PM
October 1935
Robert L. Leslie and Percy Seitlin [Editors]
Robert L. Leslie and Percy Seitlin [Editors]: P-M [An Intimate Journal For Art Directors, Production Managers, and their Associates]. New York: The Composing Room/P.M. Publishing Co., Volume 2, No. 2.: October 1935. Original edition. Slim 12mo. Stencilled Nat Karson cover in 4 colors with a tipped in woven label. 32 pp. Illustrated articles and advertisements. Saddle stitched spine lightly worn. Tiny dampstain to lower corner of last few leaves, with neither text nor artwork affected, so a very good or better copy.
5.5 x 7.75 digest with 32 pages of articles and advertisements.
- Frontispiece
- Editorial Notes
- Paper: A Short History
- Reflections on Typography: Frederic Nelson Phillips
- Harry Johnson: Robert L. Leslie
- Giambattista Bodoni: Vincent Cicatelli
- The Polygot Printer.
- Color Stencil Work: Stencil work by Reba Martin, three pages of color and one tipped in plate.
- Woven Labels: Percy Seitlin
- Three Monographs on Color from the International Printing Ink Corp.
- PM Shorts: Harold Bowman, Milton Glick, Lillian Lustig, Franklyn Kelly .
- Listing of Advertisements: The Composing Room, Reliance Reproduction Co., Flower Electrotypes.
Nat Karson (1908-1954) was the son of a refugee Russian architect. He emigrated to Chicago as an infant and started his artistic career in high school by winning several poster contests. He attended the Art Institute of Chicago and painted murals in Chicago until after the 1929 stock market crash. In New York he exhibited his caricatures and wound up working on the Federal Theatre Project. He then moved on to become art director and set designer at the Radio City Music Hall from 1936 to 1943. In addition, he was a scene designer for other projects including the 1939 New York World's Fair. He worked as a producer for NBC, as well as a consultant producer for the Columbia Broadcasting Company and for several shows on Broadway. [Erin K. Malone]
PM 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.