cresc. KARL PRINZ RELA FISCHER KARL SCHULPIG with the firm to be represented, its business history, character, good-will, trade methods, variety of products and advertising procedure. These facts he studies and absorbs, weighing the relative values conscientiously. Finally, having boiled down in his cerebral cauldron all considerations, he is left with the rich resi due of thought, the one most satisfactory ap proach. Not until these mental processes are complete does he concern himself with the two-dimensional part of his picture. Suggestion, synopsis and paraphrase readily form the basis upon which the German com mercial artist builds his schutzmarken und warenzeichen. If it is deemed advisable to utilize factory buildings in a composition, the mere cubical form or silhouette outline will answer the purpose. If a suggestion of figures is called for in order to portray necessary ac tion, he deftly presses his favorite mannikin into service. These ingenious robots, of which type the Henckel twin mark is easily the most famous, can be made to work wonders, and characterize the German trade-mark unmistak ably. A touch of humor lends amusement; a twist of fantasy or grotesque imagery heightens the interest of so many splendid German marks. Glance over the examples, especially in the work of Karl Schulpig, that master of simple graphic forms poignant with naked beauty. How easily the reader is put in the proper mood of receptivity by the introduction of these intensely human, friendly creatures. They smile, sing and dance across the advertising expression, freeing the mind of all serious thought, yet without antagonizing the buying impulse. In the simplified construction of the design the German achieves a supremacy that is amazing. Purely functional in form, it dis penses with extraneous matter. The outward and visible lines and masses are dictated by 38

Advertising Arts en | 1930 | | page 60