY LAVOR IN EVERY GLASS

AL E 12 hALLANTINESBEER

LOW-COST-PER-MILE -N

STANDARD RED CROWN GASOLINE

Artist: Stanley Ekman .Art Director: Roy E. AVashburn Agency: McC -Erickson, Inc. Client: Standard Oil Company (Indiana)

144 Artist: Sascha A. Maurer Art Director: Sascha A. Maurer Client: McCandlish Lithograph Corporation

10STERS MCCANDLISH LITHOGRAPH CORPORATION PHILADELPHIA

Are OAJ11-a-FirArz-z2

FROM YOUR MiitiqUr MERCHANTC11)1 INGININGO 410 Artist: Stevan Dohanos Art Director: Lester Ronde!! Agency: Tracy, Locke, Dawson, Inc. Client: Continental Oil Company

145 THE BARRON G. COLLIER MEDAL FOR BEST CAR CARD

PURITY BODY FLAVOR/ 07 in EVERY GLASS

11144.*',4k4

44, 44411, BALLANTINENS Rig Artist: Joseph Binder Art Director: Burton E. Goodloc Agency: J. Walter Thompson Co. Client: Peter Ba I lan iinc k Sons

146 TKILADELPHIA SAVING FUND SOCIETY

NH WAINUT 12TH & MARKET 11TH &LEHIGH BROAD & NUSCOMB 15 S. 5 2 ND 814 DAD 8, MIEAN

Artists: Raymond A. Ballinger. Morris Reid . trt Director:Guy E. Fry .1 gency:Jerome B. Gray. & Co Client:Philadelphia So ing Fund Society

. I rtist:Fred Ludekens ArtDirector:Fred Ludekens Agency:Lord & Thomas Client:M. J. B. Co.

MJB's RICHER ROAST GIVES FINER FLAVOR

117 daily to Artist: Otis Shepard Treatyourself Art Director: Otis Shepard MINQ Agency: Barron G. Collier Corp. DOUBLE Client: Wm. NVrigley Jr. Company UM Healthful Refreshing ueksious

Artist: Ruzzie Green Art Director: Winslow H. Case Agency: Newell -Emmett Company, Inc. Client: Liggett & Myers Tobacco Company

Enjoy Healthful Artist: Otis Shepard Delicious . la Director: Otis Shepard Agency: Barron G. Collier Corp. DOUBLEMINT Client: Wm. Vrigley jr. Company 611M Switch to the Modern Fuel

Artists:Joseph Binder, Everett W. Sahrbeck PPERS ArtDirector: Everett W.Sahrbeck Agency:Chas. Dallas Reach Co. Client:The Koppers Company KE

WIN $1000 FIRST PRI/EI N BIG CONTEST

BRINGSCHEER

Artist:Irvine Kamens Art Directors:David S. Block, Halpert Studios (41White Agency:Brown&Tarcher, Inc. Client: SeemanBros., Inc. Rose Tea

Artists:Joseph Binder, Everett W. Sahrbeck OPPERS Art Director:Everett W. Sahrbeck

Agency:Chas. Dallas Reach Co.

Client:The Koppers Company _04 f OKE PRIZES °THEP.CASH AND272

'49 Artist: Hewitt & Keene Art Director: J. I'. Sawyer Client: Vick Chemical Company ?ot CHILDREN'S COLDS VISM

"MERMAID -KNIT" PONIES

Artist: Gilbert Bundy Art Director: Paul Smith Agency: Kenyon R Eckhardt. Inc. Munsingwear, Inc.

FOR THE MODERN IDEA SEE VIS2SQ ear

ALE& BALLANTINE'S ' BEER PURITY 1300Y-FLAIr -nN?

.Artist: Joseph Binder Art Director: Burton E. Goodloe Agency: J. Walter Thompson Co. Client: Peter Ballantine & Sons

150 A 'list: Texidor Art Director: Herbert S. Lenz Client: R. H. Macy & Co.. Inc.

Artist: Joseph Binder :Irt Directors: Hallas Kenyon. Harold !loupe, Agency: Paris & Pcart Client: A & P Coffee Service

Artist: Sascha A. Maurer Art Director: Sascha A. Maurer THE N.EW HflV E N n Client: New Haven Railroad

151 Artists: Lester Beall. M. Ackoff A tat: Adolph Brotman Art Director: Lester Beall Art Director: Herbert S. Lenz Agency: George Bijur, Inc. Client: R. H. Macy Sc Co.. Inc. Client: George Bijur, Inc.

152 ,1114sopt 1,

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ittici: Lester Beall lit 1)irram: Lester Beall Crient: U. S. VII%

AWARD FOR DISTINCTIVE MERIT

lexey Brollo% itch Art 1)irector: :1Iexe-8E0(10%itch (1u,,t I I cr.% Itaiaar

A If 10 of. II.A1./.1.11111: I4 ø l'ARDE1.1 IOIHOfIfl 1-11IIIpiIflII% ID 1111:111 III DIII 1 NM 11111 IL1111% I II I I III

53 .1 rtist: V. Bobri Client: Nolde & Horst Sales Co., Inc. 1,1 Director: Grace M. Jones

-rett>00

MAROC1A SPICYBEIGEHOSIE F iCC I. 0 It

Artist: Mai Sneer Art Director: Sherman H. Raveson Agency: Hartman & Pettingell, Inc. Client: Dropper McCallum. Inc.

WINDSOR A RIODISN TAN ,T0lIONG SNARL

Artist: V. Bobri Art Director: Grace M. Jones Client: Nolile & Horst Sales Co., Inc.

America's most sought-after stocking

154 T lie omorro t LI 25,,mmtt..301,14 Ststo thndcn

Artist: Ilexey Brodovitch Art DiTertnr: Alexey Brodos itch Client: Harper's Bazaar

AWARD FOR DISTINCTIVE MERIT

155 Artist: Whiting -Fellow Art Director: Louis -Marie Eude limn Sc Country

AWARD FOR DISTINCTIVE MERIT

156 FF**VVIMO~N4It.4.4....444 TOWN &COUNTRY MOY04mr*-VOIMOMO000PFP00040MOOFM1 06004P.M.W.VereOMreogrovv*.el */1

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. 4801 404. $.111.1.00.1140

.-474..440.. A o...04/4444440000000110 milmoir/ MDIFOO09000004A.V3.400480FlreSelie., / A.At Artist: Louis -Marie Luck Artist:Raoul Duly ArtDirector:Louis -Marie Lode Art Director: Louis -Marie Eude Client:'Ibtrn & Country Client: Town & Country

AWARD FOR DISTINCTIVE MERIT

rtist: Horst Art Directors: I lout,NI. F. Agha Client: Vogue 4111.11. 1(1,11)(211 \laa Artist:VictorKeppler Art Director: Wallace F. Hainline Art Director: FrankEltonhead Client:Bet terHomes &Gardens Client: Ladies'Home Journal

Artist: Paul A. Hesse ArtDirector:Peter Martin Client:The Saturday Evening Post 158 ) r; \ I r .1./.1 E) .9J J

Artist: Paul Rand Stanley Ek man Client: Direction Art Director: James A. Shanahan Client: American Photo-Engra vers Association

Artist: Paul Rand ,lit Directors: Dr. Robert I.. Leslie. Perc% Sei tlin Client: P. NI.

Artist: Charles Egri Art Director: \V. L. Bartlett Client: International Nickel Company

.1)64: II. J. liars( hel . lit Directors:Ur. Robert 1.. Lest ie. PereSeit lin (:/eritt: P. NI.

I59 1 6( ) AAR FOR DISTINCTIVE MERIT

IsVIS CaltS11710S

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List: Raiiiond Da Boll Art Director: Rol Ray Agency: Runkle.I lionipson. ats. lin.['Mew: .thbott Laboratories

Artist: Howard Hardy Art Director: Howard Hardy Client: l'ork Ice Corporation

AWARD FOR DISTINCTIVE MERIT

161 Artist: Robert Shaw .411 Director: Myron Kenzer Client: Boow it Teller

Artist: Robert Shaw Art Director: Howard Richmond Client: Saks Fifth Avenue

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Artist: Robert Shaw .Irt Director: \l% con Kenzet Client: Botmit Teller

Irn .eorgc Sumaii .Irt Director: Kenneth Paul Agency: Batten. Barton, Durst ine & Osborn, Inc. Client: New York Telephone Conipaii

162 Artist: ?aul Rand Artist: Paul Rand Art Director: Paul Rand Art Dire:tor: Paul Rand Client: Esquire -Coronet, Inc. Client: Esquire -Coronet, Inc.

