ADVERTISING ARTS
September 1933

Frederick C. Kendall [Editor]

8.5 x 11.5 wire-spiral bound magazine with 40 pages of text and advertisements. "Devoted to the design of advertising, the creation of printing, and the styling of merchandise and packages." -- the Publishers. Advertising inserts printed on cellophane and waxed glassine. Includes a color lithograph poster design by Lucien Bernhard.

Contents:

• The Return To Craftmanship by Thomas Erwin
• Still Life. Full-page image by Ruth Bernard
• A Century Of Progress. 2-page photomontage by John Paul Peneebaker
• Photographic Packaging by Josephine Von Miklos
• Color Photography Applied To Maps: fold-out
• Art For Government's Sake by Charles Coiner. "Recently I had the opportunity to design for the National Recovery Administration . . . an insignia that could be used in behalf of NRA in all manner of ways, from seals and lapel buttons to billboards. It was to be a trade-mark for the Act and the Administration. There were no 'musts,' no sacred cows. The only suggestion that was made came from General Hugh S. Johnson, that the design be modern, rather than traditional, in feeling. It went without saying, of course, that a man of the Administrator's dynamism would expect an emblem having directness, movement and strength -- as he himself later expressed it,'muscle.' When the design was completed the General looked at it, and simply said 'That's it.'" -- Charles T. Coiner
• Black And White by Warren Chappell
• Candid Camera: photographs by Remie Lohse
• Old World Market Places. London and North Eastern Railway of Great Britain posters by Austin Cooper.
• The Typographic Clock Turns Backward by Ross Craufurd
• Window Displays For Marcus And Company, NYC Jewlers by William Okie, Jr.

Charles T. Coiner, (1898­1989) an acclaimed painter and art director for advertising agency A.W. Ayer & Son, is also remembered for addressing the needs of the U.S. government with innovative graphic design. His pioneering efforts to seek out and commission modern artists including Pablo Picasso, Ben Shahn, Edward Steichen, and Miguel Covarrubias, and to introduce their work to advertising resulted in some of the most memorable campaigns of the mid-20th century. As a designer of war posters, civilian defense logos, and the Blue Eagle symbol of the National Recovery Administration under President Franklin D. Roosevelt, Coinerıs influence extended well beyond the world of commerce.

A 40-year association with the Philadelphia-based agency A.W. Ayer & Son began in 1924 when Coiner was hired as a layout designer. He quickly advanced to art director and became vice president in charge of the department in 1936. The campaigns he supervised, such as those for the Container Corporation and DeBeers, were distinguished by their inspired use of fine art and their modern sensibility. During this period he also hired some of the leading graphic designers of the next generation such as Leo Lionni and Alexey Brodovitch.

In 1933 Coiner was asked to design a symbol for the National Recovery Administration, the federal agency created to encourage industrial recovery and combat unemployment. His Blue Eagle design, that he sketched on a flight to Washington D.C., was displayed by businesses all across the U.S. and as its much publicized creator, Coiner became something of a household name.

In 1949 Coiner was the first to receive the annual award of the National Society of Art Directors for "distinction in the practice of his profession."

"It is Coiner's force of personality, as well as his talent and discernment that has enabled him to help revolutionize advertising design in America, to bridge the chasm that once separated modern 'pure' art from commercial art, and to have won Ayer more than 20% of the advertising art awards bestowed over the past 20 years." ­ Portfolio magazine, Summer 1950

Spreads from this volume can be viewed here.

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