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..... ,,,,,, .... .9, ART DIRECTORS 18TH ANNUAL

WEIHISIN6

This book is designed for art directors, advertisers, artists, students of advertising art, and for all who would view the changing life of our times as reflected in the art of advertising.The 314 illustrations are from the exhibition of the Art Directors Club of America, held in New York, Chicago and Philadelphia in the Spring of i 939.

LONGNIANS 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.

CONTENTS

For the second time—in this series of Annuals of Advertising Art—words arc 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? . . . . 3 By WILLIAM H. SCHNEIDER —la Director, Donahue and Coe, Advertising Agency Mass Magazines . . 16

ADVERTISING GROWS UP. 52 By GEORGE GALLUP Class Magazines 54

"Ii-ade Publications 8o

DISPLAY TYPOGRAPHY'S URGENT JOB . 98 By DOUGLAS C. MCMURTRIE, Director of Typography, Ludlow Typograph Company Newspapers Booklets . A SHOP TALK ON POSTERS By HOWARD SCOTT, Poster Designer and Consultant

Posters and Magazine Covers • 140 Lettering . . • 160 AN INDUSTRIAL DESIGNER THINKS ABOUT HIS JOB 169 By HENRY DREYFUSS, Industrial Designer

Packages and Product Design . . 172 PICTURES THAT PULL PEOPLE . . 180 By LEONARD LUCE, Arthur Kudner Inc. Indices: Artists, Advertisers, Advertising Agencies . 185

The Art Directors Club . . 191

7 ART DIRECTORS CLUB MEDAL COLOR ILLUSTRATION COLOR PHOTOGRAPHS to Thomas Benrimo to Louise Dahl-Wolfe

Advertisement designed by Art Director Advertisement designed by Art Director Francis E. Brennan for Fortune. Lester Jay Lou fbr American Viscose Corpo- page 56 ration through J. M. Mathes, Incorporated. page 55

BLACK AND WHITE ILLUSTRATION BLACK ANO WHITE PHOTOGRAPHS to R. Irillaumez to Marvin Becker

Advertisement designed by Art Director Advertisement designed by Art Director Myron Kenzer for Bonwit Teller. Franklin D. Baker for Caterpillar Tractor page 103 Co. through N. W. Ayer & Son, Inc. page 81

CONTINUITIES ANO COMIC STRIPS to James Thurber Advertisement designed by Art Director Leon Karp for Ladies' Home Journal through N. W. Ayer & Son, Inc. page 103

TITI BARRON G. COLLIER MEDAL THE KERWIN II. FULTON MI.DAL CAR CARDS TWENTY-FOUR 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 146 Erickson, Inc. page 141

9 AWARDS FOR DISTINCTIVE MERIT

COLOR ILLUSTRATIONS to Alexey Brodovitch Advertisement designed by Art Director ALEXEY 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 by Art Director HANS SAUER for Tide Water Associated Oil Co. through Lennen & Mitchell, Inc. . page 18 to Miguel Covarrubias Advertisement designed by Art Director FRANKLIN D. BAKER for Hawaiian Pineapple Co., Ltd. through N. W. Ayer & Son, Inc.. page 18 COLOR PHOTOGRAPHS to Whiting-Fellows Advertisement designed b\ rt Director LOUIS-MARIE ELIDE 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 to Victor Keppler Advertisement designed by Art Director HAROLD C. MCNULTY for Corning Glass Works through Batten, Barton, Durstine & Obsorn, Inc. . page 57 to F. S. Lincoln Advertisement designed by Art Director ELNIER 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 Herbert S. Lenz Advertisement designed by \Ft Director HERBERT S. I.ENZ for R. H. Macy & Co. . page 105

LETTERING AND ITS 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. C. Limbrock Advertisement illustrated by PETER HAWLEY for H. J. Heinz Company through Maxon, Incorporated . page 17 CLASS MAGAZINES to Stanley Dusek Advertisement illustrated by KENT STUDIOS for National Distillers Products Corporation through Lawrence Fertig & Co., Inc. . page Go 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 PETER NYHOLM and R. CLENINIER for Time, Inc. through George Bijur, Inc. . . page 104 BOOKLETS, DIRECT MAIL AND OTHER CORRELATIVE MATERIAL to Robert A. Schmid and John Averdl 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 Alexey Brodovitch Advertisement 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 SHERNIAN H. RAVESON for Propper McCallum, Inc. through Hartman & Pettingell, Inc. . page 173

WHAT IS AN ART DIRECTOR?

By WILLIAM H. SCHNEIDER, Art Director, Donahue and Coe, Advertising Agency

Is the art director an artist who does not draw very well, or an executive who does? He occupies

akey 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 alayout 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 amodern 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 adefinite understanding of advertising and psychology, as well as technical facility in composition.

The final layout is ablueprint of the projected advertisement. From this blueprint the advertiser 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 acertain 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 aflashing 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 picture plus in apiece of copy. It is the art director who through askillful handling of lettering gives the headline amaximum 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 amutual balance of critical and intellectual effort between writer and artist. Many highly successful and lasting teams, such as Stirling

Getchell and Jack Tarleton, Esty and James Yates, O. B. Winters and Paul Newman, have operated on this basis. Advertising pays off on aunity of copy and art effort.

4 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 atough assignment.

Ibelieve the exhibits in this book are atribute to keen understanding between the artist and art director. This factor is well known to artists who find themselves stimulated by certain art directors, 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 abetter term) to the brass hats up- stairs. He must have confidence in the logic of the corrections and revisions.

How much is apiece of art worth? Since the first cave man scrawled areindeer on acave wall this question has been an irritant. Appraising the value of adrawing in relation to its sales and inedia importance calls for apawnbroker's eye. Today this is afield of well established but actually untabu- lated values. The only guides are past experience, acquaintance with artists and their prices, knowledge of the account, and asense 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 amillion reproductions. To make this reproduction as nearly as possible a faithful facsimile of the original conception is amatter of scientific mechanics. It demands from the art director athorough 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 Ihave 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

2fi .1rtist: Peter Hawley .1,1 Director: A. G. Limbrock Igem \I:axon. Incorporated Client: H. J. Ilei Ili Company

AWARD FOR DISTINCTIVE MERIT 17 fist: Peter C. Held: Art Director: Hans Sauer .getuy: Lennen & Mitchell. Inc. Client: Tide Water Associated Oil Co.

AWARD FOR DISTINCTIVE MERIT

feu.14.4.41

.irtist: Miguel Covarrubias Ant Director: Franklin D. Baker Agency: N. W. Ayer &Son. Inc. Client: Hawaiian Pineapple Co.. Lui.

AWARD FOR DISTINCTIVE MERIT

18 Artist: Norman Rockwell Art Director: Alfred C. Strasser Agency: Batten. Barton. Durstine & Osborn. Inc. Client: Curtis Publishing Co.

19 .4 rtist: David Hendrickson Art Director: Frederick Halpert Agency: Young 8c Rubicam, Inc. Client: The Centaur Company

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Artist: Albert Dome Art Director: Robert E. Wilson Agen:y: Young & Rubicam, Inc. Client: The Travelers Insurance Co.

20 A, thr: Jaim-- W. ‘Villiamson Art Director: John J. Fischer Agency: N. W. Ayer & Son, Inc. Client: Edw. Budd Nlanuliicitti ing Co.

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Artist: Eloti Davis .4 'list: Jon Whitcomb 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 Ntyers Company

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

Artist: Leo Aarons .lrt Director: Jack Anthony .1 gem y: oung Ruhicmi. Iic Client: Cluett, Peabody & Co., Inc.

22 NO WONDER HIS PATIENTS • LOST PATIENCE!

TAMI IMWMIM 1

Artist: Johan Bull James II. Gilchrist Art Director: han t ne Art Director: A. C. Limbrock Agency: Batton, Barton, Durstine & Osborn, Inc. Agency: Maxon, Incorporated Client: Brown & Williamson "robacco Corp. Client: II. J. Heinz Company

Artist: Leo Amons Art Director: Jack Anthony Agency: Young & Rubicam. Inc. Client: Clued, Peabody & Co., Inc.

23 Artist: John Atherton Art Director: Robert E. Wilson Agency: Young & Rubicam, Inc. Client: The Travelers Insurance Co.

Artist: 1'ictor Keppler Art Director: Harry Payne .Igency: Batton, Barton. Durstine S.:Osborn, Inc. Client: Hamilton Watch Company

2.1 Copyriihr by (-Miler's Weekly; Copy.'Iglu by Charles Dana GII.on

Artist: Charles Datta Gibson Art Director: Robert E. Wilson Agency: Young S. Rubicam. Inc. Client: 'Ile Travelers Insurance Co.

Artist: Victor Keppler Art Director: Harry Payne Agency: Batton, Barton, Durstine & Osborn, Inc. Client: E. R. Squibb & Sons

25 Artist: Horst Artist: John Paul Pennebaker Art Director: Arthur 'F. Blomquist Art Director: ‘Vilbur Smart Agency: J. Walter Thompson Co. Agency: The Buchen Company Client: Pond's Extract Company Client: Northwestern Mutual Life Insurance Co.

Artist: Albert Dorne Art Directors: Harry Payne. Harold C. McNulty Agency: Batten. Barton, Durstine tk Osborn. Inc. Client: Ilamil ton Watch Company

26 •1St= .• 7 I W- , e rerWet *. . • 4% • te'n44›. iv* . • act..10-,11—•-t rit a Peak •3-3t . •• eit407,e da%.* -1- 7-1e-• •

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.-1/u3t: Bert Ia sou Ail Director: Ted Sandler Client: Columbia Broadcasting System

Artist: Finley-Jones Art Director: Fred S. Sergenian Agency: Young & Rubicam, Inc. Client: Parke, Davis Se. Company Artist: John Falter Ain Director: Fred S. Sergenian Agency: 1oung Rubicain. Inc. Client: Gulf Oil Corporation

Artist: Robert Fawcett Art Director: Harold C. :McNulty Agency: Batten. Barton. Durstine &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: Perry Peterson Art Director: Fred Ludekens Art Director: Deane H. Uptegrove Agency: Lord & Thomas Agency: Alley & Richards Company Client: Cal ifornians,Inc. Client: W. A. Taylor & Co., for Martini S.: Rossi Artist: Leo Aarons Art Director: Fred S. Sergenian .1gency: Young Se Rubicam, Inc. ..eeke Client: Life Savers, Inc. ea-4d 137

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

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30 Artist: Nickolas Muras Art Director: Carl Lins Agency: Young & Rubicatn, Inc. ae et_ freeliZe Client: l'ersonal Products Corporation

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Artist: Nickolas Mura'. The Problem cf the Ugly Guest RooLl Art Director: Walter P. Glenn Agency: Young & Rubicam, Inc. Client: Singer Sewing Machine Co.

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31 Art Director: William St rosahl Agency: J. Walter Thompson Co. Client: Eastman Kodak Company

Artist: Cy Kla tick Art Director: Paul F. Berdanier. Agency: J. Walter Thompson Co.

Client: J. B. Williams Company Artist: Peter C. HeIrk .-irt Director: Fred S. Sergenian Agency: Young & Rubicam. Inc. Client: Gulf Oil Corporation

Artist: Paul liesse Art Director: Gordon C. As mar Agency: Compton Advertising. Inc. Client: Procter & Gamble Company

Artist: James Schucker Art Director: Robert E. Wilson Agency: Young & Rubicam, Client: The Travelers Insurance Co.

Ai fist: Frank 1). Cowles Art Director: Robert E. Wilson Agency: Young & Rubicam, Inc. Client: The Travelers Insurance Co. • 111111W ••••• Sn...... M TIM 11111••••11,t J.111tIPST •• TN. • PINEAPPLE JUICE B011"tle HAWAI LE

Artist: A. M. Cassandre :I rt Director: Charles T. Coiner Agency: N. W. Ayer & Son, Inc. Client: Hawaiian Pineapple Co., Ltd.

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New To., New Jormy. Wulf o million Wilephones

our ol wirview Three hundred common.. wohamd.

Artist: Peter Held. Art Director: Leon Karp Agene y: N. W. Ayer & Son. Inc. Client: American Telephone & Telegraph Co.

36 ONCE AGAIN IT S TIME TO MANE A SOWS OF

Artist: Peter Hawley Artist: Anton Bruehl Art Director: A. C. Limbrock it Director: Herbert Bishop Agency: Maxon, Incorporated Agency: Young & Rubicam, Inc. Client: II. J. lIeinz Company Client: Franklbri Distilleries, Inc. Grass! more important to America than strikes or taxes

A7,, Netenitght .0. -»T Friteri (hot elene ,eirt, rent+ cf eve^. intittrient ai: tehtutitta ntki Ltd, tt• Ltenth:tit: f"news nuke Tlitta •An 'NA, nit r..re tan hat - It in Ilte •lt.ten to:tient - tif ;au,. a h.ttnt ant, tter, i,att»f, than an, ttti,r gnat, wont et...entail Kenn. it,. the lia.-nt ,t•i-I•tittn t• i'taantrt 0trtiont.th inr.ra it far men.

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. nhether ntt nnikt mint., •t th.et. •nai It mettnatrttfit,tahmtlxin nit run Intle t. Artist: Fred Hauck , 7....•` For the•Innalitett atent.i: ti . • Art Director: Harry l'as ne ;um nt Agency: Batten. Barton, Durstine & Osborn, Inc. They Client: Time, Inc.

.4 rtist: William Brouard Art Director: William A. Irwin Agency: McCann-Erickson, Inc. Client: Curtis Publishing Co.

37 .1dist: Underwood 8: I'nderwood AI tist: James 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 8: Sons. Inc. Client: Sinclair Refining Company, Inc.