Artist: Paul Rand Artist: C lades C. S. Dean Art Dirctor: Paul Rand Art Director: Charles C. S. Dean Client: Esquire -Coronet, Inc. Client: George De Met Sc Bros:

//Ai Ci EO KC' ES CI EOKE DE MET &BROS 1-1 rlirls

J1T D(jil\riv 9 CJs IHE NEW '

.\\II 11'.IIf 0'1111'

Lahoratories

OCTOBER 7TE,

Artist: NI. Martin Johnson Art Director: Bert Ray Agency: Runkle, Thompson. Kovats, Inc. Client: Abbott Laboratories

Artist: M. Martin Johnson Art Director: Bert Ray Artist: Thomas Corbett Agency: Runkle, Thompson, Kovats, Inc. Art Director: Dorothy Gaffney Client: Abbott Laboratories Agency: Abbott Kimball Co., Inc. Client: Strathmore Paper Umnpan

TO 46,...0-wasi ,1 *IA.li rtje, ;dial -4Allw 41111P AliiiIIIfr BEARS THIS ftk / / Id/ //WI/21dr- a2i6a44g,.Web

Artist: William Driscoll Art Director: Charles Chappell Agency: Arthur Kudner, Inc. Client: National Distillers Products Corporation

164 lovglyikincis

Artist:Charles A. Hunn Art DirectoryR. J.HamonAgency:Geyer. Cornell and Newell. Inc. Client:The M.Werk Company

Artist: Martino StudiosArt Directors:Walter Reinsel, John S. FischerA genry:N. W. Ayer & Son. Inc.Client:Lincoln Motor Company

TaAizeWA.136-,&-ratkt7 I Artist: William S.Gillies Art Director:J. Burton Stevens geney:Pedlar & Ryan. Inc. : Ben Burk, Inc.

C) eewhaz/ieitleea comeit 4raiwo1`B a/i/,41

Artist:Sam Marsh .4rt Director:Herbert Bishop A gency:Young & Rubicam, Inc. Client:Packard Motor Car Co.

165 Artist: William S. Gillies Art Director: J. Burton Stevens Agency: Pedlar & Ryan, Inc. Client: Ben Burk. Inc.

GIL (.IS)

Artist: M. Martin Johnson Art Director: M. Martin Johnson Agency: Runkle, Thompson, Kovats, Inc. Client: Abbott Laboratories

.I loni Bonagura Art Director: Walter Lloyd Client: Woman's Home Companion COIVPLETE ADVERTISEMENTS LETTERING

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168 AN INDUSTRIAL DESIGNER THINKS ABOUT HISJOB

/; I I EN RY DREYFUSS, Industrial Designer

The artist, whether he has sold his soul to commerce or is starving in a garret, has the sublime pleas- ure of sitting before his finished creation and knowing that all that is before him is of his own handi- work; he has no one to blame but himself for the success or failure of his effort. He has done a one- man job. On the other hand we designers working for industry share the pride in our creations with many persons. For if we are seriously interested in producing a successful design, not one that merely appeals to our own taste and fancy, we cannot do it alone. The engineers in the factory are the greatest allies of the designer, for they are the men who can make the designer's dreams come true. It is not to our interest to draw a splendid picture and say, "Here it is"; but it is our job to help develop and plan a manufacturable product. We cannot do this in the privacy of our drafting rooms. The research laboratory, the engineering departments of our clients, the observations and wishes of the sales and advertising departments, the public to be ob- served constantly and closely-these must be the tools on our drafting boards, ever more important than our T-squares and paint pots. To find out what the public wants is probably the most difficult of the designer's tasks and the one in which the manufacturer expects the greatest guidance. With this responsibility on his shoul-

169 ders the designer sets out to garner information. It is absurd to think that he is a superman and through his wizardry automatically knows what the consumer will buy. What he must be is a careful

observer and he must use his "merchandising hunch" (really a gauge of how far it is best to go), an intangible something learned only after many years of experience.

In an effort to beautify their plumage woincii will accept the most extreme dictates of the fash- ion arbiters. The designer for industry has learned to watch the degree of change in women's fashions

and take a hint from it. For instance, the extreme styles in women's headgear this year were a pretty

safe tip-off that they would accept more radical designs III household accessories next season. Shoe- makers have had great success with the platform shoe. Net adding a thick sole and so eliminating the heel is a radical change to force upon a woman's accessory whose prime claims to fame here- tofore have been delicacy and lightness and daintiness. But women accepted the change. Once again the industrial designer can take his cue and, without fear of ruining his client's sales, suggest more

radical designs for other products. Two World's Fairs presenting the most modern use of new materials certainly conditioned the public for accepting the use of those materials for application to the things they will purchase next year. The successful designer knows how much of a dose of modernity the public will take. Possibly

our greatest errors have been in selling a manufacturer down the river by giving his product tooad -

1 vanced a design-one for which the consumer was not ready.

Perhaps it will be illuminating to follow through on the appearance design of a specific prob- lem and so show how these theories are applied: Cleaning, no matter how easy we make it for the lady, is bound to be drudgery. But psychologically we can make a woman take pride and delight in

the implement she uses for her work. The form must be simple and pleasing. I have no sympathy with the thought of applying streamlined shapes to a household utility, but I do believe it can be "clean -

lined" in its design. We have a distinct problem in doing a vacuum cleaner. The outward appearance must impress the consumer with ease of operation and the design must silently express the many con-

veniences within the housing. Another element at our command is the spectrum. We are aware that everyone, especially

women, is consciously or unconsciously swayed by pleasing color combinations. We experiment with pleasant colors on the cleaner and the public reacts far beyond our expectations. In our research we find that women object to weight in an object they have to push around. We discuss the possibilities

17o of lighter -weight materials with the factory research laboratories and they approve the use of magne-

sium and various kinds of plastics; we save several pounds-an easily noticeable difference to the pur-

chaser. Women complain that electric cords get tangled in knots when they put their cleaners away. With the assistance of the factory engineers a clip is developed which does away with that nuisance. Rayon has become a magic word in the fashion world. We contact the mills and they develop a bag material containing rayon which conforms to the laboratories' stringent specifications. It brightens up

the fabric and the salesman has a word of high style connotation to use on his potential customer. Our experience has taught us that the seldom exploited sense of touch is not to be ignored. Again returning to the research laboratory we find that rubber and certain types of plastics are more pleasing to touch than other materials, and in further experimenting that some forms are less tiring to hold in the hand than others. This information helps us to produce a more acceptable handle for the vacuum cleaner. Very briefly I have tried to point out how this business of industrial design is one of co-opera- tion on the part of the designer and his staff with the sales management of the research laboratories, the engineers and the public-all of whom contribute information that the designer must use in his work. Many words back, at the very beginning of these paragraphs, I explained (enviously) how an artist working on canvas is his own master, familiar with and accustomed to his materials and his medium. As these paragraphs progressed I have attempted to point out that the Industrial Designer is but a cog in a wheel in producing a design for a product. He must share his bows (and graciously does) with the countless heads and hands which have contributed to producing the design.

171 PACKAGE AND

PRODUCT DESIGN

t__

I 7 2 AWARD FOR DISTINCTIVE MERIT

Artist:Sherman H. RavesonArt Director:Sherman H. RavesonAgency:Hartman & Pettingell. Inc.Client:Propper McCallum. Inc.

173 :07/./ S31.111!ti:) .3 .S uea(I 1.4v :Jopr.qa sainto .3 .s urau :7rtry3 a2Joa3 aQ lah :g .soig

...440:. % Cr- dbctio .. te.". 2? :/S1/./1.' 131J,1 1110(1 sate!.)ossy cap - , II :4opd.qa anyt.)t .L isinbtuoiu p : rm ri2 I .f Jai tioschuotu, -op ."6 - :7ug/0 s,ptiod c,413e12, 4e 4itedtuo3 Arti4s,61 yS

.

