mark. If it is really alive in design, it breathes with force and vigor, radiating per sonality like flux about a magnetic pole. The concentration of potential energy into this little form requires a master. From the por tals of my studio many successful marks have ventured forth as emissaries into the mercan tile world. They take their place, not among the rank and file, but as dictators and heralds of a new commercial era. "Trade-marks and signets serve many uses, and the wares, along with the demands of re production, determine the character of the mark. It becomes either the living or the sterile foundation of the entire advertising scheme. "The price for a trade-mark design, includ ing all rights and properties, varies between one thousand and five thousand reichsmarks (four marks to the dollar, nowadays)depend ing upon the difficulties encountered and the extent of its usefulness. "Whatever you do, have a worthwhile mark created! In the final analysis, it is the cheapest." Another very capable designer of trade marks, Konrad Jochheim, in a personal collec tion of his Schutzmarken, says: "The creator of a trade-mark must be an artist who can feel the pulse of industry and register its sensitive ness in succinct, graphic form. He must be familiar with the requirements of poster ex pression through long experience, and must know how to translate this powerful energy to the miniature form of the trade-mark. His art calls for the wizardry of utilizing small areas, of reducing to a naked, essential form all that one might say in many canvasses. When the mass has been distilled to this mere residue of visible thought, the process of con densation may be considered complete, and we may then apply Whistler's rule: 'A work is successfully completed so long as nothing further can be done to improve it.' KONRAD JOCHHEIM 40

Advertising Arts en | 1930 | | page 62