Artist: Leslie Saalburg Artist: William Rittase Art Director: Hubert F. Townsend Art Director: Robert E. Wilson .4gency: Sherman K. Ellis 8e. Co., Inc. Agency: Young g: Rubicam, Inc. Client: Hiram Walker 8: Sons, Inc. Client: Agfa Ansco Corporation

38 e,/flElIC COME THE 'MIDAS ore,„\

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ORANGES • TANGERINES GRAPEFRUIT

Artists: Albert Staehle, Glen C robe Art Director: Rudd Ilenunick Agency: Arthur Kuchler. Inc. Client: Florida Citrus Commission

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

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

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iii .4rtist: Victor Trautwein Art Director: William A. Irwin Art Directors: A. C. Limbrock. J. T. Franz Agency: McCann-Erickson, Inc. Agency: Maxon. Incorporated Client:" rhe Curtis Publishing Co. Client: H. J. Heinz Company

40 Artist: Holmes I. Met tee .-b1 Director: Hein Bender. Jr. .4 geney: Batten. Barton, Durstine & Osborn. Itic. Client: Armstrong Cork Products Company

Artist: Leo Aarons Artist: Dr. Ernst Schwartz Art Director: Gordon C. Aymar Ar! Director: Robert E. Wilson Agency: Compton Advertising, Inc. Agency: Young & Rubicam, Inc. Client: Procter Sc Gamble Company Client: Agfa Ansco Corporation

4 Artist: Edwin A. Georgi 1rust: bacille Corms Art Director: Kenneth Paul Art Directors: Lester J. Loh, J. II. Tinker, Jr. Agency: Batten, Barton, Dtarstine & Osborn, Inc. Agency: J. M. Mathes, Incorporated Client: l'nited States Steel Corporation Client: .American Viscose Corporation

Artist: Dan Content Art Director: Arthur Deerson Agency: Warwick & Legler, Inc. Client: Seagram Distillers Corporation

42 _ irtist •Rudolph Dirks

6;117ITEN- IGET DONE SPANKING- la Directors: John J. 1E11, Edward G. Jacobsson .1gency: Kenyon & Eckhardt, Inc. Client: Kellogg Company

1,15C4Y. YOU ,MPUr»suf RASCAL YOU NNoW !CANT GOT KELLOGG'S ALL-BRAN ALONG WITHOUT EMI ENT SAY, IT'S C000! Rom PAM 161.CROF UV. TX SUesuRROM YES? wels,./usl.Rr cousnrAmos IT PERT MoRNING AND AND HAYING lb DRINK MENTION wATAIL- — telERGENCI ANDYNAL BE"SOINING ENSuRFRWRI WOW!OFR (AMIN'S GRUMPY DER goys Don A GOOD 0,013.--- TIC REGULARS" Ili Dow-rVOuTRy DESE DAHS 010-DOsmni•DER MOUIS! NOTIFIE NOW MIONT0E YOU Cal DIA NI,,E »AVOW All TNT- BY KIEPING uNDALLVF DID VOS CRUNCHY ALIARAN UND 'MU REGULAR! ! uP in PILLS FOR NEER MKS OER_PIt ::15./— •El '7 c: An (Igir',''

Artist: C. A. \bight GOSH .1440 SEW HATS ANO1IIRE6 WOW SuREARE A-REGULAle OAR! Art Directors: John J. Hill, Edward G. Jacobsson Agency: Kenyon & Eckhardt, Inc. Client: Kellogg Compail

Artist: Paul Webb Tut — COMM.! TÍMPERED M R BANG .Jons THE" REGuLANS" Art Directors: John J. Hill, Edward G. Jacobsson Agency: Kenyon & Eckhardt, Inc. Client: Kellogg Company

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

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.1 Grancel Fitz, Martha Woody, K. Gunnor Petersen Art Director: Gordon C. Aymar Agency: Compton Advertising, Inc. Client: Procter & 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 ahodgepodge of advertising pictures— aconfusion of techniques often more concerned with manner than subject.

Carne 1929—and the cold, gray dawn. Out of it grew anew 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 asale or aservice. Today advertising illustrators are men possessed of askill 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 amoment 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 mechanics 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.

Artist: Louise Dahl-Wolfe Art Director: Lester Jay Loh Agency: J. M. Mathes, Incorporated Client: American Viscose Corporation

55 ART DIRECTORS CLUB MEDAL FOR BEST COLOR PHOTOGRAPH

Artist: Buk l•Ircich

Art Director: Charles T. Coiner _A A Agency: N. W. Ayer & Son, Inc. Client: Cannon Mills. loc. AWARD FUR DISTINCTIVE MERIT

Artist: Victor keppler Art Director: Harold C. McNulty Agency: Bat ten. Barton. Hurst itie & Osborn, Inc. Client: Corning Glass Works AWARD FOR DISTINCTIVE MERIT

57 Artist: Edwin A. Georgi Art Director: Leon Karp Agency: N. W. Ayer & Son, Inc. Client: Yardley & Co., Ltd.

AWARD FOR DISTINCTIVE MERIT

58 AWARD fOR DISTINCTIVE MERIT

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

39 _, )-)0774/

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BOURBO4 OR RYE

e ee'le Good Liquors Nro TAk %toe

Artist: Kent Studios Art Director: Stanley Dusek Agency: Lawrence Fertig & Co., Inc. Client: National Distillers Products Corporation

AWARD FOR DISTINCTIVE MERIT

6o Artist: Fred Freeman la Director: William H. Schneider .1gency: Donahue & Coe, Inc. Client: Angosttt ra-Wuppermann Corp.

Artist: Hetii Waxman Art Directors: Lester Ja Loh. J. H. •I'inker. Jr. Agency: J. NI. Mathes, Inc. Client: American Viscose Corp.

dDIM

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.Mb•••••.••. 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 & 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 Lob Agency: J. M. Mathes, Incorporated Client: Maryland Casualty Company .4rtist: Mac Ball Art Director: Albert Marshall Agency: McCann-Erickson, Inc. Client: Talon, Incorporated

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Artist: Lester Gaba Art Director: George McAndrew Agenry: Batten, Barton, Durstine &Osborn, inc. Client: E. I. du Pont de Nemours & Co., Inc.

64 Artist: Victor Keppler Art Director: Harold C. McNulty Agency: Batten. Barton. Durstine & Osborn. Inc. Client: Corning Glass Works

Artist: Victor Keppler Art Director: Harry Payne Agency: Batten, Barton. Durstine & Osborn, Inc. Client: Hamilton Watch Company

65 Artist: Albert Adams, Adams Studios Art Director: Herbert Bishop Agency: Young & Rubicam, Inc. Client: Frankfort Distilleries, Inc.

Artist: C. G. Christensen Art Director: Budd Hemmick Agency: Arthur Kuchler, Inc. Client: General Motors Sales Corporation, Buick Motor Division

66 they ....Ira al, the hop. ore Nee ern.

earn.. Da Namur uneser*.

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ste When any aferrnee• net Ins men

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thena way over mmAra wren.

Imr ref ere,. •Nt. e10.00.000 o rt., 4 Anse èntne Nee. rr

Sur I/ you tor, or ardour, tet. bee 4 et.. NNE eaten !Av. paved Ma. Tnafa Amer,. aret there oho e 'ea eNNer :In Ter 'mgt. Itie O. , «oath' Its r hop, µ Inca also01 a-or-acting z, tbe •.te N'TM. -•Ice Ose, mate a el", .1.). ewsa tat ortés. an'• Nètae rnr, the par.,' ary otth mney te 60,

He oz oat rtaz any attazetzon {le Neeen• N. TN N an.e nett, eh, you male them want

oho cares *boot bra tonanees the MO,. 1.00e, asal 1•56e A rthe TN Veaut• nt a le mu NAM Lam

ma> zoo; oaate zap, lom A marmot 1,1O !tot, ca. ea haul tree to ten 010.1.1 clew0

ete bar beg ma only en arc...zed Aznerwee. 5.• urea TIM,. 100.J00 Wade,, u, lren• tO

haaarrend he...... forMeseeeple evert week ol the year- tr. be• them A mu,. TWA 04100, therneem Nye. èmet 130 S50. There are lott ut /went arts iibe boa :Nee tNy Ne• about couratres berza men... -at an7.1tSrl -more Ozan eye , 40101. The Nee. ret. partozerzett zoraded z because they fa maim *en, el net« an tIN five lees mom. rhne Nrile new-deeper ..1«e Nana were Sat. nele NA." and Clane about veer Ne Steam. Bee.eute Non. Ye.Y.11 e ete Man N. , Nrar• TIME * THE \,\ EEKLY NEWSMAGAZiNE *

Artists: Richard Glemmer, Underwood & Underwood Art Director: Lester Beall Agency: George Bijur, Inc. Client: Time, Inc.

Artist: James W. Williamson Art Director: Paul Darrow Agency: N. W. Ayer & Son, Inc. Client: Bermuda Trade Development Board

67 Artist: James Schucker Artist: Lyman Anderson Art Director: Elmo Anderson Art Director: Elmo Anderson Agency: Frank Presbrey Company Agency: Frank Preshrey Company Client: New York Life Insurance Company Client: New York Life Insurance Company

68 BLACK AS THE ACE OF SPADES

THAT'S WHY ARTISTS LIKE TO USE HIGGINS INDIA INK

BLACKS

Alt WAT11.00, AMERICAN Ye.,,e • C•onge Woe, • Grove INDIA INKS r...^gp Red ,Ve,e• :.on, • Red :Scor!ell • Cormne Red VATIIIMOOF Red er • • 8 • 7,q,,,se • Sedgreen G••••• • Leaf • Neoro: T.n, • Wode 501.111,1E 8, ci Red • R...sser • Brown • Ind go

CHAS. M. HIGGINS à CO., INC. • V. NINTH STREET, BROOKLYN, N. Y.

Artist: Walter B. Geoghegan Art Director: Walter B. Geoghegan Agency: Calkins & Holden Client: Chas. M. Higgins & Co.. Inc.

Artist: I. man Anderson Artist: Francis Marshall Art Director: Elmo Anderson .4 rt Director: Arthur Weit has Agency: Frank Presbrey Company Agency: Cecil, Warwick & 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 Travelers Insurance Company

A tist: Stevan Dohanos .111 Director: Robert E. Wilson Agency: Young & Rubicam, Inc. Client: The Travelers Insurance Company RET, eie ,erei'f,ef.tme "oar eereeepee... % e

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

fir MOW_ Iiewar 22111, «NMI ha 2

Lovely skin is de rigueur'

AUDREY CHRISM

RUTH MAMMON

PEGGY 0 o,,,r.r.t.

, 111».••• Sge..",. le %SO ,. bi \\II .Orfled 1.1.•••••••• eSS•SR SI "'s ctenvesbeeNt‘e wie *meaning that you must hove it 11,•K• Large.,

Art Director: Elwood Whitney Artist: Harry Brown Agency: J. Walter Thompson Co. Art Directors: Lester Jay Loh, J. H. Tinker, Jr. Client: Lever Brothers Agency: J. M. Mathes, Incorporated Client: American Viscose Corporation

71 •-•

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Seine feminine eta lueew es', Neil and we've waited

our eur wonder list. Eighty-four gifts that will go

wropped In our exclusive genwit Heuven 'Ilue tissues

with coppery hews er in cooper and snoWthiped tissue..

This liOle hand will pain, your way through ter•Ive

pages of 'Pewit Christme% libel.. .P. way, please..

F/1111, 111.1111,.•. Itr••1 • Illd•r••• 3-61100

rtist: Nlarcel Art baud Art Director: Leon Karp 20/11WiTM\q - Agency: N. W. Ayer & Son, Inc. Client: French Line Artist: James Abbe Art Director: Myron Kenzer Bomvit Teller

Men,

mosferials

and methods

synchroniscid for

th. production

CONTAINER CORPORATION OF AMERICA

Artist: Louise Dahl-Wolfe Artist: Tony Zepf Art Director: George McAndrew Art Director: John J. Smith Agency: Batten, Barton, Durstine & Osborn, Inc. Agency: N. W. Ayer & Son, Inc. Client: E. I. du Pont de Nemours & Co., Inc. Client: Container Corporation of America

72 Artist: Henry M. Rundle Art Director: Henry M. Rundle Client: R. C. .t. Manufacturing Co.

Artist: Gordon C. Ross Art Directors: Henry Harding. Earle II. Bean Agency: The Barta Press Client: Liberty Mutual Insurance Compan)

I COMPLETE ADVERTISEMENTS • CLASS IVIAGAZINES

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THE Nil' OF IT

THE MARYLAND

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TRADE PUBLICATIONS

So ART DIRECTORS CLUB MEDAL FOR BEST BLACK AND WHITE PHOTOGRAPH

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

8 AWARD FUR DISTINCTIVE MERIT

Artists: Black Star Publishing Co. Charles Peters Art Director: Lester Beall Agency: George Bijur, Inc. Client: George Bijur, Inc.

Artist: F. S. Lincoln Art Director: Elmer R. Lasher Agency: T. J. Maloney, Inc. Client: Popular Publications, Inc.

AWARD fOR DISTINCTIVE MERIT

82 .4 rtist: John Scott in Director: NVal tel K. Nick! Agency: Young & Rubicam, Inc. Client: Young & Rubicam, Inc.

Artist: E. Meen kâmper Art Director: Ben Collins Client: The Beck Engraving Company

.1 'list: Jollit Scott .1 rt Director: NVal ter K. Nield Agency: Young & Rubicam, Inc. Client: Young & Rubicam, The rise and fall (I Shall I?" How to make people sit up and do things

Mika an one of out agents pro- sotatens .ose keep . old bon loll of them: strolled on usb a story that Cody bulged to be 'cleared.

Neu then. Lowe on du corner of mo i.0.1.100 000. 0100t beokm.11,0 Ccutirman found hos ury ono our piste. Ile oxned a bank. The bank wanted ac• goon's. Ile.413.r-then:kJ old gentle. tIA I I,, 01,11. upon ole ono...se onno and ton was doe bank. It had been &nun:: ol to bll and the nitro:no:4e used II to toi, anso and too., then doubloons

moght beg.; uoth 0offer, - suggested the eo 1o. WOR offered abank to ma. assoul .01.0 4.00,..00,0 0.111 Au,. filed .180 son. no. To date. • exam of • milli. pnele he; urn., to fen these banks mole an tI012 Thoo,11 the ages conomeol son, P., St. 1.0 et00 AJn . wIn peopls soli keep ono slonotong -geonone" the ...of wane ase.

Ins alentalls —20,000 new emu.» bos. be. opened as aresult 0F the top..;,. soul die Ion,/ oe rust bipaltep on de goo:lull' dale 441 15 le.ad,..a her treIlta.

Silo t,,,. o. sordte probably gaohered, rojoo our subtle uss of Inn.. that us ton sell hobo loo be vac leseco about ob.. tan sell anyhigg ,ou'd. rare to let . end a rear, Ise ner c,an don son Ise no busi•

Art Director: Ross Craufurd Art Director: Ross Craufurd Agency: Bomberger Broadcasting Service, Inc. Agemy: Bomberger Broadcasting SerViCe. Inc. Client: N'OR Client: WOK

Avalanches always start at the t

sookkub oro olo. olosty tua ss lug ...I ea..nt A 0.... Ito o woken. 'mounts 1001 Ow wint 1,0 0.• 1,10.0.1.10.0 10 I. tr.A 0! AR I. Aitarr.n.11

Assess , oo, to Rou. mot eb n. us •Usul. -

Advertising& Selling. 9EAST otem s-r.. NEW YORE. N.Y.

Artist: John A% eri I lit Director: John Averill Agency: George Bijur, Inc. Client: Advertising 8: Selling

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

Artist: Kei t Ward Art Director: Frederick Halpert Agency: Young & Rubicam, Inc. Client: The Centaur Company

Artist: Erik Nitsche Art Director: Erik Nitsche Agency: George Bijur, Inc. Client: Mutual Broadcasting System

85 10 .• 0.11,0Ir •It ,nt

flow Artist: Lester Beall .1 rt Director: I.ester Beall Agency: George Bijur. Inc. Client: George Bijur, Inc.