:7s!7-111 saileto .3 S uraa :40,1?-qa saliEtID 'D 'S uu3CI :7u/: a9.loa3 au law g Nam .1)64: Joseph Gering .let Director: Lester Beall Client: Florida Citrus Canners Crxrperaticc .-IrtiAts1Varren Wheelock Art Director: Elwood Whitney Agony: J. Walter Thompson Co. Client: Pond's Extract Company

DANYA

POND'S CREAM LOTION EITPAIT COYPA,4Y Artist: Sam Marsh.4;1 Director: Elwood 1Vhitney Agency: J. Walter Thompson Co.Client: I'. Ballantine k Sons

Artist: Leo Rackow Art Direth».: 1l orris Rosenblum Client: L. Bomberger & Co.

176 .4rtists:Irving Asherman, James D. Herbert Art Director: JamesI). Herbert Client:United Cigar -Whelan Stores Corporation

Artist:William !Vries Art Directors: ArthurIVeithas, CaesarFerri A &lacy:Cecil, Warwick & Legler Client:N. Lamont Corliss Co.

Artist:Joseph B. Platt .9rt Directors:Herbert S. Lenz. Paul M. Hollister Client:R. H. Macy & Co., Inc. . I A. &kw(Iler Art l)irertor: Emil A. Sufi:1(111er American Coating Mills. Inc.

Artist: Donald fluffier Director: (.comes Wilinct .lienrt: Lennen M it did]. Inc. Client: Woodbury.

.lutist: (:u.(;1% jrnscn .411 1)net In) C.usta% Jensen. Park Berry Agency: Ruth:11cm g: Co.. Inc. Clint:1 he Paton Corporation

78 Artist: Harold C. NI( \ nit \ Art Director: Harold C. NI( \II \ Agency: Batten. Barton. Durstine t; Osborn. I m . Client: Richard Hudnut

Artist: George C. Adams Art Director: lAw(xxl %%juicy Agency: J. Valter Thompson Co. Client: J. B. Villianis Co.

Artist: Frederick Chance Art Directors: Frederic Suhr. Frederick Chance Agency: Briggs & Inc. Ghent: \Iasi in Products. Inc.

179 PICTURES THAT PULL PEOPLE

By LEO RI) LUCE, Art Director, Arthur Kudner, In(

Each day more and more advertisements are being planned with regard for readership surveys. The danger of radio and television absorbing the bulk of advertising funds is reduced as the effectiveness of each published advertisement is increased. The effects of such activities can result in only one thing: The strengthening of the forces which advertising art have always exerted in influencing public opinion. This means more work for the artist, a more secure income, and the assurance that theyoung men who are now entering the advertising art field will have the benefit of the experience of those they succeed.

OH! AH! AH, HA! If you visited the Eastman Kodak If one group of zoo people says There have developed during the exhibit at the World's Fair more "Ah-h-h!" when a picture is shown past 1 o years many ways of sound- than once you may have noticed them, any other similar group of ing public reaction to the printed that in the cavalcade of color each 200 people will do the same. page, and there are many new audience reacted the same way as This trait in human nature ways being developed today, but the various subjects were thrown makes it possible to ask any repre- all are basically this, in principle, on the giant screen. sentative group of 200 people "Let a small sample represent the which of several pictures interests whole." them most and thereby know which picture will most interest 2,000,000 people.

18o In the course of such investi- gating it is natural that some few picture subjects should be repeatedly found among those which people like most, and other subjects among those which people like least.

SOMETIMES .. CIRCUMSTANTIAL EVIDENCE IS SUFFICIENT

II ...$110 01- ill 1,1,11,,111 l I 1 ... I N..111.. WIWI\ \ 1111111I ..... IIII

WHEN IT SAN 441) YOU START

Observed by i8% of Men Readers Observed by 50% of Men Readers

Accurate records of such infor- mation over a period of years Every lime you Start - 4/0 in many thousands of cases be- your engine wears heil comes a dependable barometer Whereveryou drive... of human interest or boredom.

here

SWIM COOK rrcre thr ,r;'; 21;

the U MOLT Cfl_

Observed by 15% of Men Readers Observed by 62% of Men Readers

By this means it is possible to compare a proposed advertise- ment with the records of many hundreds of similar advertise- CO ments and foretell how many people can be expected to see it ak-e ft, (e.e. when later it is published.

(,1 - _

7 Z.

7,r7.A7/

lia:=EltuEuraac...r

Observed by 15% of Men Readers Will be observed by ?% of Men Readers

181 By a process of elimination the advertisements which do not a:mum-mga ,,,,a interest people can be replaced with the ones which interest _2 FAMILY -NEEDS FORECAST them, and advertising art thereby made core and more valuable.

...a remarkably simple method for checking your own life insurance against the

SEVEN VITA NEEDS it m.uld have to meet/' 1\1.1IIIIIII I NI -11,

14_

A...Ware

The

Observed by 15% of Men Readers Observed by 63% of Men Readers In examining one group of STOOPO V woo advertisements of equal cost it was found that one was observed by only 8% and an- other by 8o% of men readers. Thorough analysis discloses a that there are many factors C,) which cause one advertisement 0 t to be seen by o times as many as another, one of which is the choice of illustrative subject 0,1938 Automatic Tuning matter and of layout. No single factor gives an ad- vertisement high observation or readership, but always a combination of factors.

Observed by 8% of Men Readers Observed by 8o% of Men Readers

As an example the four adver- tisements show one which was observed by 20% of women readers. It pictures a "baby." Another was observed by 32%. It pictures a "baby" and has "visual emphasis." Another, observed by 55%, pictures a "baby," plus an "ani- mal," plus "visual emphasis." The fourth, observed by 73%, pictures a "baby" plus an "animal" plus "something un- usual happening" plus "visual emphasis."

Observed by 20%, 32%, 55%, 73% of Women Readers

182 An examination of a small

group of 250 advertisements shows that the factors in the above chart were present in ratios as represented by the two grey bars. The dark grey bar represents the number of times the factor occurred amongadvertisements observed by very few people. The light grey bar, those ob- O served by a great many people.

111. I COSTUME SH OCK LOCALE USE

"Health", "Danger", "Shock", pARENTs "News", plus visual emphasis should twoze. ahout give high observation to these advertisements. The one on the right was observed by more than 3 times as many women as average to see advertisements in this product field.

- 1,( Arc h par_nt,sjahudisid.

Observed by 65% of Men and 6o% of Observed by 57% of Men and 74% of fromen Readers fl'omen Readers

"Humor","Pathos","Romance", "Unusual Costumes" plus" Visual 111111 10 101 DB 11 THE Bilk 111T Emphasis" in combination are strong factors in getting obser- vation. These advertisements were thoroughly read by an unusually high percentage of women.

- thereshe was CHINCH WAITING Kt ME

Observed by 41% of 11'omen Readers Observed by 87% of IVomen Readers

183 "Something t'nusual Happening'' plus"usual Emphasis"never fail in combination to get high

observation. Whether the tech- n 19 tie be old-fashioned or modern, ivhether the layout be 4e41111-' ki AI ..;1 smart or buckeye, the right combination will always win. the wrong combination will al- makes all 60l these fine gums for your pleasure and enjoyment ways lose.

eri/dAm,

Observed by 50(;, of Men Readers Observed by 78(:' of Men Readers

c/o of the women who ob- served the life insurance adver- tisement (left) thought it was an Eastman Kodak ad, so much did it resemble the Kodak ad- vertisement (right). Only 1% correctly identified it. The laws governing the react- ing habits of average people are constantly at work, and in Areapoter 611...610 tediedoei af sway a fedi "hen this case raised the observation athes aria tad treks re lcroe 'MI WI bark glalag 6sa spin 65% above the field average, fang day,sperlouriost Thew la- dr Saws wan nrady oak itnit but lowered the identification sompianoloall Inn To - by !)o%.

7k ghat SA410S,A0re at, ,.takeox

Observed by 53% of II'omen Readzi 'ed by (,5% of II (nnen Readers

The laws governing reading (and seeing) habits are a fitscinating study. Armed with sufficient facts it is possible to foretell howmany men and how many women will see, read and correctly identify advertise- ments before they are published. This advertisement is one of the 52 ads in a magazine whichwere appraised on the day of publication. The ad was appraisedat 40% observation and 11% reading by men, 55% observation and 15% read- ing by women. When the readership reports from 36 cities in the United States were available 3 weeks later. an average oferror of less than 2% was found in the appraisal of the52 advertisements.

ii Observed by 38% and read by 12% of Alen Readers

Observed by 57% and read by 22% of 11'.omen Readers 184 INDICES INDEX OF ARTISTS

These are the names of the artists whose work you have admired in the preceding pages. Also their addresses, in the event you are an advertiser or art director who would further commend them with a commission. It is this kind of appreciation that keeps Art wearing new shoes and eating regularly.

