strict economy. Often these are confined by simple geometric shapes of a very positive nature. The surrounding circle or square is seldom a hairline rule, but generally a definite, bold retaining wall. Initials or monogram- matic arrangements stick to obvious block- letter forms. Serif letters are rare, and only occasionally in a personal device or publish er's colophon will a florid or script letter be used. It is with such clear thinking and direct translation that the German trade-mark de signer attains pregnancy of expression and permanancy of form. His language is terse, dramatic, often mono-syllabic in character; hence it loses nothing in the delivery of its message. Like his posters, the German de signs his marks to strike home. He makes this symbol the target of attention on the pageit becomes the cornerstone in the advertising structure. Where the American advertiser may inject his trade-mark for "decorative" pur poses, just so long as it is there, the German rarely, if ever, buries it obscurely. The whole situation lies in a different point of view, dic tated by an advertising philosophy that is radically unlike our own. The attitude of the German artist reveals that he considers the creation of the trade mark with zest, enthusiasm and intense seri ousness. Not another form offers him quite the same scope of imagination, and he consid ers it a real privilege to be entrusted with such an important commission. The same view is shared by the advertiser, so both meet on com mon ground. Prof. Walter Kersting expresses a sincere feeling about trade-marks in his little Bilder- buch fiir Kaufleute. His remarks concerning the worth of his own services reflect fairly well the opinion of most leading German de signers. "There is a dark mystery about the trade- KARL SCHULPIG WILLY KNABE LUDWIG ENDEBS 39

Advertising Arts en | 1930 | | page 61