v CHASE cartons, some physical container with appro priate selling value incorporated in the de sign must be employed to distinguish "Con tinental's," let us say, from "American's." It is at this point that the trade-mark enters as a wedge to force the issue of identity and re membrance. "Continental" engages the services of a competent artist who designs a trade-mark, and we soon find that "American" follows suit with one of its own. Both proceed to hammer home the visual image by which it is hoped their product will be remembered in the public's mind. In an intensive campaign of periodical advertising, posters, package design, direct-mail literature and other media, the trade-mark is persistently present. It appears on letterheads, labels, commercial forms, folders, calendars, so that trade buyers are constantly reminded to buy these goods of this merchant and none other. In short, the trade-mark becomes the firm's distinctive symbol, its stamp of integrity and mark of identity, the ever-reappearing memorandum in the mind of buyers. It must bear features that mark it from its competitors', especially so since the text of advertisements for similar products may be built along similar lines. P. G. COOPER POK TH F. CHASE BRASS COPPER COMPANY JOSEPH SINEL FOR THE CRIME CLUB Above all, the trade-mark must prevent error in the choice of products. If it does this it may be regarded as a good and efficient workman. What form shall the mark assume? How shall it be treated in order to deliver its mes sage most expeditiously and most eloquently Since it is to hold the reader's attention but a fraction of a second, it must ring true and clear, and do so instantly. Simplicity of form and expression is the first commandment. Terse and epigrammatic, the mark should display a singleness of pur pose, and its entire design must be reduced to a least common multiple of thought. It is wise to consider the trade-mark strictly as a poster problem in miniature. All complex structure in the device itself is ruinous to suc cess. Realism in the treatment of details con fuses the eye and blurs the impression. Thin lines and gray tones vanish in extreme reduc tion and have no place in the design of the trade-mark. Pure, dramatic, simple black and white, create the most lasting effect in strong areas, and are fool-proof in poorer media of reproduction. As a final test for 43

Advertising Arts en | 1930 | | page 59