ADVERTISING ARTS, March 1932. Lucian Bernhard Cover, Book-Plates & Trade-Marks by A. Szoeke, Thurman Rotan!, Gustav Jensen, Egmont Arens, Joseph Sinel, Walter Dorwin Teague, Howe & Lescaze, John Vassos, etc

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March 1932

Frederick C. Kendall [Editor]

Frederick C. Kendall [Editor]: ADVERTISING ARTS. New York: Advertising and Selling Publishing Co., March 1932.  Original edition. Thick letterpressed thick wrappers. 56 pp. Elaborate graphic design and production throughout. Cover design by Lucian Bernhard. Neat ink name in upper forecorner of upper wrapper, small chips at spine ends, otherwise a very good or better copy. Rare.

8.5 x 11.5 magazine with 56 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


  • Memo to Manufacturers by Simon De Vaulchier. There is no doubt in our minds that young Paul Rand  was influenced by the typography of this article when—ten years later—he specified the text for his Mechanized Mules of Victory brochure set in American Typewriter. This unorthodox font choice is set in full measures with generous leading with yellow added as the accent color in both examples. In 1942 American Printer magazine praised the design of the spiral-bound brochure as a "successful variation on the Bauhaus theme, in yellow and black typewriter type." And MECHANIZED MULES OF VICTORY was then included in just about every graphic design history, compendium and anthology that has been published since then. And this article remained unknown. Until now.
  • A New Approach To Fashion Photography.
  • Book-Plates and Trade-Marks Designed by A. Szoeke.
  • Patterns with Pictures by Thurman Rotan!
  • These Packages by Roy Sheldon. Work by Gustav Jensen, Egmont Arens, Joseph Sinel, Walter Dorwin Teague, Lucian Bernhard, Ruth Bernhard, Etc.
  • White On Black
  • And Now: Good Design for the Gasoline Pump. Work by Joseph Sinel.
  • Tractors From The Air
  • Typography’s New Dimension by Frederic Dannay
  • “Eyes” . . . A Photograph by Frederick Bradley
  • Four Views of the Hattie Carnegie Shop. Interior Design by Howe and Lescaze, Architects. Gorgeous.
  • Cigar Boxes from Germany by J. A. Healey.
  • Gallery by Burford Lorimer. Bert Chambers, Arthur Gerlach, Byron Muser, and Helen Dryden Short illustrated biographies with facsimile signatures.
  • Modern Displays that Dramatize the Product. Work by Kay Of Austria.
  • Full-page drawing by Raymond Bret-Koch.
  • Full-page full color insert of packaging design by John Vassos, printed in the Knudsen Process.

Allow us to quote at length from WHEN ADVERTS WERE EARNEST by Steven Heller: “In the early 1920s American products were either nondescript or laden with ornament to camouflage a mass-market look. Although mass production was the foundation on which the modern American economy was built, many cultural critics felt that items coming off the assembly line lacked good taste. American industrialists, who could easily afford to aesthetically improve their products, were apathetic, if not resistant, to the idea of spending cash on looks. What they did not resist, however, were marketing strategies that would ensure greater profits. So following a brief economic downturn in the early 20s and subsequent boom, industry frantically tried to find a new means of stimulating even further sales. It was the profit motive, not any transcendent utopian ethic or aesthetic ideal, that paved the way for commercial Modernism in the United States, which was introduced to American advertising in 1925 by Earnest Elmo Calkins (1868-1964) an advertising pioneer, design reformer and founder of Calkins and Holden Advertising Co.

“After seeing an array of cubist and futurist graphics, packages and point-of-purchase displays that he discovered in the pavilions of the Paris Exposition Internationale des Arts Décoratifs et Industriels Modernes , Calkins wrote to his staff in New York: “It is extremely ‘new art’ and some of it too bizarre, but it achieves a certain exciting harmony, and in detail is entertaining to a degree. [Everything is] arranged with an eye to display, a vast piece of consummate window dressing.” What was so different from most American advertising art was the noticeable rejection of realism in favor of abstraction. Illustration was not representational but through symbols, metaphors and allegories exuded a “magical” atmosphere. Boxes and bottles were no longer mere utilitarian vessels for their contents, but rather represented the essence of what the product symbolized to the consumer. Calkins summarized it this way: “Modernism offered the opportunity of expressing the inexpressible, of suggesting not so much a motor car as speed, not so much a gown as style, not so much a compact as beauty.”

“Modernism was a bag of tricks the artist could use to set an ordinary product apart. And advertising artists were indeed quick to appreciate the possibilities of Modernism since realistic art had reached what Calkins termed a “dead level of excellence.” It was no longer possible to make an advertisement striking, conspicuous and attractive by still pictures and realistic groups. Spearheaded by Calkins and Holden, and later adopted by such progressive agencies as N.W. Ayer and Kenyon and Eckart, commonplace objects-toasters, refrigerators, coffee tins-were presented against new patterns and at skewed angles; contemporary industrial wares were shown in surrealistic and futuristic settings accented by contemporary typefaces with contempo names like Cubist Bold, Vulcan, Broadway, Novel Gothic and more. Layout inspired by the European New Typography also became more dynamic in its asymmetry. Modernism offered an aura of cosmopolitan culture and avant garde style and signaled the spread of an aesthetic coming-of-age of American adverting.

“Color, which was comparatively rare in magazine advertisements in the mid-1920s, was another aspect of department-store Modernism introduced as a raucously decorative component in windows, which until then had been prosaic displays of products. The new windows borrowed primaries from De Stijl and the Bauhaus and combined them with bright purples, greens and oranges. In addition, “Modernism to the general public came to mean silver and black,” explains Frederic Ehrlich in his book The New Typography and Modern Layout (Frederic A. Stokes, 1934), one of the most astutely written critiques (posing as an instructional manual) of Modern practice published in America at that time. Ehrlich was referring to the metallic silver papers and black silhouettes that were ubiquitously used in window displays as well as later in magazine advertisements, menus, etc. The new silver alloy, Aluminum, symbolized the Machine Age as vividly as pictures of factories, crucibles and gears.

“True Modernism is good taste! And here is the key distinction between the radical forms of European Modernism that are heroic and romantic today, and the commercial application introduced in the 1920s: The former was intended to violently disrupt the status quo and improve the visual environment, while the latter had no loftier purpose than to revolutionize the buying habits of the American public and so stimulate the economy.”