Aarons. Leo, 597 Fifth Ave.. New York. 22, 23. 30..11 Chance. Fiederick, 11 Heritage Road, Haddonfield. N. J.. Abbe, James. 527 East 72nd St., New York. 72 107. 179 Abrams. Dora, 39 West 53rd St., New York. 107 Christensen, C. G., 630 Fifth Ave.. New York, 66 Ackoff, M.. C/O Lester Beall. 320 East .120(1 St., New York. 86. 9,, Clemmer, Richard, 46 East 5oth St., New York, 67, 104. 152 Connelly, George, c/o W. H. Hocdt Studios. Inc.. 212 \Vest Adams, George C., 420 Lexington Ave.. \ ei York. 179 Washington Sq.. Philadelphia. l'a., 107 Adams Studios. 202 East 44th St., New Vol k. lili, 92 Content. Dan, 112 \% est 5.1th St.. New York, .12 Albert. Ray. I I, Madison Ave.. New York,71 Corbett, Thomas. 45 West .15th St., New York, 164 Albrecht. Carl. 50 West 561 h St.. New York. 86 Corcos, Lucille, 121 Joralemon St., Brooklyn. N. Y.. 12 Allen, James E., 41 Mayhew Ye.. larchmont. N. l'.. 38 Covarrubias, Miguel. Sixth Ave. & 58th St.. New York. 18 .Anderson, Lyman. 45 Pondfield Road West. Bronxville, N. Y., Cowles. Frank D.. Hartford. Conn., 35 68, 69 DaBoll, Raymond, 6 North Michigan Ave.. Chicago. III.. 16: Archer, Fred R.. 2544 West 7th St., Los Angeles. Calif.. 90 Dahl -Wolfe, Louise, 58 West 57th St.. New York. 53. 7 I. 72 Arthaud, Marcel, Paris, France. 72 Davis. Floyd, 1,6 West 87th St.. New York. 21 Asherman, Irving. c/o United Cigar -Whelan Stores Corp.. 330 Dean, Charles C. S., 3,o East 44th St., New York, 163, 171 West 42nd St.. New York, 177 Dirks, Rudolph, c/o Fred 1Vish, Inc., 12 East 41st St., New York. Atherton, John, Ridgefield, Conn., 2.1 43 Averill. John, 155 East Ontario St., Chicago. III.. 81. 88. 123 Dohanos, Stevan. c/o Charles E. Cooper, 155 East 44th St., New Ball. \lac, 480 Lexington Ave.. New York. 63.64. 1,2 York, 29. 70. 145 Ballinger. Raymond A.. 331 South Camac St., Philadelphia. Pa.. Dom, Peter. & Associates. .1.11 Lexington Ave.. New York. 171 147 Dome, Albert, 74o Madison Ave., New York, 20. 26. 30.93. 1,6 Barclay, McClelland, 36 Central Park South, New York, 142 Driscoll, IVilliam, 'rower Artists. RCA Bldg.. New link, 164 Barschcl, H. J., 68-zo Burns St.. Forest Hills, N. Y., 159 Dufy, Raoul. 5 Impasse Guelma, Paris, France. 137 Beall. Lester. 32o East 42nd St., New York, Early, Walter, 330 East 43rd St.. New York. 86. 126. 129. 130, 152. 153 Egri, Charles, 48 West 48th St.. New York, 159 Becker, Marvin. San Francisco, Calif.. 81 Ehrlich -La Zink. Inc., 1 West 47th St., New York, 7, Benrimo, Thomas, 59 Hillcrest Ave.. Larchmont. N. Y., 56 Ekman. Stanley. 54o North Michigan Ave., Chicago. Ill., Bert!, Morris. 33.1 South Camac St.. Philadelphia. Pa.. 1.17 85. 114. 144. 159 Binder. Joseph, too Central Park South, New York, Ensminger, H. Foster, c/o H. Watts Studio, 42o Lexington Ave.. 144, 146, 149. 150, 151 New York, loft, 113 Black Star Publishing Co.. 42o Lexington Ave., New York, 31. 82 Eude, Louis -Marie, 59 East 56th St., New York. 157 Bobri, V., 175 West 73rd St.. New York, 128, 154 Falter, John, 310 North Ave.. New Rochelle, N. Y., 28 Bonagura.lbni..1 East 53rd St., New York, 166 Fawcett, Robert, 110 Fat 1_0(1 St.. New York, 28 Bond, Fred, 10931 1Veyburn Ave.. Westwood Village. Los Federico, Gene, 2927 1Ve.i 2 It h St.. Brooklyn. N. Y.. 132. 13.1 Angeles, Calif:, 135 Feher, Joseph, 737 Nort h \I i1 higan Ave., Chicago. Ill.. 108 Brindle. Melbourne, c/o James Perkins. 1,0 East 42nd St., New York, 89.90 Finley -Jones. 480 Lexington Ave., New York. 27 Brodovitch, Alexey, 3o4 East 66th St., New York. 131, 153, 155 Fisher, Ham, 1o50 Park Aye.. New York, 118 Brody, Marianne, c/o Saks Fifth Avenue, 6, t Fifth Ave.. New Fitz. Grancel, 5 Prospect Place, New York. 43 York. 106 Fox, Fontaine, c/o Fred \Vish, Inc., 12 East 41st St., New York, 43 Brotman. Adolph. c/o R. H. Macy 3:Co., Broadway & 3,1h Freeman. Fred. 43 East .19th St., New York. 6, New York, 152 Frissell'Ibni. 206 East 16th St., New York, 63 Brouard, William, 45 West 45th St.. New York, 37 Froelich, L. W..235 East 45th St., New York, 13o Brown, Harry, 219 West 13,11 St., New York, 7,, 12.1 Gaba, Lester, 8o West 4oth St., New York, 6.1 Bruehl, Anton, 480 Lexington Ave., New York, 37.62 Gaffney, Dorothy, 1062 East 32nd St., Brook ly if. N. Y., 126 Bull, Johan, Roxbury. Conn.. 23 Galloway, Ewing. 420 Lexington Ave., New York, 4o Bundy, Gilbert, 395 Riverside Drive, New York, 91, I I I, 150 Geoghegan, \Valter B., 2.17 l'ark Ave., New York, 69 Carroll, Robert. 229 East 79th St., New York, 132 Georgi, Edwin A., James St.. Norwalk, Conn., 42, 58 Cassandra, A. M.. 3 Quai Voltaire. Paris. France. 36 Gering. Joseph. 320 East 4211,1 St., New York, 34, 91, 130, 175

