ADVERTISING ARTS, January 1934. Frederick C. Kendall [Editor]; Buk Ulreich, Russel Wright, Walter Dorwin Teague, etc.

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January 1934

Frederick C. Kendall [Editor]

Frederick C. Kendall [Editor]: ADVERTISING ARTS. New York: Advertising and Selling Publishing Co., January 1934.  Original edition. Wire-spiral binding. Letterpressed thick wrappers. 48 pp. Elaborate graphic design and production throughout. Cover design by Buk Ulreich. Top wire spiral binding loop snagged. Uncoated covers very lightly worn. A very good to nearly fine copy. Rare.

8.5 x 11.5 wire-spiral bound magazine with 48 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 Arts" promulgated a progressive design approach (and style) unique to the United States during the early Thirties, called Streamline. Unlike the elegant austerity of the Bauhaus, where economy and simplicity were paramount, Streamline was a uniquely American futuristic mannerism based on sleek aerodynamic design born of science and technology. Planes, trains and cars were given the swooped-back appearance that both symbolized and physically accelerated speed. Consequently, type and image were designed to echo that sensibility, the result being that the airbrush became the medium of choice and all futuristic traits, be they practical or symbolic, were encouraged. The clarion call was to "Make it Modern" -- and "it " was anything that could be designed. – Steven Heller

  • 1934 by Earnest Elmo Calkins. Photomontage by Irving Browning.
  • Stockings: Photographs by Wendell McRae. Four-page sheet fed gravure photo essay.
  • “Get Up To Snuff” by James Mangan. Seven pages of advertising illustration effects.
  • On Musical Instruments by Russel Wright. Pianos by Donald Deskey and Russel Wright; Wurlitzer radios by Russel Wright.
  • Rightness Sells by Walter Dorwin Teague
  • Full-page illustration by T. M. McClelland.
  • Wine Cards from a collection of European printing by the Lakeside Press, Chicago.
  • Paper—Its Classifications by E. K. Hunt. Printed examples on newsprint, text paper, offset paper, machine finish book, super book, English finish,  coated paper. Page decorations by Warren Chappell.

Eduard (BUK) Ulreich [1889 - 1966]   attended the Kansas City Kansas City Art Institute and the Pennsylvania Academy of the Fine Arts. He came to New York in 1915 and worked for a year before serving in the Army. After the War, he designed murals in Chicago in 1924 and exhibited at the Art Directors Club, Anderson Galleries and the Dudensing Galleries. As a WPA artist he created frescos and mosaics for buildings throughout the mid-West and East Coast during the late 1930s and 1940s. His work includes wall hangings for the Chicago Temple Building, marble mosaics for the Century of Progress Expo, Chicago and murals at Radio City Music Hall.

Along with his wife, artist Nura Woodson Ulreich, he was an illustrator for books and magazines. Memberships included the Guild of Free Lance Artists. He exhibited widely including at the Art Institute of Chicago, Corcoran Gallery, Anderson Gallery, Whitney Museum of American Art and Gump's Gallery in San Francisco. He died in San Francisco in 1966.

Russel Wright [1904 – 1976] was argualy the most influential U. S. designer of the mid-twentieth century, a visionary artist who pionered the fusion of modern design and informal living.  From the 1930's through the 1950's, his innovative and affordable dishes, fabrics, and furniture adorned and defined smart households across America.  Wright cared passionately about making good design available to the average American and promoted an informal lifestyle in harmony with nature.

During Walter Dorwin Teague's [1883 – 1960] time, industrial designers were transforming ordinary objects by marrying materials, technique and function to produce the simplest and most efficient forms possible. The resulting products had an appearance that was a stark visual break from the past. Practitioners of this style of design, known as streamlining, art moderne or art deco, did away with most nonfunctional elements in favor of sleek designs. Their efforts transformed everything from automobiles, trains, ships and airplanes to cameras, buildings, furniture and appliances.

The trend began in the mid-1920s as an attempt by manufacturers to increase sales of consumer goods in a saturated marketplace by giving them a distinctive and modern look. At the most idealistic level, as exemplified by Teague, the new designs and the improved function they represented could be a force for good. "A better world than we have ever known can and will be built," Teague said. "Our better world may be expected to make equally available for everybody such rare things as interesting, stimulating work, emancipation from drudgery and a gracious setting for daily life."

Teague detailed his industrial and artistic philosophy in Design This Day, first published in 1940. His book appeared at about the time Hitler was invading Norway--before the United States entered World War II--and toward the end of the Great Depression. "We walk between catastrophe and apotheosis," he declared in Design This Day. "In spite of the mighty destructive powers that threaten us, our vision of a desirable life was never so clear and our means of realizing it never so ample."

Along with designers Norman Bel Geddes, Henry Dreyfuss and Raymond Loewy, Teague helped create the industrial design profession in America, defining the visual character of the 1930s and 1940s in the process.

He started his career in graphic arts, painting signs and drawing for catalogs, and later worked in advertising. A 1926 trip to Paris introduced him to new ideas in design. He returned believing that unity of design could create a more orderly world and decided to become an industrial designer. Teague started his own industrial design firm and received his first commission in 1927, designing cameras for Eastman Kodak. The relationship lasted for 30 years.

In 1936 he placed his signature on American roadsides. Texaco replaced its regionally styled gas stations with a single design--green and white porcelain-enamel stations designed by Teague. The clean look, highlighted with red stars, was easily identified by motorists. Although some of Teague's utopian ideals and radical design concepts never materialized, he was clearly a visionary. And we are still intrigued by his desire to build a better world.