CONTRIBUTORS TO THIS ISSUE Charles T. Coiner, present head of the Art Department of N. W. Ayer Son, Inc., started in San Francisco, hesitated for a few years in Chicago with Erwin, Wasey Com pany and has been with N. W. Ayer for the past six years, occupying his present position since September 1, 1929. He is very much interested in painting and the latest show of his work, done in the West Indies, was ex hibited in the Montross Galleries, New York. Lucian Bernhard, who designed the cover and who also contributes an article to this issue, is a member of Contempora. In addi tion to his regular work in the graphic and decorative arts, Mr. Bernhard occupies a lead ing position as a type designer. He has recently signed a contract with the American Type Founders to design type for that company ex clusively. His Bernhard Gothic is used on the cover. Clarence Pearson Hornung has made a spe cial study of trade-marks and commercial de vices and has a comprehensive collection of international trade symbols. He has now in preparation two books on this subject"Inter national Marks and Devices of the Graphic Arts" and "Trade Marks by Clarence P. Hornung." James D. Herbert devotes his mornings to sculpture and his afternoons to Calkins Holden, where he is an assistant art director. For several years Mr. Herbert taught at the School of Architecture of Columbia University and his work has been exhibited at the National Academy, New York, as well as in galleries abroad. To quote Walter Dorwin league"Here is the great problem of designto adapt itself to machine and mass production. Our job is to make machines bring forth beauty. We shall have to recast all the things we make in forms natural and right for the machines to make, and stirring to the sensibilities of a mechan ized age." As part of the philosophy of one of America's foremost designers, what Mr. Teague says is especially significant. Stuart Campbell, vice-president and art di rector of Kenyon Eckhardt, Inc., is presi dent of the Art Directors' Club of New York. For five years he was with N. W. Ayer Son as layout man and assistant art director and at one time was art director of R. H. Macy Company. During the time that Amos Stole lived in London he was in close touch with art devel opments there and on the continent and is par ticularly suited to write the story of McKnight Kauffer. "Art as a Means to an End," begun in the first issue of the Advertising Arts section is concluded here by Mr. Calkins. One of the pioneers in the movement for beauty in indus try, Mr. Calkins' observations are always of unusual interest. In Rene Clarke's introduction to Frank H. Young's book, "Advertising Layout," he says "When Frank Young first came to this work he found it without traditions or form. He has played no inconsiderable part in building its traditions and informing and naming the many devices by which effective advertising is constructed." 64

Advertising Arts en | 1930 | | page 90