186 Gibson. Charles Dana, 127 East 73rd St.. New York, 25 Nyholm, Peter. Ili East 32nd St., New York, 90, 104 Gilchrist. James H., 309 Curtis Bldg., Detroit, Mich.. 23 Pagano. Inc., it East 51st St.. Ness. York, 126 Gillies. 1Villiam S., 424 Madison Ave., New York, 165. 166 Patterson. Russell. 40 East 49th St.. New York, 113 Golden. William. 485 Madison Avenue. New York. 89, 133 Pennebaker, John Paul, c/o Underwood & Underwood. 237 E. Ontario St., Chicago. Ill.. 26 Gray, Thomas. 671 Lincoln Ave.. Orange, N. J.. r to Peters. Charles. c/o MacKinnon. Peters & Paulsen Studios, lac., Green. David 0., 4100 Fullerton Ave., Chicago, III., 126 48o Lexington Ave., New York. 82 Green. Ruzzie. 18 East 48th St.. New York, 148 Petersen. K. Gunnor, to Park Ave., Ness. York. 43 Greenwald. Herbert c/o R. H. Macy & Co.. Broadway & 34th St., Peterson. Perry, 45 West 45th St.. New York. 29 New York. 105. 112 Philipp, Robert. 420 Madison Ave., New York. 109 Grohe, Glen, 324 East 41st St., New York. 39 Platt, Joseph B., .180 Lexington Ave.. New York, 177 Hauck, Fred, itio East End Ave., New York. 37, 125, 127. 128 Podorson, George A., 25o Park Ave.. New York. 92 Hawley, Peter, c/o W. 0. Kling & Associates, Chicago, III.. 17.37 Poore, Taylor, 737 North Michigan Ave.. Chicago. III.. 125 Hardy, Howard. 137 East 38th St., New York. 127. 161 Rackow, Leo, 15 West 51st St.. Ness. York, 176 Hayden. Hayden, 405 East 54th St.. New York. 143 Rand, Paul, 44 East 5oth St.. New York. 159. 163 Helck, Peter C., lo East 53rd St., New York. 8. 33. 36 Raveson. Sherman H.. c/o Pettingell & Scnton. 673 Fifth Ave., Herbert, James D., c/o United Cigar -Whelan Stores Corp.. 330 New York, 173 Hendrickson, David, New Hope. Pa.. 20 Richie. Robert Yarnell. g Rockefeller Plaza. New York, 39 Hesse, Paul A., 480 Lexington Ave.. New York. 33. 158 Rittasc. William, 247 South 15th St., Philadelphia. Pa., 38 Hewitt & Keene, 2 West .16th St.. New York, 150 Richards, Walter, 155 East 44th St., New York, 114 West 42nd St.. New York, 177 Rockwell. Norman, New Rochelle, N. Y.. 19 Hiller. Lejaren A.. c/o Underwood & Underwood. 321 East 4.1th St., New York, 88 Ross. Gordon C.. 7-255 General Motors Bldg.. Detroit, Mich., 73 Hoban, Walter, c/o King Features Syndicate, 235 East 45th St., Rundle. Henry M., 17 N'alle7. View Terrace, Moorestown, N. J.. 73 New York, 115. 116 Roese, Herbert, 154 East 37th St.. New York, 89 Hodge. Max. University of Michigan, Ann Arbor, Mich., 93 Saalburg, Allen. 38 West 56th St., New York, log Hokinson, Helen E., 2 Beekman Place, New York. 111 Saalburg. Leslie, 38 West 56th St.. New York, 38.62 Holmgren. John, 50 Morningside Drive. New York, 115 Sahrbeck, Everett W., too Central Park South, New York, 149 Horst, c/o Vogue Studio, 420 Lexington Ave., New York, 26, 157 Sakren. 404 East 55th St., New York, 113, 115, 117 Howe, Walter, 35o East 22nd St.. New York. 133 Schaedler, Emil A., to931 215th St.. Queens Village. N. Y.. 178 Hughes, George, 155 East 4.1th St.. New York. 29.34 Schucker, James. 51 West loth St.. New York, 35, 68 Hunn, Charles A., Dayton, Ohio. 165 Schwartz. Dr. Ernst, c/o Agkt Ansco Corporation. Binghamton, Hunter. Donald. 51 East 42nd St.. New York, 178 N. Y., 41 Hurrell, George, 8706 Sunset Blvd., Hollywood, Calif., 111 Scott, Howard, 271 Madison Ave., New York. 1.12 Jensen, Gustay. 288 Lexington Ave., New York, 178 Scott, John. 48o Lexington Ave., Ness. York. 83 Johnson. Edward, c/o Denker, Johnson & Fleck. 415 Lexington Shaw, Robert. 424 Madison Ave., New York, 162 Ave., New York, 113 Shepard, Otis. c/o Wm. Wrigley Jr. Company, 410 North Michi- Johnson, M. Martin, 43 East Ohio St.. Chicago, III.. 123. 164, 166 gan Ave.. Chicago, III., 148 Kamens. Irvine. 6812 Burns St., Forest Hills. N. Y..I 19 Smith, Irwin, c/o Byron Musser, Inc.. .15 West 45th St.. New Kent, Rockwell. Ausable Forks, N. Y., 131 York, 112 Kent Studios, 385 Madison Ave., New York.. 6o Snow, Roy, Harrisburg, Pa., 87 Keppler, Victor. 25o East 43rd St.. New York. Spadea. Jean. 471 Park Ave.. New York. 107 24, 25.57, 65, 112. 158 Staehle, Albert, 42.1 Madison Ave., New York. 39. 141 King, Joseph, 155 East 44th St.. New York. 117 Stahlhut, Henry, 98 Parrott Place. Brooklyn, N.Y., 126 Klauck, Cy, 320 East 42nd St.. New York, 32 Striebel, John H., 323 East 58th St., Ncw York, 118 Korling. Torkel. 4 ttio Fullerton Ave., Chicago, III., 126 Suman, George, 383 Madison Ave.. New York, 162 Kramer. Harold. c/o Stevens -Gross Studio, 82o North Michigan Sweer, Mary, c/o Pettingell & Scnton, 673 Fifth Ave., New York, Ave., Chicago. 111.. 87 154 Kries, William, 149 East 36th St., New York, 177 Teale, Edwin Way. c/o European Picture Service. Inc., 353 Fifth Lawson. Bert, c/o Columbia Broadcasting System, 485 Madison Ave.. New York, 87 Ave., Ness' York. 27 Texidor, 384 Central Park West, Ness. York. 151 Ledo Studios, t9 West 441.. 11 C.A.. New York. 93 Thurber, James, 59 West 44th St., New York, 103 Lenz, Herbert S.. c/o R. H. !Macy & Co.. Broadway & 34th St.. Trautwein, Victor, Chicago, III., 40 New York, 105 Ulreich, Buk. 145 East 4oth St., New York. 57 Lincoln, F. S., 114 East 32nd St., New York, 82 Underwood & Underwood. 321 East 4.1th St.. New York, Ludekens. Fred. San Francisco. Calif., 29, 1.17 22,38.67.111 McManigal, J. W., Horton, Kan.. tog 'l'oight, C. A., c/o Fred Wish, Inc., 12 East 41st St., Ness. York, 43 McNulty, Harold C., Norwalk, Conn., 179 M'ard, Keith, New Canaan, Conn.. 85, 110, 125 Mack, Robert, 27o Sutter St., San Francisco, Calif.. 158 Waxman, Henry, 146 East 56th St., New York, 61 Marsh, Sam, 420 Lexington Ave., New York, 165. 176 M'ebb, Paul, c/o Fred Wish, Inc., 12 East 41st St., New York,43 Marshall, Francis, London, England, 69 M'heelock, NVarren, 1931 Broadway. New York, 175 Martino Studios, 27 South 18th St., Philadelphia. Pa., 165 1Vhitcomb, Jon, 155 East 44th St., New York, 21 Matter, Herbert, 45 Prospect Place. New York, 39.59 Whiting -Fellows, 730 Fifth Ave., New York. 156 Maurer, Sascha A., 48o Lexington Ave., New York, 1.15. 151 lVillard, Howard W., 3 to East 55th St., Ncw York, 135 Meerklimper, E., c/o Monkmeycr Photo Service, 225 Fifth Ave.. %Villaumez, R., 3o8 East 51st St., New York, los New York, 83 Williamson, Howard, c/o Byron Musser. Inc., 45 West 45th St., Mettee. Holmes I., Baltimore, Md.. 4 t New York, 116 Monet, Dorothy. 424 Madison Ave.. New York, 93 Williamson, James W., Meads Lane. Greenwich, Conn., 21, 67 Mulvaney. Eric, 16g East 78th St.. New York. i06, 108, 110 Woody, Martha. 22 East loth St.. New York. 43 Muray, Nickolas, 18 East 48th St.. New York, 31 Young, Richard. 43 East 27th St., New York, 107 Nitsche. Erik. 210 East 68th St.. New York, 85, 13o Zepf. Tony, Berl in-Marienclorf. Germany, 72

187 INDEX OF ADVERTISERS

This is more than a list of advertisers whose advertising has found its way into thesepages by virtue of merit. It is a group of modern patrons of Art who have the mans and thecourage to employ good artists and give them space in which to exercise their skill and imagination.