:me m•cl mu, Inc 1.4 ate imroxilten 1•In end kn

ventually with e

GLORGE Bill R. NC., ROCK R

.1 rusts: Lester Beall, M. Ackoff Art Director: Lester Beall Willi Eel aree. Agency: George Bijur, Inc. Client: George Bijur, Inc.

«OM KM% INC • 110CIIMII. MAU WO/ Vœll CRT

- Artist: Carl Albrecht IDEASthat transform apathy into action Art Director: Lester Beall Agency: George Bijur, Inc. Client: George Bijur, Inc.

GEORGE BlIUR, INC 9ROCKEFELLER PLAZA • NEW YORK

Sfi Artist: Edwin Way Teale Art Director: Ben Collins Client: The Beck Engraving Company

Artist: Ro Snow Art Director: T. V. Tinker Agency: Batten. Bailout. Durstine &Osborn, Inc. Client: E. I. du Pont de Nemours & Co., 111c.

.1/1O/: Harold Kramer Art Director: John B. Breunig Agency: Needham, Louis & Brophy, Inc. Client: Eagle-Picher Lead Company

87 (urpv .a.q!sp!.‘ec 1.(1• Artist: Melbotin le Brindle .Ir! Director.:Walter B. Geoghegan Agency: Calkins & Holden Chew:Sanderson & Porter

Artist: Ilerbert Roese Art Director: Walter Lloyd Client: Woman's IIome Companion

CBS... Covers Both Sides

Celumblv eesdumome Syshn•

Artist: William Golden Aa Director: Ted Sandler Client: Columbia Broadcasting System

89 to cut costs of distribution

GEORGE NUR INC •9 ROCKEFELLER PLAZA NEW YORK

Artist: N 1101111 Art Director: Lester Beall Agetuy:Ceorge Rijo r. Inc. Client: George Bijur. Inc.

Artist: Fred R.Archer .4 nisi: NIelbourne Brindk. Art Director: Elmer R. Lasher Art Director: \Va 'ter B. C;eogItegan Agency: T. J. Malone. Inc. Agency: Calkins & Holden Client: Economics Laborators. Inc. C/intt: Sanderson & Porter

90 Artist: Joseph Gering Art Directors: Lester Beall, Joseph Gering Agency: George Bijur, Inc. Client: Initial Broadcasting System

Who Said RADIO Is Expensive?

THE MUTUAL BROADCASTING SYSTEM. COAST TO COAST

u Ite. then second choice inapitne

kenioiide Insinance Policy Hotels ote

Artist: Gilbert Bundy Art Directors: Paul Smith. William A. Lang Agency: Kenyon 2:: Eckhardt. Inc. Client: Munsingwear. Inc.

101% e

Artist: M. Ackolf 10% •• SEP S de„ Art Director: Lester Beall t„„ Agency: Philip Kobbe Client: Time, Inc.

9 Artist: George Adams, Adams Studios ONIS1183A0V 110i .Irt Director: Robert Gcissmann Client: Adams Studios

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TS C•IRPORAteti Bayonne N.1

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Artist: George A. Podoram Ari Director: M. J. Eisler Agency: Mears Advertising, Inc.

Client: Commit- Products Corporation

ADAMS STUDIOS

.1rtist: George Adams, Adams Studios rt Director: Robert Geissmann Client: Adams Studios

9 2 Artist: Albert Dorne Art Director: Daniel W. Keelé Agency: McCann-Erickson, Inc. Client: Talon, Inc.

VCAN'T AFFORD C. 70 PAY TuE DOuGLI

OUR fORRY ROWE

Ariist: Max llodge Artists: Ledo Studios, Dorothy Monet Art Director: Max Hodge Art Director: Robert Engel Agency: N. W. Ayer 8c Son, Inc. Agency: Fuller & Smith ge. Ross, Inc. Client: Ford Motor Company Client: Mark Cross 93 COMMIE ADVERTISEMENTS - TRADE PUBLICATIONS

llorjune 3'11/àrcs C:)•

94 .14

1 1 141

even on Cliffs of Sand

CATERPILLAR

DOG-GONE THE DOG DAYS!

-1-01UGH

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CONTAINII• C011•011ATION Of AMIRIC• ...... II tx•e: •

95 Orl ttt ét idefl 01 •I • arle no , ni Yilig does everyone say les . to Mrs. Wilson?

loung & Itubit .ini..ttttt on. Elb &Minim, Inc.

Art Ali MEN AI THE HEM ...red n than ..... to ,ode Phom

CRYSTAL CLEAR

SANIMP501•• • • •PORtEll S•NDIRSON • Potree U?fl 1;91I.A,X

P Adven(urs, if Ray 1).0 .1PEI6A—N.E. 4 SHEER STYLE PAJAMAS rEVEN THE ROMANS KNEW IT! I

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MUTUAL I Tot EAGLE•PICHER LEAD COAAPANY

1•110•DC•STING ! Ci oc,00.i. Ohio

or The Modern Ild•ak see M6.Vi:20 3••••••••••••••• •1••••1•• ,•••••••••••••• •..•••••• MI •1.1•,1.11.• ,••11 el Ir111•• ‘11 11;1 ...•••••••••••••• • ...ye •••••• •L. Oui• •tem..

96 DNISI1d3A1A d0J •

ROOD PHOTOS

ADAMS STUDIOS

ADAMS STUDIOS •

How to make people The rist andfall if -ShallIr sit up and do things

SM MIA h Wane

THE MUTUAL BROAOCASTINC SYSTEM COAST IS COAST

97 DISPLAY TYPOGRAPHY'S URGENT JOB

By DOUGLAS C. MCMURTRIE, Director of Typography, Ludlow Typograph Company

Art work in advertising attracts attention in the first instance, and creates afavorable attitude on the part of aprospective purchaser. But after attention has been attained, typography must carry on and tell the sales story.

It would, Ithink, be unanimously agreed that there are two stages of telling acopy 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 afleeting 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 the edge of adictionary help us to locate acertain word which we may wish to look up. Within a single adver-

tisement, folder, or booklet, displayed sub-heads lead us directly, without waste of time, to the paragraphs 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 areader and then intrigue him to read further into the copy.

Since they do perform so important afunction, let those of us who set composition treat our display lines respectfully. Let us make sure the lines we display most emphatically are significant, making the point in the sales message most likely to attract the attention of areader whose eye is casually roaming across the page.

Make sure they really stop the eye of this reader; that they are large enough and insistent enough to do the job, and not fail because they are half-hearted. There are those who advocate light display and even gray pages, but Icannot throw in with them, when the necessity for commercial return is concerned.

We may here recall the question often asked an advertiser: If lost in awilderness and calling for help, would you prefer athousands 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 dealing with features or points in which he individually is especially interested. Again, we cannot afford to risk awide expanse of even color type composition.

Above all, let us who set type make sure that when areader once favors us with a moment's attention, there be no question in his mind as to what our customer has to sell. All of us can recall looking at advertisements and mailing pieces and wondering what on earth they were about, and whether the man who paid for the printing was selling watermelons or real-estate. When our attention is drawn away from one advertisement by some more comprehensible sales story, we can understand that the advertiser who loses out may well be skeptical regarding the "power of print."

After all, print has no power except when it is intelligently planned and executed. Printing which is effective is the only printing for which buyers can afford to pay— for 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 between their fingers.

Competent craftsmanship in setting letters into lines is not enough today. Facing new demands

99 because of the speeded-up tempo of modern living, able compositors must think about the copy they handle, and adapt their practice to these demands. More successful results from the copy they set afford the soundest and most logical approach to increased earning power.

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, though not too rapidly, with changing cycles of taste.

Ten years ago, the influence of "modern" design in the applied arts made itself felt in typography. This influence has brought about anumber of changes in the best of our composition in the service of commerce.

First, it has simplified both typefaces and layout. Applied to typefaces, the influence was 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 geometric arrangements 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 return. It 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 afeeling on the part of some authorities that the next typeface family likely to rise to aposition of popularity and importance will be asans serif with strokes of variable weight. Such a

typeface will, by reason of "thicks and thins," be far more legible than the monotone sans 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 monotone sans serifs

is evidenced by the popularity of scripts. Or perhaps they are used as afoil for severity. At any rate,

any good new script typeface is still assured of awarm reception. It is my belief that informality is

more attractive than formality in ascript used to promote sales.

Prediction of future trends is hazardous, but we know from historic precedent that styles move in cycles. There is on the horizon a"cloud the size of aman's hand" which seems to foretell areturn 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 areaction, 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 simplicity of the present era in which the legibility of type and its functional effectiveness are respected as they have never been in any period past.

101 NEWSPAPERS

102 How do YOU make friends?

Friend. are ireporum aood—to people end to nt.a,entr. Tod... %dh U..- publi.ation of Me Nar.b Journal a nee Mulder ihr femoddvp. of nonmoinee re Innng written. Fordhe Journal r. aching ihe 'erred mdieme if•

horor. Journal reeler, are irrerter element: In .4 %gm nea, ram, Inning romenarine —one nbirb bar 'marked in new...n.1 mimeo.. et OS% for Me Journal ou :1 teem

Lern will, Meer Wormier, Mr inurndl manmade. in belimr 111 , kind efrjrn nds you require ia roe iqueurne ex eke nundo, of fueorle eau rh.“ ,•••• uill

rind mme tam nnethnde prople end 1113eleig. me for melon, frimole dio neeed bore.

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Om a Deraai. Waal»? Ns a loaras al Bridge? drat Ithaidad laeorbelbé?

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B. F.sorn•agnIII Do lat. Need a Shipwreek? Da Tan Make an Ellari?

error *um grOurr rile *rem. Oil Oro .1•••• ....el or. wooed YU* Igo On orb O . du &mod rue 41..10e* gore *or. — urn ouru lumuel mg. u orrioraguro. *or. go

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lee. ...lei, ....It.. Journdl , totel nirrulduon ie Me d !mini os Indom mmo undo. o looter, ... Me idd three

eeer. Ime no rederd o‘er 1,W:den_ Ebro., to ortherrle of dorm enemas.. lute rum. Porte or.» or oho Ion the Jnornal mot—lands— o matter

I,.,. ,ou look al O. In one elnl auger... l ihie 'moo.. nee remarkable.

.11 R C Il eek SALÉ TODAY 10 • I» • • " I. 0 U1 j 0 II R_N_AI, V,„• 111111 .1106.1111.1. non -loos,. non',

.laist: James Thurber .-Irt Director: Leon Karp gencr: N. NV.. \ Son, Inc. Client: Ladies' Home Journal

ART DIRECTORS CLUB MEDAL FOR BEST CONTINUITIES AND COMIC STRIPS

ART DIRECTORS CLUB MEDAL FOR BEST BLACK AND WHITE ILLUSTRATION

R. NVillaumez .1;1 Diream: NI) ron Kenzer Client: Bonwil idler AWARD FOR DISTINCTIVE MERIT

Or eqr die

JEAsEr Clic' .

OF L

Y FACT IONAL F T_.__IiCRttoL (...t IAN VC.1:2 —OR ITED "0

Sausage Shapes over London can make more Fords go by

Come on, now, don't be so far fetched. How can new air defenses with the 8599's and 8174's for new Fords. What's so all-fired different about Depression II? One market

in England have one blessed thing to do with selling an American There's nothing casual about their need for the news. They dissolves, another weakens. Still another stays secure—makes a car to Americans? care enough to want all the important news—straight, unsnarled, SECURITY BASE for any advertiser. TINE% market stays secure. 41.% P.M Imm Because it's news—and the news has been making changes in responsibly told. TIME readers just proved it all over again 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 find nut. 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 selling cars or anything else selling argument to end all selling arguments:

was a pastime, take à or leave it, dip into it around election time important to Americans. When you advertise to people who want ▪ TIME FAMILIES PLAN TO BUY 91,000 NEW CARS "Pe to find out, who are eager arid alert, you're getting your own news THE BALANCE OF THIS YEAR. and forget it most of the time. sag Then things happened. Abroad, dictators ripped out booming of new models, new prices through on the sharpest intensity 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. pig CARS DURING 1939. * * * * * * banks closed and a 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 this market? Five about new bills, new taxes, new unions, new powers. It began to this year. Ten dozen 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 professional or fine big masses. —sitting up there in their business ledgers looking at them, perch- executive status; they make a market that doesn't dissolve under A TIME page costs less than 82503; thirteen pages cost ing on their tractors, making marks or leaving blanks on their pressure—that stays secure. 530,550; twenty-six cost 857.850 That doesn't buy mass circulation—that only puts your news sales chests. IL It stayed secure the last time there was pressure; during the And WV/ the news marten as it's never mattered before. Most six years of Depression I. advertisers discovered that. and TIME'S through to 700.000 substantial TIME families. ALL of whom want

of all it matters to the most intelligent people. The people with the passenger car advertising rose tat ° .Because tpaid out, that's the news and • whacking bigger jobs and paying farms, people in the professions. People why it rose. lot of whom want new cans. mim mom IIMMM. TIME *THE WEEKLY NEWSMAGAZINE WITH THE SECURITY BASE

Artists: Peter Nyholm, R. Clemmer .411 Director: Lester Beall Agency: George Bijur, Inc. Client: Time, Inc.

104 We've been put in our Place!

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2:. r.-...:;.:•-•,r-tt!t:PC 2ct.,.:triC.1,',:;" - -- AWARD FOR DISTINCTIVE MERIT

Artist: Herbert S. Lenz NO ONE IS IN DEBT TO NUYS Art Director: Herbert S. Lenz Client: R. H. Macy & Co., Inc.

Artist: IIerbert Greenwald "de Art Director: Herbert S. Lenz Client: R. H. Macy & Co., Inc.

105 .1i-fist: Marianne Brody Art Director: Ira Lowenstein t, !•! Client: Saks Fifth .\venue

intstielss 1114 et *.t\,•.1 .,tyt\‘

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IERNIILLES GREIS ,

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f•• Rt., ....nrAnn fra. 0.45, Nam&

Artist: Eric Mulvaney Art Director: M. L. Rosenblum 1E11 FISMIIII CHM Client: L. Bomberger & Co. io6 Artists: Jean Spadea Dora Abrams Sanwa Teller Richard Young Bonwit Teller

Art Director: Myron Kenzer Christina, tole Client: %twit Teller

trimmed rd.., hlniftorno •cal 'toe,

giant tongs 10.00

Scottish brooch

two.- wower-wirrowiwo

Bonwit Teller

for th• merry worldling, on your lilt f

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WHICH PIANO ?

