PM
March 1937
Robert L. Leslie and Percy Seitlin [Editors]
Robert L. Leslie and Percy Seitlin [Editors]: PM [An Intimate Journal For Art Directors, Production Managers, and their Associates]. New York: The Composing Room/P.M. Publishing Co., Volume 3, No. 7: March 1937. Original edition. Slim 12mo. Three-color offset saddle-stitched lithographed covers. 48 pp. Illustrated articles and advertisements. Multiple paper stocks. Cover artwork by Kate Steinitz. Wrappers faintly worn. A nearly fine copy.
5.5 x 7.75 saddle-stitched Digest with 48 pages of articles including Frontispiece; F. L. Amberger; Book printing for Children; Notes on Printing Design; Art Education and the Art Studios; A Preface To Words; A Word About E. McKnight Kauffer by Aldous Huxley; Editorial Notes; PM Shorts.
The highlight of this issue is the 16-page, 2-color Photo-lithography insert designed by and showcasing Fritz Amberger. This edition also features a three-page tribute to E. Mcknight Kauffer written by Aldous Huxley.
PM Shorts mention: Paul W. Sampson. Alfred Bader. George F. McShane, Kate Steinitz.
Books Reviewed: Trademark and Monogram Suggestions by Samuel Welo.
Listing of Advertisements: Merganthaler - Linotype Co.. The Composing Room, Reliance Reproduction Co., Flower Electrotypes, Brett Lithographing Co., Intertype, Reehl Litho Co.
Fritz Amberger studied art in Zurich and later in Geneva with the Swiss painter Ferdinand Hodler. He worked at the Bauer Type Foundry and as art director for the German vintner Kupferberg Gold. He taught art at the School for Industrial Art in Mainz, Germany. Once in the US he lectured at NYU and designed typefaces, packaging, book jackets, bindings and posters for such firms as American Brass Co., E. I. duPont, Holeproof Hosiery, Lee Tires, Metro - Goldwyn Mayer and The Reynolds Corporation.
Cover artist Kate Steinitz studied at the Academie und Studienateliers fuer Malerei und Plastik (connected with the Berlin Secession), at the Ecole de la Grand Chaumiere and the Sorbonne in Paris. In 1921 her work was exhibited with the Hanover Secession and in 1924 she worked on a book with Kurt Schwitters and founded Aposs Verlag, primarily to publish typographically new and progressive work. In 1925 she designed a children's book with Schwitters and Theo Van Doesberg. In 1935 she was notified by the Reichsschrif-Humskammer that she could no longer write for German publications. In 1936 she emigrated to the US, joining her husband who was already in New York. She worked as a freelance artist and researcher from 1936 to 1942. In 1940 she organized the exhibition “New Americans” at the New York World’s Fair.
Edward McKnight Kauffer was first exposed to modern European Art at the Armory Show (1913) in Chicago. In 1914, he went to England and remained there until 1940. While in England he made his name as a poster artist. His first commissions were for the London Underground whose publicity manager, Frank Pick was instrumental in distributing the creative and artistic designs by Kauffer. Inspired by the artistic movements of the day, Futurism, Cubism, Art Deco and Surrealism, Kauffer created hundreds of posters for the London Underground, Shell, British Petroleum and Eastman and Sons. He also designed several book jackets and illustrations for the Nonesuch Press and Faber and Guyer. In 1930, he became Art Director of the publishing house Lund & Humphries. In 1937, the Museum of Modern Art held a one man show of his work. He returned to the United States in 1940 and did work for Greek War Relief, the US Treasury, American Airlines, the NY Subway, Alfred A. Knopf, the Container Corporation of America and the New York Times. He received the AIGA medal in 1991.
P-M magazine was the leading voice of the U. S. Graphic Arts Industry from its inception in 1934 to its end in 1942 (then called AD). As a publication produced by and for professionals, it spotlighted cutting-edge production technology and the highest possible quality reproduction techniques (from engraving to plates). PM and A-D also championed the Modern movement by showcasing work from the vanguard of the European Avant-Garde well before this type of work was known to a wide audience.