A. & P. Coffee Service, 151 Cannon Mills, Inc., 57, 59 Abbott Laboratories, 134, 161, 164, 166 Carstairs Bros. Distilling Co., 112 Adams Studios, 92 Caterpillar Tractor Co., 81 Advertising & Selling, 84 Centaur Company, The, 20, 85, 115 Agfa Ansco Corporation, 38, 41 Chicago Art Directors Club, 123 American Chide Company, 116 Chicago Tribune, la American Coating Mills. Inc., 178 Climax Molybdenum Company, 39 American Photo -Engravers Association, 159 Cluett, Peabody. & Co., Inc., 22, 23, 113 American Telephone &Telegraph Co., 36 Collier's, 125, 128 American Viscose Corporation, .12, 55, 61, 71 Collins, Miller & Hutchings, Inc., 88 Angostura -Wu ppermann Corporation, 61 Columbia Broadcasting System, 27, 89, 124,133 Armstrong Cork Products Company, 4 Conmar Products Corporation, 92 Arden, Elizabeth, 6q Container Corporation of America, 72, 85 Axton Fisher "Ibbacco Company, 1.13 Continental Oil Company, 145 Ballantine, Peter & Sons, 115,144, 146, 150, 176 Corliss, N. Lamont Co., 177 Bamberger, L. & Co., 106, 108, 110, 176 Corning Glass Works, 57, 65 Bauer 'Ij'pe Foundry. Inc.. The, 130 Cross, Mark, 93 Beck Engraving Company, The, 83, 87 Curtis Publishing Company, The, 19, 37_10, 108,109 Bermuda Trade Development Board, 67 Davis & Geck, Inc., 88 Better Homes & Gardens, 158 De Met, George, & Bros., 163, 174 Bijur, George, Inc., 82, 86, 90, 152 Direction, 159 Bonwit Teller, Inc., 72, 103, 107, 162 Donnelley, R. R. & Sons Company, 125, 133,135 Borden's Farm Products, Ito, 125 Du Pont de Nemours, E. I. & Co., Inc., 6.1. 72, 87 Bristol-Myers Co., 2 I, 117 Eagle-Picher Lead Company, 87 Brown & Williamson Tobacco Corp., 23 Eastman Kodak Company, 32, 40 Budd, Edw. G. Manufacturing Co., 21 Economics Laboratory, Inc., 90 Burk, Ben, Inc., 165, t66 Esquire -Coronet, Inc., 163 Californians, Inc., 29 Florida Citrus Canners Cooperative, 175

188 Florida Citrus Commission, 39 Paton Corporation, The, 178 Ford Motor Company, 93, 142 Personal Products Corporation, 31 Fortune, 56 Philadelphia Saving Fund Society, 147 Frankfort Distilleries, Inc., 37, 66 Planters Nut & Chocolate Co.. 118 French Line, 72 Pond's Extract Company, 26, 174, 175 General Cigar Co., Inc., 113 Popular Publications, Inc., 82 General Foods Corporation, 115, 116, 117 l'rocter & Gamble Company, 33, 41, 43, 118 General Motors Sales Corporation, Propper McCallum, Inc., 154, 173 Buick Motor Division, 66 l'rovince of Quebec, 39 Gulf Oil Corporation, 28, 30, 33, 142 R. C. A. Manufacturing Co., 73 Hamilton Watch Company, 24, 26, 65 Revlon Nail Enamel Corporation, 71 Harper's Bazaar, 153, 155 Saks Fifth Avenue, 06, 162 Hawaiian Pineapple Co., Ltd., 18, 36 Sanderson & Porter, 89, 90 Hawes, Elizabeth, 131 Saturday Evening Post, The, 158 Heinz, H. J. Company, 7, 23, 37.40 Seagram Distillers Corporation, 42 Higgins, Chas. H. & Co., Inc., 69 Seeman Bros., Inc., 149 Hudnut, Richard, 179 Servel, Inc., 28 International Nickel Company, 159 Shell Oil Company, 114 Kellogg Company, 43 Sinclair Refining Company, Inc., 38 Kimball, Abbott Co., Inc., 132 Singer Sewing Machine Company, 31 Koppers Company, The, 149 Socony-Vacuum Oil Company, Inc., 127 Krueger Brewing Company, 114 Squibb, E. R. & Sons, 25, 112 Ladies' Home Journal, 103, 158 Standard Oil Company (Indiana) 114, 144 Lever Brothers, 71, III Standard Oil Company of New Jersey, 14 1, 143 Liberty Mutual Insurance Company, 73 Steinway & Sons, 107, 109 Life Savers, Inc., 30 Sterling Engraving Co., The, 126, 129 Liggett & Myers Tobacco Company, 148 Strathmore Paper Company, 126, 134, 164 Lincoln Motor Company, 62, 165 Talon, Incorporated, 64, 93 Lipton, Thomas J., Inc., 29, 34 Taylor, W. A. & Co., (for Martini & Rossi), 29 McCandlish Lithograph Corporation, 145 Tide Water Associated Oil Co., 18 M. J. B. Co., 147 Time, Incorporated, 34, 37. 67, 91, 104, 111, 131 Macy. R. H. & Co., Inc., 105, III, 112, 113, Town & Country, 156, 157 151, 152, 177 Travelers Insurance Company, The, 20, 24, 25, 35, 70 Maryland Casualty Company, 63 United Cigar -Whelan Stores Corporation, 177 Mastin Products, Inc., 179 United States Envelope Company, 153 Mills Novelty Company, 126 United States Steel Corporation, 42 Munsingwear, Inc., 91, 150 Vick Chemical Company, 15o Mutual Broadcasting System, Inc., 85, 91, 123, 130, 132Vogue, 157 National Carbon Company, Inc., 116 Walker, Hiram & Sons Inc., 21, 22, 38 National Distillers Products Corporation, 6o, 164 Werk, M. Company, The, 165 New York Life Insurance Company, 68, 69 West Virginia Pulp & Paper Company, 126, 135 New York, New Haven & Hartford R. R. Co., 15 Williams. J. B. Company, 32, 179 New York Telephone Company, 162 Woman's Home Companion, 89, 128, 130, 166 Nolde & Horst Sales Co., Inc., 128, 154 Woodbury, John H., Inc., 178 Northwestern Mutual Life Insurance Company, 26 WOR, 84 Nudelman, Charles W., Inc., 63 Wrigley, Wm. Jr. Company, 148 P. M., 159 York Ice Machinery Corporation, 127, 161 Packard Motor Car Company, 165 Yardley & Co., Ltd., 58 Parke, Davis & Company, 27 Young & Rubicam, Inc., 83

189 ADVERTISING AGENCIES

These are the "cooks" who take the art, the copy and other ingredients and by different recipesget flavor and individuality into advertising in its various forms. They work long and late-with clients and artists. with printers, engravers and media men-for which they geta commission and an occa- sional compliment. such as the appearance of their work in the pages of this Annual of AdvertisingArt.

Alley & Richards Company Kimball, Abbott Co., Inc. Ayer, N. W. & Son, Inc. Kobbe, Philip Badger and Browning & Hersey, Inc. Kudner, Arthur, Inc. Batten, Barton, Durstine & Osborn, Inc. Lennen & Mitchell, Inc. Bijur, George, Inc. Lord & Thomas Briggs & Varley, Inc. McCann-Erickson, Inc. Brown & Tarcher, Inc. Maloney, T. J., Inc. Buchanan & Co., Inc. Mathes, J. M., Incorporated Buchen Company, The Maxon, Incorporated Calkins & Holden Mears Advertising, Inc. Collier, Barron G. Corporation Needham. Louis & Brorby, Inc. Compton Advertising, Inc. Newell -Emmett Company, Inc. Donahue & Coe, Inc. Paris & Peart Ellis, Sherman K. & Co., Inc. Pedlar & Ryan, Inc. Federal Advertising Agency, Inc. Presbrey, Frank, Company Fertig, Lawrence & Co., Inc. Reach, Chas. Dallas Co. Fuller & Smith & Ross, Inc. Runkle, Thompson, Kovats, Inc. Geyer, Cornell and Newell, Inc. Thompson, J. Walter Co. Gray, Jerome B. & Company Tracy, Locke, Dawson, Inc. Hartman & Pettingell, Inc. Warwick & Legler Kenyon & Eckhardt, Inc. Young & Rubicam, Inc. 190 THE ART DIRECTORS CLUB

OFFICERS 1939-1940

WALTER GEOGHEGAN. President LESTER BEALL, First Vice -President GORDON AYMAR, Second Vice -President PARK BERRY, Treasurer HUBERT F. TOWNSEND, Secretary DEANE UPTEGROVE Exerutiz.e Committee: WILLIAM IRWIN LESTER JAY LOH LOREN STONE