Artists: Fred Ch:t lice. George Connelly Art Director: John J. Smith Agency: N. W. Ayer 8.: Son, Inc. Client: Steinway Re Sons

107 Artist: Eric Mulvaney Art Director: M. L. Rosenblum Client: L. Bomberger itc Co.

IdEr Il pi h Hl nupdurirs

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Wilk., 1,1, OW /4 MIMI/ ihd harrrldr. orx II

MP, *ea. th t •ht.I If,. .. IF:811. WII•11,11. b, born.... roar .1 Orr. 01114, 4,1 h....,

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110• rut Web, rbo I h• ttttt 1,041!, r • 11.46 10.e. an nib •.I nine nitinie, Artist: Joseph Feller ur I brrt ben, r• .1,11 nnin, 1•0111141i .1 pieno• • inlaid. Art Director: Joseph Feller

0$4- hl dr. •Ino ill, 'held g in 'MO, /0,1• 1411 Bomb. r. Client: Chicago Tribune ek!TOO lei Sh. 14' 111111 ,4r..,1

%\%ee, SUE STII1TS {11111111 :diTIIe \.• NvERsper

Artist: H. Foster Ensminger Art Director: Paul F. Berdanier, Jr. Agency: J. Walter Thompson Co. Client: The Curtis Publishing Co. io8 Artist: Allen Saalburg Art Director: Paul W. Darrow Agency: N. W. Ayer & Son, Inc. Client: Steinway & Sons

EVERY "SKYSCRAPER" LOOKS LIKE THIS...

Artist: J. W. McManigal Art Director: William A. Irwin OUNTRY ENTLEMAN Agency: NIcCann-Erickson. Inc. Client: 'Ile Curtis Publishing Co.

Artist: Robert Philipp Art Director: Paul W. Darrow Agency: N. W. Ayer & Son, Inc. Client: Steinway & Sons Artists: Eric Mulvaney, Thomas Gray Art Director: M. L. Rosenblum Client: L. Bamberger & Co.

,007

pee Artist: Keith Ward Art Director: Ilar Agency: Batten, Barton. Durstine & Osborn. I U(. III 11111 111111T "11111I-110"... Client: Borden's Farm Products 1‘11 HITS

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Artist: Keith Ward Art Director: Harry Pa ne Agency: Batten, Barton, Durstine & Osborn, Inc. Client: Borden's Farm Products .>e .1

Artist: Eric Mulvaney Art Director: M. L. Rosenblum Client: L. Bamberger & Co.

110 Artist: Helen E. Hokinson Client: R. II. Macy & Co., Inc. Diredor: Herbert S. Len/

GOSH, Mal STRAWYCSIC, I SHOULD

THINK A SCREE . .-AR wOULD DIE OF JOY SEINE. SO ADMIRED BY EVERYONE

A SCREEN STARS MUCH MORE 1.1KELY ID DIE OF HARD R ichard Clenuner. nderwood & Underwood .Irt Director: I .est et Beall WORK, MY DEAR! Agency: George Rijn r, Inc. Inc.

Shifting the Olympics can shift more Nash gears YES, ISUPPOSE SO. BUT THEN IT MUST BE MULLINS TO BE SO ADMIRED ALL THE TIME

wELL,EVEN REINO ADm:RED TAKES EFFORT. YOU HAVE TO WATCH YOUR e4:4.1RE, YOUR HAIR, YOUR SKIN

oo. DO OwE HIE ATIP ON COMPLEXION

CARE! MY SKIN HAS ,.:T BEEN SO &000 LATELY

MAYBE rOui,E BEEN LETTme COMM NM DEVELOP BECAUSE YOU PONT REMOVE COSMETICS PIP_JettLi. SCREEN STARS USE Lux TOUT SOAP BECAUSE IT HAS ACTIVE LATHER

*nu. L..11,At — • TIME sae tPO nee

9 out of 10 Screen Stars use Lux Toilet Soap

Art Director: Elwood NVhitney Artists: George Hurrell. Gilbert Bundy Agency: J. Walter Thompson Co. Client: Lever Brothers

IBM TIME * ; L [ E V."'• )

11 1 Artist: Victor Keppler .1rt Director: Harry Payne Agency: Batten, Barton, Durstine & Osborn, Inc. Client: E. R. Squibb & Sons It's a‘4.r% small numbcr... but agreat deal depends on it

W it

E. R. SQl. 11111 & SONS

Artist: Mac Ball Art Director: Herbert S. Lenz Client: R. H. Macy & Co., Inc. ,à ,Al emce'e s

r ; . as "le aoe

CARSTAIR S é /7» Artist: Irwin Smith Art Director: Myron C. Pettey Agency: lennen & Mitchell. Inc. Client: Carstairs Bros. Distilling Co.

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

11 2 Artist: Russell Patterson eredesseeereereplipererak Art Director: Herbert S. Lenz Client: R. H. Macy & Co., Inc. 1E11 pa/adhe for S11111 Fill

MACY'S M,11i1 1111111 CEITRE *1 1"

The wide,/ rhoite oJ (.0 Kk 1-.0 'I" de.ibt..• for .jouhe people In ..1mcri,,

PASTE THIS Artists: H. Foster Ensminger, William Sakren Art Director: Paul F. Berdanier, Jr. IN YOUR HAT! Agency: J. Walter Thompson Co. Client: General Cigar Co., Inc.

) KEEP HT FOR I ), • , 4

BREATH-TAKING A 1)1 , . Of4aff MOMENTS '

Every Woman wants to be Kissed -

• .

Senol,r• Tote showed Verdep• Tobseto we. eower on you. lar•orl,

arrooaccgo,....•

Artist: Edward Johnson Art Director: Fred S. Sergenian WHIT •W Agency: Young Se Rubicam, Inc. Client: Cluett, Peabody & Co., Inc. .Mist: Stanley Ekman 'SERVICE YOUR CAR Art Director: Roy E. Washburn .FOR THE FOURTH, SIR ? ' Agency: McCann-Erickson. Inc. Client: Standard Oil Company (Indiana) ar...... -./

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BURRY WORRY

G;vE ,T TE WORnS

••• • y I2; . O. wE ROLL ALONE -ROU 4 - r . a . ip . i• ...... N. •-

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FORESIGHT DELIGHT

GET CRITICAL-GET KRUEGERS'!

Miles STR-ETCH - - 4E7" CRITICAL-LOOK FORA BEER WITH I GET CRITICAL-LOOK FOR - -the more STOP and GO BALANCEO FLAVOR-NOT TOO SITTER, BALANCED BOOT- NOT 700 HEAVY, NOT roo SWEET! NOT roo LIGHT.' the longer miles grow— ee-

d ejr,"

4 3JJ ‘11 êto la. aaal saceal, ye« »gm makes la Ilmes as ma. WE GOT CRITICAL- WE NOT KILUE6ERY- naval.... at la - ••••• THE REM kOIL CRITICAL TASTES! 40 !I 3 Now* •• ••••• â yeL-yy ejJ

Iene me> Je, n.upro ...MM.. •

Ax.,:eld•wat %Hem,. U.S.N.

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MAKE THIS WEEK-END TEST WHEN YOU ORDER SEER FOR MIS WEEK-END. ASK FOR KRUEGER. THEN COMM. IT rani ayx SEER KRUEGER YOU'VE EVER OISTEO. £4 VESav synod» ea. wftede DISCOVER KRUEGER'S COOL, PARA -REFRESHING 6000095$— IFS BOTTLES,CPAIS OR ON DRAUGIT BEER & ALES AT YOUR FAVORITE TAVERN. SOME PRONOUNCE IT EOM. CANS. DRAUGHT SOME PRONOUNCE IT KRZWIES... SLIT EXPERTS PRONOUNCE IT LOOK IrOK re« Irlekal • ...WU., Oaf.. COMMIN,I1•1«....ILI

‘Valter Richards Artist: Waller Early it Director: Elwood NVhitney .4rt Director: Gustave Sigritz Agency: J. Walter Thompson Co. .4 gritty: Young Sc Rubicam, Inc. Client: Shell Oil Company Client: Krueger Brewing Co.

11 4 oe7.Y.

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tills!: Sak ten rt Directm s Iii ji, Sir 0 , ahl Walttr Thompson Co. Client: P. Ballantine & Sons

JERRY ON THE JOB WASH DAY! by Hoban

i — WE>, °gem'r A «.."7.ivree... SRARR.NuTs- 5.4 A GRANCr Boy, ARE. /JEW OCRALB.-FLPSIOR... -ISM"' FLAKE. YUEN'. G000 ! ...1 ,t- -;--- • Amo -Tuee , Stec -rb "'tuft. 4,85'

Artist: Walter Hoban Art Director: Jonel Jogulesco Agency: Young & ktubicam, Inc. Client: General Foods Corporation

"I HAVE MY CHILD'S LOVE BACK AGAIN I"

.L :•r,, I - TIECIIC VON ARC

-- I ' E , . A.A AL FO.Y.1 m.)hie LAGNE , MATE ' MOM

L • RoowesAY \ •t !IF T. TmL A. rPA,EL - m 'I Bill

sDNET om- mA•L so rob« H'5 THROAT

LL CET FLETCHER% (ASTORIA RAVI MONVI FLETCHER'S (ASTORIA A BOTTLE SEF•'S L'NE MATE !NDEE04., AND ONLY GET TE ( At R , •. :RES Mow ntYcnclii cAAAAA IA BOA I.MILOREN'S 6CTTLE IPOm YOGA DP A, coArdo ' BUT ASCII •LL DELICATE -.sloes' 'OM •AND SAdE YONI.R \ •• so.rE •-. HARSH DRAGS ..00« R N.( Dv;NA7L RE GTOPE. AND IT CPAS B ELETC.ETILAN -VE •. FORM N ANBIT! nucéunk CASTOStiA PEO ELOPOEPED DASH e MOOT •LANT DTT,Avb CROONS T-E ‘ONT ARIDE

FLETCHER% IA PLEASANT TANT NG CNILDREN LOVE a

ONAN. .

Artist: John l'Ioltugren .I ri Director: Frederick Ilalpert Agency: Young & Ruhicam. Inc. Client: The Centaur Company

115 ,.. 1,` .14..... -, t •' Af!."-* , .‘,.. -4. - ‘--'4' ‘....- \....,/ kff ,,_-,,-1,,',4, - it ' - ... • e 4, - •e . ‘e- '

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Artist: Albert Horne Art Director: W. E. Nneaton, Jr. Agency: Badger and Browning & Hersey, Inc. Client: American Chicle Company

ALLIGATOR illtitsit IN THE EVERe1,4etDES e THE TRUE ADIMMIRE t +ee e‘ OP T T.REESE.IN THE MIDNIGHTAND MS DARKNESSTWO COMPANION/ OF A FLORIO/. SWAMP • .'Tar el= ez,:.°:s...:ez, '

AN ADVERTISEMENT FOR FRESH DATED "EVEREADY" BATTERIES

Artist: Howard Williamson Art Directors: Lester Jay Loh, John II. linker, Jr. Agency: J. M. Mathes, Incorporated Client: National Carbon Company, Inc.

OA IRE - 'ACV A.,. • 4.,: ,..,KTER T› urcle ">'• 6,nel `AK SlIn. AA! fiRANeesoPre...44UTe &S,ILVI(E-1,

( ; ser I 11A.R. »un At Au- IVO.V

r,....;<..se..1 • et- at..reeer.,..,Kee .100. • sc....era -vg GETAHmS, 'PAW. KEW omicticeLavoct. eel= mAH , SooKAPT:mrwe NW. a. A .1"^” aye.. • • 5,ar •iGIMPE,MITT Kieft- ,

Me hoopmewu.T.Ka Wor.,

Artist: Walter Hoban Art Director: one! jogulesco .1genry: Young & Rubicam, Inc. Client: General Foods Corporation

116 WOOING WINNIE

iroVIE (MI - M - DO / NEW! WONDERFUL! len7Ef LOVE 71/E NEW IDE)1/4 JELL-O PC/DO/NGS! JEL1-0 RIDDINGS'

n... it i e, Is e ...‘ kJ-- e,q%-,... 3 LUSCIOUS FLAVORS ...,.., . . Y,.' . R! CH CHOCOLATE •RE ALVANILLA E.S. MELLOW BUTTERSCOTCH ..:— — SW ...., -,','-,-----_-_,-:------.-_ -,-----,---i‘L, SAME LOW . / ,-- .../ ....›.... PRICE AS , JECt:0 ...., .../ JELLO !VAN1 „ pu b W I le., •••. ,... , • AT ALL DING El.

tit: William Sakren Art Director: Fred S. Sergenian Agency: Young & Ruhicam, Inc. Client: General Foods Corporation

, Lightning Lent Foils Butch the Villain

rDoo.,, EOMECWES " ITS Lltil4TNIK, LE, Kozalool i'zsEAEi.....rt. ,N .1-104 T ocw PrE7A.T. , 0,,P TNNOLle. - He SEAT SL, SMEZ 's.: AllErCh C,Ii75 OPP EN 5,7c,47.,-.2 2ce s./o SEP, KERC.1400!(‘.. •-• HElEE • • I. ,,:.F' s.:.NE001..ae ',0 /MAT C SCOHET o CNAN, EZ /14 ! 02..; LEN"-, .:Ao ,,..-- 12.E cAAMIP .rwr COME :TOW. HAVE ,01.1 kekoloo! A,e A ' %WE>: JuLeGe. cAr _7( 4 .2,50 ,:m.na --"e, _ ,eti, tow

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711.17.1 "_(-A ,AICATAF - BJ T TAKE MD A 2AEA T Sr. M:S•S? .4- surS A 2A 5 .T. 5E THAT ‘•.•\ AOA No.' CHA.:EN AND NEF iezr's ONE 1 rouND ,4E -F+6 NATOLI& Za...,ERA‘', 135 TAE Ac u+ , •r. SM 5, EAA,A.& OF SEWS oJi 5.2 s.EPA-,A

SE bvc..! WAN A ...0P.E-1...`/, O ON . ,..,.... S, "...Woo ....,74 _ __ ir M.ArsAi CAAMP,o, /.....-7.---Ls....O..,' ,.._..J . 4- ? ...SA's`, p...,...7u.k.. .e -- Eq"..1..,•_,.. 7 NE. D.. LF-...os...„,_,sij, .s„. .l , ,,.....;,,:I- --- - i; ¡oil AC...-. ATE TWO '.,- ZEVE .;Tr.r.E '

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...... _.,„„e------, ; -i." , ....."—...) 2 1.,e1...: oATLIZE COuNTER.ko- AC c'erY I. -s.C- , TANS A LAXATs.E ISLET "OF, ecyru SAL HEPATICA! \f\.-N...,» ..„ -_- , --

\-)\, ,...,-.- ...... *nu.... 111111

Nei .704, ¡55 OHS ....a •.. •.. ,.....(me...... ,... 1 SE,- ;tut,. WS Web.

