B, 44 ert Chambers is vice-president of Bart let t -Aldus Press, in charge of all its creative work. He's the man you've heard about who finds the "sensible answer to every printing problem." His answers don't always sound sensible at first, however. A furrier client, for example, sent in a picture the other day of a be-sabled young lady done in water-color which he had labeled 4-color. Hush. Mr. Chambers' answer was: "We can do this particular job better, quicker and cheaper m five colors.' Better because the extra color was a very particular brown (since it was primarily a picture of a sable coat) which could never have been obtained with the conventional combination of red, yellow and blue plates. Quick and cheaper because those final in escapable adjustments had to be made on only one plate instead of on three. Not content with solving such problems as they come up, Mr. Chambers has begun to anticipate them, and at present he is conducting experiments in every depart ment of the business. For "simplification of the applica tion of the printing technique," he will tell you with an apologetic little shrug, is his ideal. Mr. Chambers' voice is just audible, his smile is barely perceptible and his gestures are restricted. But lus desk is enormous, his office is huge and he's study ing the 'cello. rthur Gerlach, the photographer, isn't very happy a! cocktail parties because the people who go to them don't seem able to talk about anything—love, life or photography- without mentioning several French paint ers. W hat this town needs, he believes, is a Café Life. Not cocktail parties. Lest America's artistic arteries harden, let young Americans whine and dine 011 the sidewalk. Young men, though. What this country needs is a Youth Movement. His hat is off to the older men, but the knee does not bend. Once they were young, once great. They take their pictures sitting down these days. Nevertheless, Mr. Gerlach admires and envies an aging Picasso. Admires him because his has been the most fertile fancy 111 artistic circles for at least twenty years; envies him because the French applaud his many-moodiness. for Arthur Oerlach is an experimenter. There have been few developments in modern photography which have not received a certain quiet impetus from this man's talented camera. But we in America don't appreciate experimenters, it seems. For one thing they have a habit of turning down routine (albeit profitable) commissions while in the first flush of an experiment. What's more, we like to put our artists into pigeon-holes and we expect them to stay there. Arthur Gerlach, the experimenter, is resolved that he will not be pigeon-holed. And anywayhis notebooks are filled with plans.

Advertising Arts en | 1932 | | page 60