and made the battery its own handsome package. The reaction of the dealers and the public to this final design is one of the clearest demonstrations of the appeal of a new package design. When the new and improved mechanism was packaged in both the second and third designs and put before the public, the demand for the new package kept the plant working to capacity while the former design proved exceedingly slow moving. In the Taylor Stormoguide designed by Walter Dorvvin Teague, the ancient and honorable (and usually awkward if not downright unsightly) barometer has gone the way of all fresh attacks on public acceptance and become distinguished in black Bakelite with chro mium bands. The box carries out the same design in black and silver paper. In both of these examples the tendency of the package to conform to the shape and design of the product is significant. When will clocks and watches adopt some equivalent solution? U. S. Playing Card does it handsomely with foil repeating the effect with gold and silver inks on the backs of the cards, yet this brilliant material remains almost undis covered for exterior packaging. It is so old-fashioned and neglected, covered up with paper usually, that its use amounts to a new and startling discovery. The reason is possibly that design in its modern sense has never been adequately applied to foil. Two other packages which employ somewhat similar means of enhancing the value of the merchandise they contain are Gustav Jensen's simple and effective box Tne Skrip container of Bakelite is black as ink and its trade-mark dramatizes the product perfectly. In this third stage of package design for the Acousticon Joseph Sinel has achieved a perfect relation of the elements of design. Here is a simplicity which only workmanship can save from mediocrity; a final test of a perfect sense of design elegance.

Advertising Arts en | 1932 | | page 37