J./TS oroe-crAm , ep.••••"'" =»erm'..1:!::111 " ."."«.••••••%%«. t....»....'-' ...... "7.e.., .emmAtsmu.

Artist: Joseph King Art Director: Frederick Halpert .1 gesse-v: Voting & Ruhicam. Inc. Client: Bristol-Myers Co.

GRUMPY GUS

a DARLING! INI CRAZY ) A NEW TREAT! . . elABOUTJELL-0 "BPUDDINGS. "W ,r. \ JEL1-0 Pele/t/6:9 , RICH CHOCO LATE REAL I _.,, .• , s/ ,• 4 MELLOW BUTTERSCOTCH 4., ? YOU'LL LOVE All 3! i U N.‘ -.=..

1 SAME LOW ''''' CeijOCL 0 d \ AÊL'P %(!) G1:0 7CAELL c_oLATE M li ill iii .- î

ttist: William Sakreis Art Disector: Fred S. Sergenian Agency: Young & Rubicam, Inc. Client: General Foods Corporation

117 DOWN OUR STREET Oh, Doctor! By Winifred Carter

DRIB ADVICE/CRISCO (THE SUPER-CREAAAED PURA VEGETABLE SHORT- ENING) IS NOW PRICED SO LOW THAT EVERYONE CAN ENJOY CRISPER. MORE DIGESTIBLE FRIED FOODS. FLAKIER,AAORE olomalLE Pia CRUST. LIOHTIER.ASORII DELICIOUS CAKE. GET CRISCO TO- DAY. IT NOW COSTS SO LITTLETO USE CRISCO FOR Au YOUR COOKING.

/14Zjd7'1'n

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

ermAT'S THE MATTER ISE GIANT CARRIED yviT4 THEE. OFF MOTHER'S SHEEP JACK? AND CHOPPED DOWN THE BEANSTA...g.. I COULD HAVE FOLLOWED HIM. -NUTTY .› Ne, ws.1 NOW I'M OUT OF LUCK HISTORY JACK THE GIANT L E

ZOUNDVT" ..Ev4 . SEER' W - GADZOOKS TUT. TUT. LAD. THOu'RT SEE. YET.-•INKS O -iESE THEY ARE -,,555 (.7.N_, DE. Z NO MATCH FOR H M. .E mAY BE v ,NES W L..Gl.Ow NAAG'C I ARE 1., TwE'v WOULD SLAy AND yoL.'RE S :Let CeftERTSHAN THEE VOW DEL.COLS,t G1vE YOu A SCORE OE 0 - HERS IRGHT: ESTE*. PEP ISEE THEY'RE NENER PS5 - : SPROUT.NG: AND ATE 1 ENERGY ( GO GET THEY TA, HIM BEFDRE JACK!

: D PATt-ER. THEY'RE * DOUBLE-ROASTED» AND -MY &NE YOU SwEL.i_ FOR HOw M-CH SEDGE PAR- 1ES AND Giegne î PLANTERS KEEP YC..I BETWEEN MEALS. WHEN YOu CET 151ST PSANYTS -r4 V. vA'Av ! t..er DOWN FEELINC, . .EAT 'DOuSLEROASTED. MOTHER PLANTERS PEANUTS- TUEYLL GIVE •yOU ZI«. HOURS EXTRA PEP. SHIPPED. Oar UNDER REFRIC.ER.ATION PLANTERS ARE ALWAYS PIP£SHI,CRiSP, THE easces-r sr 6ETA BM/ Í

Artist: Ham Fisher Art Director: Paul F. Berdanier, Jr. Agency: J. Walter Thompson Co. Client: Planters Nut & Chocolate Co.

By Rush VIC Cr SADE, Radio's Home Folks A Woman's Way!

FREE ADVICE! CRISCO (TI-ID. SUPER-CREAMED PURE VEGETABLE SNORTENING) IS NOW PRICED SO LOW THAT EVERYONE CAN ENJOY CRISPER, MORE DIGESTIBLE FRIED FOODS. FLAKIER, MORE DIGESTIBLE PIE CRUST. LIGHTER, MORE DELICIOUS CAKES. GET CRISCO TODAY. IT NOW COSTS SO LITTLE TO USE CRISCO FOR ALL YOUR coogiNG •

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

118 COMPLETE ADVERTISEMENTS • NEWSPAPERS

FROM MOO TO YOU WITH LOVE

mmm •t tee ni one of dime tninrenorm l,tflpeople. noel

In you - with all the hmng eme that Bteden's tue tumbled in this butane, Mt el years oppren- el, more than ne do h' it enportam pure milk is le the ltth.lth arid hampineim of drentong children. When non the 13noleii Mon mare rant, at your home STEINWAY Barden`, Farm Pend,. •I•41,/ I( )1 et '7.4 •r" `,ISMIlAYfflEnS\,W`t\s‘WVEMYSE'It&C'S

I1 9 rt3 Pt'

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WE LIFT OUR GOLDEN CREST VOICES

Pisano pard. us. Sing.' is a bit out of our lute. But we rust can't help carolling •few moos to you — of glad tidings, and happiness. and good health for this and every season. Well make good on these good wish«, too, with your kind permiesion. Just leave • .te tornoerow telling yo. Borden Man, "l'm changing to Golden Crest Vitamin D, the milk with the sunshine vitamins in it." Will you—for a happy, hea le hy ChrISMIUM and New Year ? Borden's Farm Products.

/DREW,4 SALUTE FROM THE ADMIRAL

maào,d• one .41.111.

\ ewer re 04.

Berman's delicioue, tangy

freakiest., in due to the air-

tight narltage that keens thaa

fine decor at its peak of freah

prrfertion. Treat yourself to STEINWAY AIDS DIGESTION

4-11C011111 /IBM« ON ISNYICI Per *me was mile min ewes ofir.ere

pi. re. r Ft et.< i, rver,

OZIRKS sae RAU/a:TINE —and . ...• •• ••• A.,-.1e 'Porn. ewer Flavor •• tVenee arc,

eill yuarr

11111160 TII.I lIt till \L11111 01111 IS Ale e; Beer BALLANTINE'S STANDARD OIL DEALERS CIMEM:13211.5=EMIC12:123

120 The Man who Cares says:_ CARSTAIRS

rT \ \ame of Fine Traditions since i788

CARSTAIRS ...111.ENDED JI HISKEA OF CHARACTER

HITCH lillilt 1 l!\ Iii

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.NIACVS

121 BOOKLETS AWARD FOR DISTINCTIVE MERIT

Artist: NI. Martin Johnson .411 Director: M. Martin Johnson Ghent: Chicago Art Directors Club

Artist: John Avei ii Art Direttotà: Roby' tA. Schmid. John Averill lient: Mutual Broadcasting System. Inc.

AWARD FOR DISTINCTIVE MERIT

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

AVVARD FOR DISTINCTIVE MERIT

124 Artist: Keith Ward Art Director: Harry Payne Agency: Batten. Barton Must ine & Osborn, Inc. Client: Borden's Farm Products

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

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

125 Artists: David O. Green. lbrkel Korling Artists: Henry Stahlhut. Dorothy- Gaffney Art Director: James T. Mangaii Art Director: Dorothy Gaffney Client: Mills Novelty Company getuy: Abbott Kimball Co., Inc. Client: Strathmore Paper Company

Artist: Pagano, Inc. Artist: Lester Beall Art Directors: W. L. Rogers. Raymond Levy Art Director: Lester Beall Agency: Barnes Press Client: The Sterling EngraY ing Co. Client: West Virginia Pulp & Paper Company

I26 111111

q111 EFFICIENCY

rtist: Howard 11:11(1 .1r1 Director: Ilot% ttI II:11(y

Client: York Ice NI:u i ner . C)rp.

Artist: Fred Hauck ..Irt Director: Fred Hauck Socony-Vacuum Oil Company, Inc.

FROM PULPWOOD TO PAPER

12 7 For the big show. It's colossal—Stupendous-- See the eye-filling splendor of the parade of new model announcements! Gaze at the thrilling, sales-winning editorial mid-way ... that focuses the buying- attertion 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. . .

Artist: Fred Hauck Art Directors: Fred Hauck. ‘'alter Lloyd Client: Collier's

Artist: V. Bobri Artist: Fred Hauck .4 rt Director: Grace M. Jones ,-Irt Directors: Fred Hauck, N'alter Lloyd Client: Nolde & Horst Sales Co., Inc. Client: Woman's Home Companion

They knelt more about eons

I2 8 Artist: Lester Beall 5 Art Director: Lester Beall Client: The Sterling Engraving Co.

Artist: Lester Beall

.1 It Director: I.ester Beall

Client: -I'he Sterling Engraving Co.

129 lfl

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ior Artists: Lester Beall, Joseph Gering Art Directors: Lester Beall, \Val ter Lloyd Client: 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. W. Froehlich Client: The Bauer Type Foundr), Inc.

day in the life of Ray D. O'Dollar

130 Artist: Alexey Brodovitch .Irt Director: Alexey Brodovitch Client: Elizabeth Hawes

.-Irtist: Rockwell Kent Art Director: Elmer R. Lasher Agency: j. Maloney, Inc. Client: Time, Inc.

101113Ter''7".•- •` -‘'`.:••!. -•'....^...1-er•-*.z•F .-

131 Artist: Robert Carroll Art Directors: Robert A. Schmid, Robert Carroll Client: Mutual Broadcasting System, Inc.

J._ - (1,1e1 r e "le , r- one fr

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

132 .1. far .7/feieelf/C (11

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

Artist: William Golden • /e lk » • Art Director: Ted Sandler . r Client: Columbia Broadcasting System footnote rhistorians from*" Columbia Broadcasting System

133 It 1(1.1.1 on NI., tli the

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Burn.. 100-1mq, ..• nentor—al••••••• Irate •000. gran le- and •all 10r .0 won fps.hi.. The. Int•-.1 be prepared 1.. 0.100.- luau oinks, in. lertaan al a moment', magi.... when born- cur. s \ Thal i• 01) 'mutt i.raelltanaer.. make j:10.ir prat tier I.. keep Itote.la Pwrate Onto llllll , Art Director: Bert Ray ..011.4.11111? 11.1.1 .1.1 11,1.! ill. their Agency: Runkle. Thompson, Kovats, Inc. htriatal- .0•1 Own ,. ir- be .111..0 0.11 •arplit01. Client: Abbott bora tories

Artist: Gene Federico Art Dirctor: Eleanor Mayer Agency: Abbott Kimball Co., Inc. Client: Strathmore Paper Company

134 Artist: Fred Bond Art Directors: W. A. Kittredge Willard G. Smythe Client: R. R. Donnelley & Sons Company.

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

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INSPIRATIONS FOR 111111TERS • %111111E11 110

135

ASHOP TALK ON POSTERS

By HOWARD SCOTT, Poster Designer and Consultant

DEFINITION OF A POSTER

There have been given many definitions of what atrue poster is. Iventure to add another, perhaps abit more contemporary. Ifeel that aposter is an advertisement that exploits a complete situation with true sincerity in asplit second. The poster must attract, hold, and in aflash bring home to the reader a complete understanding of the advertiser's message. It must leave apleasing impression as well as aconvincing 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, Ihad avery 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 asimple, powerful pattern, astrong 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,

Itold 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 Ilike to call them, one-act plays to afive-second

audience.

USES OF THE POSTER

Right here Iwould 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 magazines are giving the reader his news by way of the picture. Flash, vivid impressions; that is the true mission of the poster. Ibelieve we shall see the poster technique used more and more in our newspapers, publications and display fields. It seems anatural vehicle to use in getting the message over to the reader.

CONSTRUCTION OF POSTERS

As to the construction of a poster, this being the most important feature of all, Iwill try to give a resumé of what makes it tick. There is no formula in the designing of a prize-winning poster advertisement. First, and probably the factor contributing most in making agood 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 value as 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 awell-executed pictorial element, add your product identification and wind up by having atwo-fisted advertisement that's plugging for you twenty-four hours aday, 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 agood "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 asplit second and then release it with acon- crete impression of your advertisement. Great care should be taken in choosing the actors in your

"poster play." Refrain from blatant colors that only tend to chop your design to pieces. Rather ablack and white painting with good value relations than ared, 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.

rI'HE 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 streamlined medium of the advertising world, and as such can surely hope for increased importance in the field of propaganda. There is alack of trained, poster-minded agency executives and artists in this country. However, if the progress made in the last few years can be maintained, we shall surely see the poster graduate from the red-headed stepchild it has been into its rightful place in advertising.

139 POSTERS AND MAGAZINE COVERS

140 THE KERWIN H. FULTON MEDAL FOR BEST TWENTY-FOUR SHEET POSTER

Essole e ef»-ra. MOTOR FUEL Artist: Albert Staehle Art Directors: Stanford Briggs, Howard Scott Agency: McCann-Erickson, Inc. Client: Standard Oil Company of New Jersey

111 .1clist: McClelland BArch' Diredm .: Valter Geoghegan Client: Gulf Oil Corporation Good Gulf Smooth Power

FORDV' LTRUCKS

, 1.e• -;11111m-it

Artist: Howard Scott Art Directors: Stanford Briggs, Howard Scott Agency: McCann-Erickson, Inc. Client: Ford Motor Company

142 Artist: Hayden Hayden Art Directors: Stanford Briggs, Howard Scott Agency: cCann-Erickson. Inc. Client: Standard Oil Company of New Jersey

TWENTY GRAND NNik`qtxx, 10 Artist: Hayden Hayden Art Directors: Stanford Briggs, Howard Scott Agency: McCann-Erickson, Inc. Client: Axton Fisher Tobacco Co.

143 .1 ist Joseph Binder Art Director: Burton E. Goodloe Agency: J. Walter Thompson Co. Client: Peter Bal'amine & Sons PURITY •BODY LAVOR IN EVERY GLASS

ÈALLANTINES

LOW-COST-PER-MILE

STANDARD RED CROWN GASOLINE

Artist: Stanley Ek man Art Director: Roy E. Washburn Agency: McCann-Erickson, Inc. Client: Standard Oil Company (Indiana)

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

MCCANDLISH LITHOGRAPH CORPORATION PHILADELPHIA, PA.

r e% FROM YOUR MeINEMERCHANT .fflomb.

Artist: Stevan Dohanos Art Director: Lester Rondell Agency: Tracy, Locke, Dawson, Inc. Client: Continental Oil Company

145 page 1 '12

THE BARRON G. COLLIER MEDAL FOR BEST CAR CARD

PURITY. BODY. FLAVOR IN EVERY CLASS 4de \\

4e14 .11g›.