OFFICERS 1938-1939

WALTER GEOGHEGAN, President GUY GAYLER CLARK, First Vice -President BYRON MUSSER, Second Vice -President PARK BERRY, Treasurer ERNEST BUTTON, Secretary DEANE. UPTEGROVE Executive Committee: WILLIAM IRWIN LESTER JAY LOH LOREN STONE

EXHIBITION COMMITTEE

LOREN STONE, Chairman JOHN HEPBURN TINKER JR., l'ice Chairman RI SA H EY \ IAN, Executive Secretary M. F. AGHA PARK BERRY WINSLOW H. CASE MYRON KENZER HOWARD SCOTT LESTER BEA I.L ERNEST BUTTON CHARLES T. COINER HARRY PAYNE. ELWOOD WHITNEY

MEMBERS 1939 Robert Stewart W. A. Adriancc Jr. Hugh Connet A. G. Hoffman Byron J. Musser M. F. Agha C. Halstead Cott ington Paul Holder Ralph Mutter Loren B. Stone Frederick J. Suht A. Armando Robert Cox 1Villiam A. Irwin Ben Nash Gordon Aymar Parmelee W. Cusack E. G. Jacobsson J. H. Neebe J. Gilbert Sutton George B. Switzer Cecil Ba gluten J. Clarence Damron Thomas W. Jarvis William Oberhardt John Hepburn Tinker Jr. Lester Beall C. C. Dean Peirce Johnson Edward F. J. O'Connell Charles W. Beck Jr. F. R. Deppe Jr. Roger Joslyn Albert J. Ohlson H. J. Torgesen Harry B. Beck Rocco Di Marco William Kaup Sidney Oxberry Beverly Towles Hubert F. Townsend Thomas Benrimo Ken wood E. Dixon Hallas Kenyon Harry Payne Park Berry Lester Douglas Myron Kenzer Louis Pedlar H. Scott Train James C. Boudreau Edwin Eberman Jr. William A. Kittredge N. Pousette-Dart J. R. Trumbauer Vincent Trotta Douglas Boyd Wallace Elton Paul R. Lang W. A. Powers R. Howard Brauns Robert J. C. Engel Herbert S. Lenz Henry B. Quinan Deane Uptegrove L. Stanford Briggs Roy Faulconer Lester Jay Loh Bert Ray Walter A. Van Leven Alexcy Brodovitch J. Walter Flynn Leonard London Walter J. Reagles Norman Vickery Dee Carlton Brown L. W. Froehlich Villiam L. Longycar Edmund C. Ridley Kurt H. Volk Carl Burger 0. A. Garson John M. lzwv Morris L. Rosenblum Walter %Vagener Ernest Button A. R. Gaydell Leonard Luce Donald Ruther Richard J. Walsh Ernest Elmo Calkins Walter B. Geoghegan Fred Ludekens Ignatz Saluda Edward IValter Joseph Campanaro Carl H. Georgi A. Edwin Macon Leonard A. St. Louis Arthur I'. Weiser Hey worth Campbell Edwin A. Georgi Charles Elwood MahoneyJames P. Sawyer Arthur Weithas Stuart Campbell Sanford E. Gerard Raymond M. Martin William H. Schneider Sidney A. Wells Frank J. Carroll Richard B. Gillis Robert McCallum NVilliam P. SchoonmakerW. E. Wheaton Jr. Winslow H. Case H. H. Grandy Harris D. McKinney Howard Scott Walter Whitehead l'aul B. Cavanagh Lurelle V. A. Guild Vil iam McNabb Fred S. Sergenian Elwood Whitney Guy Gayler Clark Charles R. Hagn Harold C. McNulty Bernard S. Sheridan Ralph E. Whitney Hal Clark A. Halpert A. Mikkclsen Wilbur Smart J. L. Wick st rom Rene Clarke Harry Harding Philip T. Mitchell Frederick A. Smith Gordon M. Wilbur William R. Claxton Jr. Horace W. Hardy Edward F. Molyneux Limn B. Smith Frank Chapman Williams Mahlon A. Cline R. F. Heinrich Kenneth E. Mora lig Roger McE. Smith Georges Wi I met Charles T. Coiner James D. Herbert Jacob A. Munch Alexander D. Sniffer Ronald L. Wilson W. Arthur Cole Lejaren A. Hiller Nickolas Murav Roy Spreter George M. Winemiller Benjamin F. Collins Frank Hoctor Louis Musgrove Leo J. Stahl John Zwinak

191 BOOK COMMITTEE

ART DIRECTORS CLUB

H UBE RT F. TOWNSEND, Chairman LESTER BEALL WALTER GEOGHEGAN WILLIAM H. SCHNEIDER DEAN E UI'TEGROVE JOHN ZWI NAK

192 THIS 18TH ANNUAL OF

ADVERTISING ART

designed byJOHN ZWINAK Sectional headings written by G. F.THOMSON Type set by KURTH. VOLK, INC. Printing and engraving by the BECK ENGRAVING COMPANY Paper supplied by the oxFORD PAPER COMPANY Inks by INTERNATIONALPRINTING INK Division of the Interchemical Corporation Binding by the RUSSELL-RUTTER COMPANY

193

THIS IS THE NET OF IT...

Does first prize in an art exhibit really mean any- tured the illustration above, stopped 46% of the thing as far as selling the public is concerned? readers. We specialize in the spectacular, in Well, a Starch readership check of the Janu- the stopper type of illustration. Next time you're ary 2 issue of TIME MAGAZINE showed that the stuck for a stopper, remember-if it's hard to Maryland Casualty advertisement, which fea- get, it's easy to get in touch with us. Just call MAC BALL 480 LEXINGTON AVENUE NEW YORK PLaza 5-0863 Wanted! drawingshave DIRECTORSfinishedthey ART interpretation notgetting-insuccessfully; are time who tovisualize and to photographs-thesohard pieces and DIRECTORSuncertaintyseveral labored ARTofthejob in tiredout a are with whoofgiving and waste studios;DIRECTORSinterpretation different ART foratmospheric photographicregard want who requiring experiencedimpact; some DIRECTORSproblem emotional technical ART ingenuity: draw- difficultand in with a value mere plus above DIRECTORSthat out experimentationART stand notgettingthem who aremakes color whichwork: understandingin ings art find DIRECTORStoexcellence finished ARTtrying still technical are and on who prospective craftsmanship DIRECTORS photography: visualizing ARTfresh and want a art who fortheir problems; DIRECTORS inthe old ARTfullvalue with get Directorfaced mustdollars; anArtis notPAGAN() who is not to copeArt whoproblems. the photographictherebusiness facilitiesfind at FACT, abovetheir fromwill a IN of the always covering advertisingmoreorganized They orhave view.ofartistsviewpoints,agency one problems,ofstaff andwith staff Studiosthesepoint a expert with Studiostechniquesdirectionphotographicand Director's of artfind a black of PAGANOscopecapablewill resourcefulness,nd find a broad byThey andcolorinterpretationwill headed skill of they experience.for its subtleAnd 5-6016 manipulationto knownits Eldorado in sensitiveatmosphere. St., white.andtowork.I E.5Ist mood Inc.. I SERVICE- willingness RESPONSIBILITY" PAGANO,"COMPLETE CONCENTRATED A MASTERPIECE

r,,,STEUBEN GLASS. INCORPORATED, master crafts- men in the art of glass making, chose Beck Gravure as theappropriate printing medium of publicity pieces outstanding in quality THE BECK ENGRAVING COMPANY Philadelphia New York A SPECIMEN BOOK OF BECK CRAFTSMANSHIP

rodlauction of the ART DIRECTORS 18th ANNUAL was entrusted to Beck, where complete facilities are available for engraving and printing - both letter-

press and gravure THE BECK ENGRAVING COMPANY Philadelphia New York COLOR PLATES FROM ROCIACHROME BY WILBAR PHOTO ENGRAVING CO N Y KODACHROME BY RAPHAEL G. WOLFF

The camera captures more color in colorful California - at any time of the year. Techni- colored Hollywood carries the art to its highest point - and, by air, itis only overnight from INCORPORATED OF CALIFORNIA O New York. All these advantages are available through the modern studios and laboratories 1714 North Wilton Piace, Hollywood, California of Raphael G. Wolff, Inc., Hollywood, California. Representatives in Detroit, Chicago, New York GRRPHN f l ii. )4" -1-ift ,,,I,_. ,J1/11- ""1-,--_'''. ;:....,- .: .--....,

