The emblem of the Book Jacket Designers Guild on the opposite page was designed by George Salter. Gegeniiberliegende Seite: Das Emblem der BJDG (Gilde der Schutzumschlag-Graphiker). Page ci-contrc: L'cmblcmc de la guilde des dessinateurs dc chemises de livres (BJDG). Designer Graphiker Artiste: 1) BARBARA CORRIGAN 2) H. LAWRENCE HOFFMAN 3) SKA ASSOCIATES 4) ALVIN LUSTIG CONNOR 5) ROGER DUVOISIN Publishers Verleger Editeurs: 1) Little, Brown 2) Macmillan Company 3) Rinehart Company 4) New Directions 5) Alfred A. Knopf M K T K I. I II Today, the book jacket is a compound product of publishing and advertising. A mixture of tangibles and intangibles, it holds a unique place in the field of applied art. It varies in different countries but only in degrees of emphasis set by reading habits and standards of visual communication. The ingredients which produce such standards are affected by geographical peculiari ties, by ethnical composition and age of a population. They vary considerably from one country to another. In the United States the network of national advertising with its ability to travel fast and far has had substantial influence on the shaping of graphic forms. The book jacket as a facet in the setting of advertising could be no exception until the facet outgrew the setting. Whatever the causes for the increased acceptance may have been, a transformation has taken place, the book jacket has finally come into its own. It is generally believed that today's book jackets, averagely compared with their recent forerunners, are better works of design, more pertinent within their specific problem, and no less efficient in their promotional task. Before 1940 (a date which need not be taken literally) book jacket 4M

Graphis de | 1951 | | page 43