4*.441'h 4111111110› BALLANTINES Artist: Joseph Binder Art Director: Burton E. Goodloe Agen(': J. Walter Thompson Co. Client: Peter Ba I la n t ine & Sons

146 SAVE •AND

TKILADELPHIA SAYING FUND SOCIETY

1TH 2.,WALNUT• 12TH &MARKET •11TH &LEHIGH •BROAD RUSCOMB •15 S.5 2ND •BROAD& ACKEAN

Artists: Ra) mood A. Ballinger, Morris Reid .la Director: Guy E. Fry .4gency: Jerome B. (;ray & Co Client: Philadelphia Saving Fund Society

rtist: Fred Ludekens .1,1 Director: Fred Ludekens Agency: Lord & Thomas Client: M. J. B. Co. MJ

M•J•B's RICHER ROAST L001/t GIVES FINER FLAVOR

117 Treat yoursell daily to Artist: Otis Shepard Art Director: Otis Shepard Agency: Barron G. Collier Corp. DOUBLE MINT Client: Wm. Wrigley Jr. Company

irr.z*

Refreshing •ueLicious

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

Enjoy . Healthful Artist: Otis Shepard Delicious Art Director: Otis Shepard Agency: Barron G. Collier Corp. DOUBLE MI NT Client: Wm. Wrigley Jr. Company wI LEY'S 1 GL1M

14 8 Switch to the Modern Fuel

Artists: Joseph Binder, Everett W. Sahrbeck Art Director: Everett W. Sahrbeck Agency: Chas. Dallas Reach Co. Client: The Koppers Company

WIN $1000 FIRST PRIZE IN BIG CONTEST

BRINGS CHEER

Artist: Irvine Kamen% Art Directors: David S. Block, Hal pert Studios Agency: Brown & Tarcher, Inc. White Client: Seeman Bros., Inc. Rose Tea

Artists: Joseph Binder, Everett W. Sahrbeck Art Director: Everett W. Sahrbeck Agency: Chas. Dallas Reach Co. Client: The Koppers Company

149 Hewitt & Keene Art Director: J. P. Sawyer Client: Vick Chemical Company gee CHILDREN'S COLDS (1N

egeee)°e /VAPOql I

"MERMAID-KNIT" PONIES

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

FOR THE MODERN IDEA SEE v wear

ALE& BALLANTI NE'S BEER PURITY•BODY•FLAVOR•

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

150 Artist: lexiclor Art Director: lied ten S. LCI17 Client: R. H. Macy Co., Inc.

Artist: Joseph Binder Art Directors: Hallas Kenyon, Harold D. Hoopes Agency: Paris g: Peart Client: A g: P Coffee Service

Artist: Sascha A. NItturer An Director: Sascha A. Maurer THE NM HAVEN RR Client: New Haven Railroad 151 Artists: Lester Beall, M. Ack.off Artist: Adolph Brotman Art Director: Lester Beall Art Director: Herbert S. Lenz Agency: George Bijur, Inc. Client: R. H. Macy & Co.. Inc. Client: George Bijur. Inc.

152 ttt

Lester Beall .1r1 Di,eaw Lesiei Beall Ghent: I'. S. Envelope Company

AWARD FOR DISTINCTIVE MERIT

Artist: Alexey Brodovitch Art Director: Alexey Brodovitch Client: Harper's Bazaar AI A1AR

;

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CtLIII 11% DOROTHY GRAY ILIRILULI GOULD DU BUM LOUIS PHILIPPE DOI RJOIS

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53 Artist: V. Bobri Client: Nolde & hoist Sales Co.. Inc. Art Director: Grace M. Jones

MAROC A SPICY BEIGE HOSIERY COLOR

Artist: Mary Sweet Art Director: Sherman H. Raveson Agency: Hartman & Pettingell, Inc. Client: Propper McCallum. Inc.

WINDSOR A REDDISH TAG STOCKING SHADE

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

154 Artist: Alexey Brodovitch Art Director: ..1Iexey Brodovitch Client: harpers Bazaar

AWARD FOR DISTINCTIVE MERIT

155 Artist: NVInting-Fellows Art Director: Louis-Marie liude Client: Town Sc Country

AWARD FOR DISTINCTIVE MERIT

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j : ...... e l Artist: Horst .... ,., ..g. ..-.- .., .., •• ...... 1.. .. . I a...... 1, .... lill• .m... — 4. I» am .... --.. .11I MO a...... 7. bl t. .. Art Directors: hoist. NI. F. Agha Vc)gue

157 Artist: Robert Mack Artist: Victor Keppler Art Director: Wallace E. Hainline Art Director: Frank Eltonhead Client: Better Homes & Gardens Client: Ladies' Home Journal

Illu• founded A? re

Artist: Paul A. Hesse Art Director: Peter Martin Client: The Saturday Evening Post

138 pdy

Artist: Stanley Ekman Artist: Paul Rand Art Director: James A. Shanahan Client: Direction Client: American Photo-Engravers Association

Artist: Paul Rand Art Directors: Dr. Robert L. Leslie, Percy Seitl in Client: I'. M.

Artist: Charles Egri Art Director: W. L. Bartlett Client: International Nickel Company -4

.-1) list: H. J. Bai bel Art Directors: Dr. Robert L. Leslie, l'ercy Seitl in Client: P. M.

59 LETTERING

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Artist: Raymond DaBoll Art Director: Bert Ray Agency: Runkle, Thompson, Kovats, Inc. Client: Abbott Laboratories

Artist: Howard hardy Art Director: Howard Hardy Client: York Ice Machinery Corporation

AWARD FOR DISTINCTIVE MERIT .',list: Robert Shaw Art Director: Myron Kenzer Client: Bonwit Teller

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

Artist: Robert Shaw it Director: Myron Kenzei Client: Bonwit Teller

.Irtist: George Suntan .4 rt Director: Kenneth Paul Agency: Batten. Barton, Durstine & Osborn, Inc. Client: New York Telephone Company

162 1111111111011Millr

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Artist: Paul Rand Artist: Paul Rand Art Director: Paul Rand Art Director: Paul Rand Client: Esquire-Coronet, Inc. Client: Esquire-Coronet, Inc.

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

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

Artist: NI. 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: Strathnlore l'aper Company

ew,f,afee/ez TO lusututh' _ BEARS THIS - we/

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

164 lowly/kinds ,a4 feostf2s

Artist: Charles A. Hung] In Director: R. J. Hamon Agency: Geyer, Cornell and Newell, Inc. Client: The M.Werk Company

Artist: Martino Studios.-1;1 Directors: Walter Reinsel, John S. Fisdier Agency: N. W. Ayer & Son, Inc. Client: Lincoln Motor Company

-Pk.13tatEt7 Artist: William S. Chilies Art Direetm :J. Burton Stevens .genty: Pedlar & Ryan. Inc. Client: Ben Burk, Inc.

,t) /e// lem/e1/ //ie/i erf rei/Y/e/'

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Artist: Sain Marsh Art Director: Herbert Bishop Agemy: Young & Rubicon. Inc. Packard Motor Car Co.

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

LIS

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

Artist: Bonagura Art Director: Walter Lloyd Client: Woman's home Con, panion

166 COMPLETE ADVERTISEMENTS • LETTERING

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leile;;Li. I." 1111101 CO 1111 , SSS

¡68 AN INDUSTRIAL DESIGNER THINKS ABOUT HIS JOB

By HENRY DREYFUSS, Industrial Designer

The artist, whether he has sold his soul to commerce or is starving in agarret, has the sublime pleasure 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 aone- 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 asuccessful 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 asplendid 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 observed 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 acareful observer and he must use his "merchandising hunch" (really agauge 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 women will accept the most extreme dictates of the fashion arbiters. The designer for industry has learned to watch the degree of change in women's fashions and take ahint from it. For instance, the extreme styles in women's headgear this year were apretty safe tip-off that they would accept more radical designs in household accessories next season. Shoe- makers have had great success with the platform shoe. Yet 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 adose of modernity the public will take. Possibly our greatest errors have been in selling amanufacturer down the river by giving his product too ad- vanced adesign—one for which the consumer was not ready.

Perhaps it will be illuminating to follow through on the appearance design of aspecific problem 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 awoman take pride and delight in the implement she uses for her work. The form must be simple and pleasing. Ihave no sympathy with the thought of applying streamlined shapes to ahousehold utility, but Ido believe it can be "clean- lined" in its design. We have adistinct problem in doing avacuum 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

170 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 purchaser. Women complain that electric cords get tangled in knots when they put their cleaners away.

With the assistance of the factory engineers aclip is developed which does away with that nuisance.

Rayon has become amagic 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 aword 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 Ihave 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, Iexplained (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 Ihave attempted to point out that the Industrial Designer

is but acog in awheel in producing adesign for aproduct. 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 é ç• /

172 AWARD FOR DISTINCTIVE MERIT

Artist: Sherman II. Raveson Art Director: Sherman H. Raveson Agency: Hartman & Pettingell, Inc. Client: Propper McCallum, Inc.

173 .1rtist: Charles C. S. Dealt Art Director: Charles C. S. Dean Client: George De Met & Bros.

ir...-t. ..."W- ..ee . Artist: Peter Dom & Associates -V. avid ce Art Director: Arthur T. Blomquist :sent •- , e . ler Agency: J. Walter Thompson Co. .i.X le ss. - .eel • • Client: Pond's Extract Company ' "- lieje ,ire -*-

Artist: Charles C. S. Dean .1rt Director: Charles C. S. Dean Client: George De Met & Bros.

17.1 Artist: Joseph Gerilig Art Director: Lester Beall Client: Florida Citrus Canners Cooperative Artist: Warren Wheelock Art Director: Elwood Whitney Agency: J. Walter Thompson Co. Client: Pond's Extract Company

DANYA

POND'S CREAM LOTION

POND'S EXTRACT COMPANY t.t.e. YORK CONTC..r., 3' 1. O.

175 Artist: Sam Marsh Art Director: Elwood Whitney Agency: J. Walter Thompson Co. Client: 1'. Ballantine S Sons

Artist: 1 Rackow Direr lor: Morris Rosenblum Client: I.. Flambe' ger &: Co.

176 -

7' 0 4c0Juzge-Ae-r

rtists: Irving Asherman, James D. Herbert Art Director: James I). Ilerbert Client: ni led Cigar-Whelan Stores Corporation

Artist: William Kries Art Directors: Arthur Weil has. Caesar Ferri Agency: Cecil, NVartvick & I.cgler Client: N. Lamont Corliss Co.

Artist: Joseph B. Platt .4rt Directors: Herbert S. Lenz, Paul M. Hollister Client: R. II. Macy Se Co., Inc.

1 77 .1rtist: Emil A. Schaedler Art Director: Emil A. Schaedler Client: American Coating Mills, Inc.

.Irlisl: Donald 'Inflict - :111 Director: Georges W'ilinet .1gency: Lennen & Mitchell, Inc. Client: John H. Woodbury. Inc.

Artist: Gusta‘ Jensen Art Directors: Gustav Jensen, Park Berry gemy :Buchanan & Co., Inc. Client: 'Ile Paton Corporation

178 Artist: Harold C. McNulty Art Director: Harold C. McNulty Agency: Batten, Barton, Durstine &Osborn, Inc. Client: Richard Hudnut

Artist: George C. Adams Ait Director: Elwood Whitney Agency: J. Walter Thompson Co. Client: J. B. Williams Co.

Artist: Frederick Chance Art Directors: Frederic Sulu, Frederick Chance Agency: Briggs & Varley, Inc. Client: Mastin Products, Inc. PICTURES THAT PULL PEOPLE

By LEO N A RD Luc E, Art Director, Arthur Kuchler, Inc.

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 the young men who are now entering the advertising art field will have the benefit of the experience of those they succeed.

1111! AH 1 If you visited the Eastman Kodak If one group of 200 people says I. here have developed during the exhibit at the World's Fair more "Ah -h-h!" when apicture is shown past io 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 asmall sample represent the which of several pictures interests whole." them most and thereby know which picture will most interest 2,000,000 people.

8o 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 ii EVIDENCE IS SUFFICIENT

%had to rar-ouorr• a- urll a- railroad..

.1St III PSI. I01 II-NE*111E11 1111.11 -11.1M,

4,400 you PART -

Observed by 18% of Men Readers Observed by 50% of Men Readers

Accurate records of such infor- 1;7 V ge) mation over a period of years Every lime you Start— y your engine wears heif in many thousands of cases be- r‘e comes adependable barometer Wherever yoludrive of human interest or boredom. here

here

IARIS suas-e; rnle.tar than all tte ei

r•e Orrte o Observed by 15% of Alen Readers Observed by 62% of Men Readers

By this means it is possible to compare a proposed advertisement with the records of many hundreds of similar advertisements and foretell how many people can be expected to see it

when later it is published. s'e'et-r t r t

sr; eee r. 4-e—r

e_ e

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

181 By aprocess of elimination the advertisements which do not interest people can be replaced drumuntieg ae•n - .ord .1.,..rre i boh:re with the ones which interest FAMILY-NEEDS FORECAST ,f• • them, and advertising art thereby made more and more valuable.

... a remarkably sinude method tiw checking your own life insurance against the

SEVEN VITAL NEEDS it mould have to meet ' .1Akl, 1111.

The

Observed by 15e.;, of Men Readers Observed by 63 0-,0"of Men Readers

In examining one group of woo advertisements of equal cost it was found that one was

observed by only 8°, 0" and another by 8o% of men readers. Thorough analysis discloses that there are many factors which cause one advertisement to be seen by to times as many as another, one of which is the choice of illustrative subject

with the 1938 Automatic Tuning matter and of layout. No single factor gives an advertisement 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 advertisements show one which was WORLD'S BEST BABY e observed by 20% of women TELLS ALL' readers. It pictures a"baby." Another was observed by 32%. It pictures a "baby" and • has "visual emphasis." • e Another, observed by 55%, pictures a"baby," plus an "ani-

eVjet te, mal," plus "visual emphasis." The fourth, observed by 73%, pictures a"baby" plus an "animal" plus "something unusual happening" plus "visual emphasis."

Observed by 20%, 32%, 55%, 7e% of Women Readers

182 An examination of a small group of 25o 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- coo eke, served by agreat many people. -0

PRODUCT PEOPLE EMOTION COSTUME SHOCK LOCALE

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

but .ore parcnt, ,...„e„e.

Observed by 65% of Men and 6o% of Observed by 57% of Men and 74% of Tromen Readers IVomen Readers

"Humor" , "l'ai hos" ," Romance" , "Unusual Costumes" plus" Visual HAT 1011 DO IA THE DACE AT Emphasis" in combination are strong factors in getting observation. These advertisements were thoroughly read by an unusually high percentage of women.

Observed by 41% of Women Readers Observed by 87% of Women Readers

183 "Something Unusual Happening"

plus - Usual Emphasis" never fitil in combination to get high observation. Whether the technique be old-fashioned or modern, whether the layout be smart or buckeye, the right combination will always win, the wrong combination will al-

reI..altes all Ont these fine gums for your pleasure and enjoyment ways lose.