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JOHN ATHERTON RICHARD LlioN TONI BONAGURA FRANK MUTZ MELBOURNE BRINDLE ARTHUR PALMER GILBERT DARLING ROBERT RIGGS ROBERT FAWCETT JACK TINKER JOSEF KOTULA GRAHAM WAIIN HIGGIRS AMERICAN DRAWING INKS

The standard liquid drawing inks of the world. ised and endorsed by the leading artists, architects, engineers, show -card writers, illustrators, drafts- men and educators. AMERICAN INDIA INKS (!lock) The II aterproof Black Drawing Ink is preferable for pen or brush work on paper, bristol board or tracing cloth which has to withstand handling, mois- t tire or immersion 111 w a ter, color washes, naphtha or carbon tetrachloride. The Soluble Black Drawing ink is expressly adapted to India Ink tints and washes and fine line work. WATERPROOF COLORED INKS

lI are tran,iticcill with Ihe exception of R bite, which is opaque and Carmine Red, which contains genuine cochineal. They may be used for line or wash work and will also be found superior in the air brush. The 8 spectrum hues consisting of the four primaries and four secondaries are arranged in a balanced spectral series to form a chromatic circle. Owing to their luminosity and comparative perma- nence they are accepted as among the most exact available representations of pure spectral colors. Only 2 intermediate hues are included in the Biggins color wheel but by mixing adjacent hues any desired intermediates may be prepared. .1 complete color sphere containing every standard hue, value and chroma may be produced by adding the complementary colors for the shades, Neutral for the tones and White (or water) for the tints. The 4 supplementary shades are sup- plied especially for architectural and mechanical drawing. R hite will be found useful for marking or drawing on blue, black or brown prints and for mixing with the colors to render them opaque. HOW TO DILUTE THE INKS

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Printed in U. S. A. Through the years these art directors of Calkins & Holden have striven to maintain and further the high standards of art in advertising to which the Art Directors Club is dedicated.

TOM HALL WALTER WHITEHEAD

GUERNSEY MOORE LOUIS CARL PEDLAR GUY G. CLARK e"c"""'

FRED. FARRAR MORR'S ALESHIRE G. P. HAYNES

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Mu 4-6784 Mo 4-8360 what needle-

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The Guild Artists Bureau isa newly The Guild Artists Bureau offers the following organized, independent subsidiary of the ad vantages : Artists Guild -a connecting link be- 1. The largestgroup of organized artists, tween the great market represented by covering every style and price class- with facilities for making their work im- Art Directors and Art Buyerson the mediately available. one hand and the wealth of talent rep- 2. An organization ofexperts to maintain resented by the 400 Guild memberson contact between art buyer and artists. the other. Its main function is to help 3. Complete production facilitiescompa- the busy Art Director find "that needle rable to the best privately owned studios, in the haystack"-the one available under experienced supervision. artist who is best able to execute the 4. A reliablesource of information regard- ing artists, their availability and addresses particular commission he has in mind (whether Guild members or not). -at a price that comes within his 5. Original paintings for First andSecond appropriation. rights.

When you deal with the Guild Artists Bureauyou not only get blue chip art values, but you help the Artists Guild maintain its vitally important organization BOOKLET AND COMPLETE DETAILS ON REQUEST THE GUILD ARTISTS BUREAU INC. TEN WEST FORTY-SEVENTH STREET, NEW YORK LONGACRE 3-2233 ti)

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:_,-----__---- _-----71------_____------" -----

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ARCISIS S'ERVOG T iotOtG11 ART DIRECTORS ARE ESPECIALLY REQUESTED TO SEND FOR THE STORY OF A COURAGEOUS BOOK

This brochure... sent free, of course... contains the behind -the -scenes narrative of A Treasury Of Art Masterpieces lust published by Simon & Schuster.

A Treasury of Arl Masterpieces is a publishing achievement of first magnitude. It is a volume of 600 pages including 144 full four-colour reproductions of the world's immortal paintings and is priced at $10.00 per copy. The initial investment for the first edition totaled $200,000.00.

Why did Simon & Schuster wait 8 years before deciding to publish A Treasury of Art Masterpieces? What happened to bring about the final decision?

What were the technical problems involved?

Why did Simon & Schuster choose the Conde Nast Engravers and Printers for this important and distinguished work? THE STORY OF A COURAGEOUS BOOK is a glimpse of publishing and printing history in the making. Please let us have your request for this brochure promptly. You will enjoy it.

THE CONDE NAST PRESS Division of The Conde Nast Publications, Inc., 420 Lexington Avenue, N. Y. C. Another Annual of the advertising art selected forex- hibit by the Art Directors' Club, and...

Another presentation of these exhibits reproducedon a very fine coated paper...Oxford Polar Superfine.

There must be a good reason for the continueduse of this paper for this annual edition. And that reason will be read- ily revealed if you'll use Oxford Polar Superfineon your next piece of fine printing.

CxA4d ,A0ei

230 PARK AVENUE, NEW YORK

WESTERN SALES OFFICE, 35 EAST WACKER DRIVE, CHICAGO MILLS AT: RUMFORD, MAINE AND W. CARROLLTON, OHIO -UNDERWOOD& UNDERWOOD HAVE THE MEN

john _Paul .Pennebaker Eugene llutchinson David V Fletcher

Arthur E. Degering George Ilukar

Lejaren a 3 -tiller

are among the well-known artists whose talents in a variety of fields makes Underwood

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UNDERWOOD & UNDERWOOD HAVE THE FACILITIES

Each individual photographer has at his disposal the largest studios andmost modern equipment in the business. The entire research, property, stylingand production depart- mentscooperate with him to give the best in black and white and color photography.

UNDERWOOD & UNDERWOOD ILLUSTRATION STUDIOS NEW YORK, 321 EAST 44TH STREET CHICAGO, 237 EAST ONTARIO STREET LIFEAT ASSOCIATED TYPOGRAPHERS

We wish it wereSuch is Life at Associated ... and so it has been for possible to illustrate all the "stations" through whichover 18 years! Each year we bring a little more ex- a type job is propelled from receipt to delivery ...theperience-and knowledge-and skill-to our craft ... photos below show you only the "express" stops ...and our organization, which has literally "grown-up" there are scores of "local" stops in between-alert,with the shop, is part and parcel of its equipment, its lively, brisk periods of spacing, aligning, measuring,efficiency and its high ideals of service. fitting, carrying out your instructions to the letter and...You'll like working with Associated! the spirit of the layout. Even when the proofreader marks his final Okay, the job still has to pass the eagle -ASSOCIATED TYPOGRAPHERS, Inc. eye scrutiny of the superintendent and the boss. 227 EAST 45th STREET, NE'% YORK ... MURRAY HILL 2 -1043

Ufe In the office isa continuous round of entries nml records. Our Life at the Service Desks veritable merry -go -1 service starts-and ends-here. pho wstruction.

1 ire .rt the Fr.3ines goes on t4 hours a day. When one shift "knocks Life at the Stones and Pune Pressesbrings to lifethejobs that only in to carry on. .1,,ort while ago were yuur visuals.

Life at the Linotype Machines is keyed up to the thrill of melting This is the Life!Messengers on high-speed motorcycles collectand old words-and moulding new. deliver with speed and zest c=ire c=lqattt mated

HAVING ONCE MORE BEEN SELECTED TO BIND

. 7ite L.-_-_-irritittie 4.-i11erit.itity

A LEADER IN ITS FIELD

WE ARE ALSO SELECTED BY LEADERS IN MANY

OTHER FIELDS, SUCH AS LIMITED EDITIONS,

CATALOGUES, SAMPLE BOOKS, PORTFOLIOS, AND

ALL GENERAL BINDING WHERE QUALITY IS AN ASSET

k)11,s,sel -(lIttterCompait

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ALBERT ADAMS

GEORGE ADAMS

FINE ILLUSTRATIVE PHOTOGRAPHY

IN1:111_1111

AND RACK AND WHITE It is the practiceof theVOLKestablishment increasinglytodirect its senseof form and fitness tomaking distinguished typography

'RT II YOLK INC typographers and designers . NEW YORK