Observed by 50% of Men Readers Observed by 78% of Men Readers

it c,'„' of the women who observed the life insurance adver- iisement (left) thought it was an Eastman Kodak ad, so much did it resemble the Kodak advertisement (right). Only 1% correctly identified it. The laws governing the reading habits of average people are constantly at work, and in Aware, hp« br the each of he grim aught be fund in do this case raised the observation perdrerbook of gamy a out Whoa he rakes • our ànd 4wIrs e tr, dr 65% above the field average, yeas rob Ñd. girrng do rem a 'rrtà=7"... •

far.off day,» preonua Wet Theam- :L.7=

-Ibar. Mr- onro nee vosnx To ror.reow you mar take Today. by 90%.

'etc lewtecabeiee ate cs, !F Observed by 53% of Women Readers Observed by 65% of Women Readers

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

SOIllelkille ere), your bent friend WM% neebl

toestb-• ie) Observed by ;8% and read by 12% of

14111111e 9 Men Readers _ -401ele Observed by 57% and read by 22% of Il'omen Readers

18 4 INDICES

i 85 INDEX OF ARTISTS

These are the names of the artists whose work sou 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. 41 Chance, Frederick, 11 Heritage Road, Haddonfield. N.J., Abbé, 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 42nd St., New York, 86, 91, Clemmer, Richard, 46 East 5oth St., New York, 67, 104, ut 152 Connelly, George, c/o W. H. Hoedt Studios, Inc., 212 West Adams, George C., 420 Lexington Ave.. New York. 179 Washington Sq., Philadelphia, Pa., 107 Adams Studios, 202 East .14th St., New York, 66, 92 Content, Dan, 112 West 54th St., New York, 42 Albert, Ray, 411 Madison Ave., New York, 7t Corbett, 'Thomas, 45 West 45th St., New York, 16.1 Albrecht, Carl. 50 West 56th St., New York, 86 Corcos, Lucille, 121 Joralemon Sc.. Brooklyn, N. Y., .12 Allen, James E., 41 Mayhew Ave., Larchmont, N. Y., 38 Covarrubias, Miguel, Sixth Ave. 8e 58th St., New York, t8 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., 254.1 West 7th St., Los Angeles, Calif., 90 Dahl -Wolfe, Louise, 58 West 57th St., New York, 55, 71, 72

Arthaud, Marcel, Paris, France, 72 Davis, Floyd, 116 West 87th St., New York, 21

Asherman, Irving, c/o United Cigar-Whelan Stores Corp.. 330 Dean, Charles C. S., 310 East 44th St., New York, 163, 174 West 42nd St., New York, 177 Dirks, Rudolph, c/o Fred Wish, Inc., 12 East 41st St., New York. Atherton, John, Ridgefield, Conn., 24 43 Ayerill, John, 155 East Ontario St., Chicago. III.. 84. 88, 123 Dohanos, Stevan. c/o Charles E. Cooper, 155 East 44th St., New Ball, Mac, 480 Lexington Ave., New York, 63, 6.1. 112 York, 29, ¡o, 145 Ballinger, Raymond A., 334 South Camac St., Philadelphia. l'a., Dom, Peter, & Associates, 441 Lexington Ave., New York, 174

147 Dome, Albert, 740 Madison Ave., New York, 20, 26, 30, 93, 116 Barclay, McClelland, 36 Central Park South, New York, 142 Driscoll, William, Tower Artists, RCA Bldg., New York, 164 Barschel, H. J., 68-20 Burns St., Forest Hills, N. Y., 159 Dufy, Raoul, 5 Impasse Guelma, Paris, France. 157 Beall, Lester, 320 East 42nd St., New York, Early, Walter, 33o East 43rd St., New York, 114 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., tWest 47th St., New York, 71 Benrimo, Thomas, 59 Hillcrest Ave., Larchmont. N. Y., 5.6 Ekman. Stanley, 540 North Michigan Ave., Chicago, Ill., Berd, Morris, 33.1 South Camac St., Philadelphia, Pa., 147 85, 114, 144, 159 Binder, Joseph, too Central Park South, New York, Ensminger, H. Foster, c/o H. Watts Studio, 420 Lexington Ave., 144, 146, 149, 150, 151 New York, 108, 113 Black Star Publishing Co., 420 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, Toni, 4East 53rd St., New York, 166 Fawcett, Robert, 1to East 42nd St., New York, 28 Bond, Fred, 10931 Wey burn Ave., Westwood Village, Los Federico, Gene, 2927 West 24th St., Brooklyn, N. Y., 132, 134 Angeles, Calif., 135 Fehér, Joseph, 737 North Michigan Ave., Chicago, Ill., 108 Brindle, Melbourne, c/o James Perkins, o East lend St., New Finley-Jones, 480 Lexington Ave., New York, 27 York, 89, 90 Fisher, Ham, io5o Park Ave., New York, 118 Brodovitch, Alexey, 304 East 66th St., New York, 131, 153, 155 Fitz, Grancel, 5 Prospect Place, New York, 43 Brody, Marianne, c/o Saks Fifth Avenue, 6t I Fifth Ave., New York. 1°6 Fox, Fontaine, c/o Fred Wish, Inc., 12 East list St., New York, 43 Brotman, Adolph, c/o R. H. Macy 8c Co., Broadway & 34th St., Freeman, Fred, 43 East 49th St., New York, 6t New York, 152 Frissell, Toni, 206 East 46th St., New York, 63 Brouard, William, 45 West 45th St., New York, 37 Froelich, L. W., 235 East 45th St., New York, 130 Brown, Harry, 219 West 13th St., New York, 71, 124 Gaba, Lester, 8o West 40th St., New York, 64 Bruehl, Anton, 480 Lexington Ave., New York, 37, 62 Gaffney, Dorothy, 1062 East 32nd St., Brooklyn, N. Y., 126 Bull, Johan, Roxbury, Conn., 23 Galloway, Ewing, 420 Lexington Ave., New York, 40 Bundy, Gilbert, 395 Riverside Drive, New York, 91, III. 150 Geoghegan, Walter B., 247 Park Ave., New York, 69

Carroll, Robert, 229 East 79th St., New York, 132 Georgi, Edwin A., James St., Norwalk, Conn., 42, 58 Cassandre, A. M., 3 Quai Voltaire, Paris, France, 36 Gering. Joseph, 320 East 42nd St., New York, 34. 91, 130, 175

186 Gibson, Charles Dana, 127 East 73rd St., New York, 25 Nyholm, Peter, 114 East 32nd St., New York, 90, 104 Gilchrist, James H., 309 Curtis Bldg., Detroit, Mich., 23 Pagano, Inc., ii East 51st St., New York, 126 Gillies, William 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., Ito Peters, Charles, c/o MacKinnon, Peters & Paulsen Studios, Inc., Green. David 0., 4100 Fullerton Ave., Chicago, Ill., 126 480 Lexington Ave., New York, 82 Green, Ruzzie, 18 East 48th St., New York, 148 Petersen, K. Gunnor, to Park Ave., New 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., 480 Lexington Ave., New York, 177 Hauck, Fred, 180 East End Ave., New York, 37, 125, 127, 128 Podorson, George A., 250 Park Ave., New York, 92 Hawley, Peter, c/o W. O. Kling & Associates. Chicago, Ill., 17. 37 Poore, Taylor, 737 North Michigan Ave., Chicago, Ill., 125 Hardy, Howard, 137 East 38th St., New York, 127, 161 Rackow, Leo, 15 West 5t st St., New York, 176 Hayden, Hayden, 405 East 54th St., New York, 143 Rand, Paul, 44 East both St., New York, 159, 163 Helck, Peter C., to East 53rd St., New York, 18, 33,36 Raveson, Sherman H., c/o Pettingell 8c Senton, 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, 9Rockefeller Plaza, New York, 39 Hesse, Paul A., 480 Lexington Ave., New York, 33, 158 Rittase, William, 247 South 15th St., Philadelphia, Pa., 38 Hewitt & Keene, 2 West 46th 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 44th 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 Valley ViewTerrace, 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, iii 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, William, 404 East 55th St., New York, 113, 115, 117 Howe, Walter, 350 East 22nd St., New York, 133 Schaedler, Emil A., io931 215th St., Queens Village, N. Y., 178 Hughes, George, 155 East 44th St., New York, 29, 34 Schucker, James, 5t West loth St., New York, 35, 68 Hunn, Charles A., Dayton, Ohio, 165 Schwartz, Dr. Ernst, c/o Agfa Ansco Corporation, Binghamton, Hunter, Donald, 51 East 42nd St., New York, 178 N. Y., 41 Hurrell, George, 8706 Sunset Blvd., Hollywood, Calif., it Scott, Howard, 271 Madison Ave., New York, 142 Jensen, Gustav, 288 Lexington Ave., New York, 178 Scott, John, 480 Lexington Ave., New 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, Ill., 123, 164, 166 gan Ave., Chicago, Ill., 148 Kamens, Irvine, 6812 Burns St., Forest Hills, N. Y., 149 Smith, Irwin, c/o Byron Musser, Inc., 45 West 45th St., New York, 112 Kent, Rockwell, Ausable Forks, N. Y., 131 Snow, Roy, Harrisburg, Pa., 87 Kent Studios, 385 Madison Ave., New York., 6o Spadea, Jean, 471 Park Ave., New York, 107 Keppler, Victor, 250 East 43rd St., New York, Staehle, Albert, 424 Madison Ave., New York, 39, 141 24, 25, 57 , 65, " 2, 158 King, Joseph, 155 East 44th St., New York, 117 Stahlhut, Henry, 98 Parrott Place, Brooklyn, N. Y., i26 Klauck, Cy, 320 East 42nd St., New York, 32 Striebel, John H., 323 East 58th St., New York, 118 Korling, Torkel, 4100 Fullerton Ave., Chicago, Ill., 126 Suman, George, 383 Madison Ave., New York, 162 Kramer, Harold, c/o Stevens-Gross Studio, 820 North Michigan Sweer, Mary, c/o Pettingell 8c Senton, 673 Fifth Ave., New York, Ave., Chicago, Ill., 87 154 Kries, William, 149 East 36th St., New York, 177 Teale, Edwin Way. c/o European Picture Service, Inc., 353 Fifth Ave., New York, 87 Lawson, Bert, c/o Columbia Broadcasting System, 485 Madison Ave., New York, 27 Texidor, 384 Central Park West, New York, 151 Ledo Studios, 19 West 44th St., 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 44th St., New York, Ludekens, Fred, San Francisco, Calif., 29, 147 22,38,67,111 McManigal, J. W., Horton, Kan., 109 Voight, C. A., c/o Fred Wish, Inc., 12 East 41st St., New York, 43 McNulty, Harold C., Norwalk, Conn., 179 Ward, Keith, New Canaan, Conn., 85, 110, 125 Mack, Robert, 270 Sutter St., San Francisco, Calif, 158 Waxman, Henry, 146 East 56th St., New York, 61 Marsh, Sam, 420 Lexington Ave., New York, 165, 176 Webb, Paul, c/o Fred Wish, Inc., 12 East 41st St., New York, 43 Marshall, Francis, London, England, 69 Wheelock, Warren, 1931 Broadway, New York, 175 Martino Studios, 27 South 18th St., Philadelphia, Pa., 165 Whitcomb, 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., 480 Lexington Ave., New York, 145, 151 Willard, Howard W., 3io East 55th St., New York, 135 NIeerk'imper, E., c/o Monkmeyer l'hoto Service, 225 Fifth Ave., Willaumez, R., 308 East 5ist St., New York, 103 New York, 83 Williamson, Howard, c/o Byron Musser, Inc., 45 West 45th St., Mettee, Holmes I., Baltimore, Md., 41 New York, 116 Monet, Dorothy, 424 Madison Ave., New York, 93 Williamson, James W., Meads Lane, Greenwich, Conn., 21, 67 Mulvaney, Eric, 169 East 78th St., New York, 106, to8, no 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, to7 Nitsche, Erik, 210 East 68th St., New York, 85, 130 Zepf, Tony, Berlin-Mariendorf, Germany, 72

187 INDEX OF ADVERTISERS

This is more than a list of advertisers whose advertising has found its way into these pages by virtue of merit. It is agroup of modern patrons of Art who have the means and the courage 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 Chicle Company, 116 Chicago Tribune, io8 American Coating Mills, Inc., 178 Climax Molybdenum Company, 39 American Photo-Engravers Association, 159 Cluett, Peabody & Co., Inc., 22, 23, 113 American Telephone & lèlegraph Co., 36 Collier's, 125, 128 American Viscose Corporation, 42, 55, 61, 71 Collins, Miller & Hutchings, Inc., 88 Angostura-Wuppermann Corporation, 61 Columbia Broadcasting System, 27, 89, 124, 133 Armstrong Cork Products Company, 41 Conmar Products Corporation, 92 Arden, Elizabeth, 69 Container Corporation of America, 72,85 Axton Fisher Tobacco Company, 143 Continental Oil Company, 145

Ballantine, Peter & Sons, 115, 144 , 146, 150, 176 Corliss, N. Lamont Co., 177 Bamberger, L. & Co., 1°6, io8, 110, 176 Corning Glass Works, 57, 65 Bauer Type Foundry, Inc., The, 130 Cross, Mark, 93 Beck Engraving Company, The, 83, 87 Curtis Publishing Company, The, 19, 37, 4o, io8, lo9 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, 182 Donnelley, R. R. & Sons Company, 125, 133, 135 Borden's Farm Products, 110, 125 Du Pont de Nemours, E. I. & Co., Inc., 64, 72, 87 Bristol-Myers CO., 21, 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, 166 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 Procter & Gamble Company, 33, 41, 43, 118 General Motors Sales Corporation, Propper McCallum, Inc., 154, 173 Buick Motor Division, 66 Province 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, io6, 162 Hawaiian Pineapple Co., Ltd., 18, 36 Sanderson & Porter, 89, 90 Hawes, Elizabeth, 131 Saturday Evening Post, The, 158 Heinz, H. J. Company, 17, 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, 111 Standard Oil Company of New Jersey, 141, 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, 111, 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, 150 Mutual Broadcasting System, Inc., 85, 91, 123, 130, 132 Vogue, 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., 151 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, Win. 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" %%Ito take the art, the copy and other ingredients and by different recipes get 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 get a commission and an occa- sional compliment, such as the appearance of their work in the pages of this Annual of Advertising Art.

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 Sc Osborn, Inc. Lennen & Mitchell, Inc.

Bijur, George, Inc. Lord Sc Thomas

Briggs Sc Varley, Inc. McCann-Erickson, Inc.

Brown Sc 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 Sc Coe, Inc. Paris Sc Peart

Ellis, Sherman K. Sc Co., Inc. Pedlar Sc Ryan, Inc.

Federal Advertising Agency, Inc. Presbrey, Frank, Company

Fertig, Lawrence & Co., Inc. Reach, Chas. Dallas Co.

Fuller Sc Smith Sc Ross, Inc. Runkle, Thompson, Kovats, Inc.

Geyer, Cornell and Newell, Inc. Thompson, J. Walter Co.

Gray, Jerome B. Sc Company Tracy, Locke, Dawson, Inc.

Hartman & Pettingell, Inc. Warwick Sc Legler

Kenyon & Eckhardt, Inc. Young Sc Rubicam, Inc.

190 THE ART DIRECTORS CLUB

OFFICERS 1939-194o

WALTER GEOGHEGAN, President LESTER BEALL, First Vice-President GORDON AYMAR, Second Vice-President

PARK BERRY, Treasurer HUBERT F. TOWNSEND, Secretary

Executive Committee: WILLIAM IRWIN LESTER JAY LOH LOREN STONE DEANE UPTEGROVE

OFFICERS 1938 -1939

WALTER GEOGHEGAN, President GUY GAYLER CLARK, First Vice-President BYRON MUSSER, Second Vice-President

PARK BERRY, Treasurer ERNEST BUTTON, Secretary

Executive Committee: WILLIAM IRWIN LESTER JAY LOH LOREN STONE DEANE UPTEGROVE

EXHIBITION COMMITTEE

LOREN STONE, Chairman JOHN HEPBURN TINKER JR., Vice Chairman RISA HEYN1AN, Executive Secretary

M. F. AGHA PARK BERRY WINSLOW H. CASE MYRON KENZER HOWARD SCOTT

LESTER BEALL ERNEST BUTTON CHARLES T. COINER HARRY PAYNE ELWOOD WHITNEY

MEMBERS 1939

W. A. Adriance Jr. Hugh Connet A. G. Hoffman Byron J. Musser Robert Stewart M. F. Agha C. Halstead Cottington Paul Holder Ralph Mutter Loren B. Stone A. Armando Robert Cox William A. Irwin Ben Nash Frederick J. Suht Gordon Aymar Parmelee W. Cusack E. G. Jacobsson J. H. Neebe J. Gilbert Sutton Cecil Baumgarten J. Clarence Damron Thomas W. Jarvis William Oberhardt George B. Switzer Lester Beall C. C. Dean Peirce Johnson Edward F. J. O'Connell John Hepburn Tinker Jr. 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 Thomas Benrimo Kenwood E. Dixon Hallas Kenyon Hairy Payne Hubert F. Townsend 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. Trumbatter Douglas Boyd Wallace Elton Paul R. Lang W. A. Powers Vincent Trot ta 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 Leyen Alexey Brodovitch J. Walter Flynn Leonard London Walter J. Reagles Norman ‘'ickery Dee Carlton Brown L. W. Froehlich William L. Longyear Edmund C. Ridley Kurt H. Volk Carl Burger O. A. Garson John M. Low Morris L. Rosenblum Walter Wagener Ernest Button A. R. Gaydell Leonard Luce Donald R tither Richard J. Walsh Ernest Elmo Calkins Walter B. Geoghegan Fred Ludekens Ignatz Sahula Edward Walter Joseph Campanaro Carl H. Georgi A. Edwin Macon Leonard A. St. Louis Arthur P. Weiser Heyworth Campbell Edwin A. Georgi Charles Elwood Mahoney James 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 William P. Schoonmaker W. E. Wheaton Jr. Winslow H. Case H. H. Grandy Harris I). McKinney Howard Scott Walter Whitehead Paul B. Cavanagh Lurelle V. A. Guild William 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. Mikkelsen Wilbur Smart J. L. Wickstrom Rene Clarke Harry Harding Philip T. Mitchell Frederick A. Smith Gordon M. Wilbur William R. Claxton Jr. Horace W. Hardy Edward F. Molyneux Lann B. Smith Frank Chapman Williams Mahlon A. Cline R. F. Heinrich Kenneth E. Morang Roger McE. Smith Georges Wilmet Charles T. Coiner James D. Herbert Jacob A. Munch Alexander D. Sniffen Ronald L. Wilson W. Arthur Cole Lejaren A. Hiller Nickolas Muray Roy Spreter George M. Winemiller Benjamin F. Collins Frank Hoctor Louis Musgrove Leo J. Stahl John Zwinak

191 BOOK COMMITTEE ART DIRECTORS CLUB

HUBERT F. TOWNSEND, Chairman

LESTER BEALL

WALTER GEOGHEGAN

WILLIAM H. SCHNEIDER

DEANE UPTEGROVE

JOHN ZWINAK

192 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

Executive Committee: WILLIAM IRWIN LESTER JAY LOH LOREN STONE DEANE UPTEGROVE

OFFICERS 1938-1939

WALTER GEOGHEGAN, President GUY GAYLER CLARK, First Vice-President BYRON MUSSER, Second Vice-President

PARK BERRY, Treasurer ERNEST BUTTON, Secretary

Executive Committee: WILLIAM IRWIN LESTER JAY LOH LOREN STONE DEANE UPTEGROVE

EXHIBITION COMMITTEE

LOREN STONE, Chairman JOHN HEPBURN TINKER JR., Vice Chairman RISA HEYMAN, Executive Secretary

M. F. AGHA PARK BERRY WINSLOW H. CASE MYRON KENZER HOWARD SCOTT

LESTER BEALL ERNEST BUTTON CHARLES T. COINER HARRY PAYNE ELWOOD WHITNEY

MEMBERS 1939

W. A. Adriance Jr. Hugh Connet A. G. Hoffman Byron J. Musser Robert Stewart M. F. Agha C. Halstead Cottington Paul Holder Ralph Mutter Loren B. Stone A. Armando Robert Cox William A. Irwin Ben Nash Frederick J. Suht Gordon Aymar Parmelee W. Cusack E. G. Jacobsson J. H. Neebe J. Gilbert Sutton Cecil Baumgarten J. Clarence Damron Thomas W. Jarvis William Oberhardt George B. Switzer Lester Beall C. C. Dean Peirce Johnson Edward F. J. O'Connell John Hepburn Tinker Jr. 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 Thomas Benrimo Kenwood E. Dixon Hallas Kenyon Harry Payne Hubert F. Townsend 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 Douglas Boyd Wallace Elton Paul R. Lang W. A. Powers Vincent Trot ta 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 Leyen Alexey Brodovitch J. Walter Flynn Leonard London Walter J. Reagles Norman Vickery Dee Carlton Brown L. W. Froehlich William L. Longyear Edmund C. Ridley Kurt H. Volk Carl Burger 0. A. Garson John M. Low Morris L. Rosenblum Walter Wagener Ernest Button A. R. Gaydell Leonard Luce Donald Ruther Richard J. Walsh Ernest Elmo Calkins Walter B. Geoghegan Fred Ludekens Ignatz Sahttla Edward Walter Joseph Campanaro Carl H. Georgi A. Edwin Macon Leonard A. St. Louis Arthur P. Weiser Heyworth Campbell Edwin A. Georgi Charles Elwood Mahoney James 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 William P. Schoonmaker W. E. Wheaton Jr. Winslow H. Case H. H. Grandy Harris D. :McKinney Howard Scott Walter Whitehead Paul B. Cavanagh Lurelle V. A. Guild William 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. Mikkelsen Wilbur Smart J. L. Wickstrom Rene Clarke Harry Harding Philip T. Mitchell Frederick A. Smith Gordon M. Wilbur William R. Claxton Jr. Horace W. Hardy Edward F. Molyneux Lann B. Smith Frank Chapman Williams Mahlon A. Cline R. F. Heinrich Kenneth E. Morang Roger McE. Smith Georges Wilmet Charles T. Coiner James D. Herbert Jacob A. Munch Alexander D. Sniffen Ronald L. Wilson W. Arthur Cole Lejaren A. Hiller Nickolas Muray Roy Spreter George M. Winemiller Benjamin F. Collins Frank Hoctor Louis Musgrove Leo J. Stahl John Zwinak

191 BOOK COMMITTEE ART DIRECTORS CLUB

HUBERT F. TOWNSEND, Chairman

LESTER BEALL

WALTER GEOGHEGAN

WILLIAM H. SCHNEIDER

DEANE UPTEGROVE

JOHN ZWINAK

192 THIS 18TH ANNUAL OF ADVERTISING ART

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WATERPROOF COLORED INKS •All are translucent with the exception of White, 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 abalanced spectral series to form achromatic circle. Owing to their luminosity and comparative permanence they are accepted as among the most exact available representations of pure spectral colors. Only 2intermediate hues are included in the Higgins color wheel but by mixing adjacent hues any desired intermediates may he prepared. Acomplete 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 Vf hite (or water) for the tints. •The 4 supplementary shades are supplied especially for architectural and mechanical drawing. White 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 •To dilute the black inks add pure water with four drops of aqua ammonia to the ounce. To dilute the colors use pure water only. Never add any acid or mix with other inks.

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HORTEST DISTANCE ggi The shortest distance between your product and a purchaser is ... direct color reproduction by Powers. Here every possible refinement of equipment ... every touch of skill and ounce of thought ... is devoted to putting the final beholder in the camera's own shoes ... face to face with a reality, not just a picture. "Give it to Powers and you move toward perfection!" POWERS REPRODUCTION CORPORATION 205 W. 39TH STREET • NEW YORK CITY • PENNSYLVANIA 6-0600 Bigelow Sanford •Libby Food Products • La Salle •Pontiac •Holmes & Edwards •

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NICKOLAS (met ,sióee, 18 EAST 48111 STREET NEW YORK, N. Y. 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

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Outstanding results from color film require a coa- lition of art direction, photographic ability, and WILBAR engraving craftsmanship. Our facilities are ideal PHOTO ENGRAVING CO., INC. for the technical coordination of this work. Our 333 WEST 52nd STREET, NEW YORK experience is complete and up-to-date in every TELEPHONE CIRCLE 7-7500 type of color reproduction. Let us take part 24-Hour Service Complete in All Departments Member Photo Engravers Board of Trade of New York in the reproduction of your next color subject. Member American Photo Engravers Association eale lester

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The Guild Artists Bureau is a newly The Guild Artists Bureau offers the following organized, independent subsidiary of the advantages Artists Guild — a connecting link be- 1. The largest group of organized artists, covering every style and price class — tween the great market represented by with facilities for making their work im- Art Directors and Art Buyers on the mediately available. one hand and the wealth of talent rep- 2. An organization of experts to maintain resented by the 400 Guild members on contact between art buyer and artists. the other. Its main function is to help 3. Complete production facilities compa- the busy Art Director find "that needle rable to the best privately owned studios, under experienced supervision. in the haystack"—the one available artist who is best able to execute the 4. A reliable source of information regarding 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 and Second appropriation. rights.

When you deal with the Guild Artists Bureau you 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 g 8e7

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AN ORGANIZATION OF ARTISTS SERVING ADVERTISING THROUGH THE ART DIRECTOR ART DIRECTORS ARE ESPECIALLY REQUESTED TO SEND FOR THE STORY OEA COURAGEOUS BOOK

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

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Division of The Conde" Nast Publications, Inc., 420 Lexington Avenue, N. Y. C. Another Annual of the advertising art selected for exhibit by the Art Directors' Club, and...

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FINE IIIIISTRATIVE PHOTOGRAPHY

IN COLOR

AND BLACK AND WHITE It is the practice of the VOLK establishment increasingly to direct its sense of form and fitness to making distinguished typography

fflffl fflMMIffl Luvuu-u--[ DRAWING INKS

RICK RED B ROW N 427 429

RED ORANGE 40

CO CI 0 I+J

• CARMINE RED 40

414 BLUE

RED VIOLET 410

428 430 RUSSET INDIGO 425 426 4 11 NEUTRAL TINT BLACK WHITE

•

BLACK, NEUTRAL TINT, WHITE, 8 BALANCED SPECTRUM HUES AND 7 SUPPLEMENTARY COLORS 106111S 11100111 AMERICAN DRAWING INKS AMERICAN WATERPROO

• The standard liquid drawing inks of the world. Used and endorsed by the leading artists, architects, engineers, show card writers. DRAWI NG INK illustrators, draftsmen and educators. AMERICAN INDIA INKS (Black) • The Waterproof Black Drawing Ink is pro erable for pen or brush work on paper, bristol board or tracing cloth which has to withstand handling, moisture or immersion in water, 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 • All are translucent with the exception of White, 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 permanence they are accepted as among the most exact available representations of pure spectral colors. Only 2 intermediate hues are included in the Higgins color wheel but by mixing adjacent hues any desired intermediates may be prepared. A 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 supplied especially for architectural and mechanical drawing. White 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 • To dilute the black inks add pure water with four drops of aqua ammonia to the ounce. To dilute the colors use pure water only. Never add any acid or mix with other inks.

Printed in U. S. A. AMERICAN DRAWING INKS

• The standard liquid drawing inks of th, world. Used and endorsed by the leading artists, architects, engineers, show card writers. illustrators, draftsmen and educators. AMERICAN INDIA INKS (Black) • The Waterproof Black Drawing Ink is peel- «able for pen or brush work on paper, bristol board or tracing cloth which has to withstand handling, moisture or immersion in water. 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 • All are translucent with the exception ca White, 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 ipectrum bues 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 permanence they are accepted as among the most exact available representations of pure spectral colors. Only 2 intermediase hues are included in the Higgins color wheel but by mixing adjacent hues any desired intermediates may be prepared. A 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 supplied especially for architectural and mechanical drawing. White 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 • To dilute the black inks add pure water with four drops of aqua ammonia to the ounce. To dilute the colors use pure water only. Nerer add any acid or mix with other inks.

Printed in U. S. A. AMERICAN DRAWING IS

• The standard liquid drawing inks of the world. Used and endorsed by the leading artists, architects, engineers, show card writers, illustrators, draftsmen and educators. AblERICAN INDIA MKS (Black) • The Waterproof Black Drawing Ink is preferable for pen or brush work on paper, bristol board or tracing cloth which has to withstand handling, moisture or immersion in water, 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 • All are translucent with the exception ni White, which is opaque and Carmine Re d, 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 permanence they are accepted as among the most exact available representations of pure spectral colors. Only 2 intermediate hues are included in the Higgins color wheel but by mixing adjacent hues any desired intermediates may be prepared. A 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 supplied especially for architectural and mechanical drawing. White 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 • To dilute the black inks add pure water with four drops of aqua ammonia to the ounce. To dilute the colors use pure water only. Never add any acid or mix with other inks.

Printed in U. S. A. HIGGIMS AMERICAN IWNATERIPNROK 7

BRICK RED B ROW N 427 429

-i 1110w 402

RED ORANGE 406

111 C..1 e 11 0 •zt

110 CARMINE RED 409

RED VIOLET 410

428 430 RUSSET INDIGO 425 4j1 426 NEUTRAL TINT BL CK WHITE

BLACK, NEUTRAL TINT, WHITE, 8 BALANCED SPECTRUM HUES AND 7 SUPPLEMENTARY COLORS