The range of subjects covered by this our third number is an arresting illustration of how broad and deep is the concern of art with industry and life. Our contributors are a catholic company. All speak with authority, and each has something fresh to say. Raymond Loewy, one of the fore most American industrial designers, speaks as an engineer. His watchword is efficiency and his aim economy. He rescues the word "streamline" from the jargon of current journalese. As manu facture is chiefly a process of moving matter from one place to another, business is mainly moving- people. Travel has become much more comfortable, but most journeys take as long today as they did thirty or forty years ago. There is now an awakened interest in speed and streamline is the answer to air resistance. On the other hand, Duncan Grant is an imaginative painter who looks at industry from the outside. To him most of the objects of industry are dull, and he sees how much livelier they might be if the pioneer work of the late Roger Fry were revived and encouraged. Raymond McGrath's article on the use of glass in building helps us to realize how grudgingly we accept the free gilt of daylight. Governments no longer tax windows, but industry still frequently pays a self-imposed tax to the powers of darkness. Even our playthings show strong influences of design shaping their form, and no better example can be given than the evolution of the pieces of chess, a game which probably holds the interest of men more widely than any other. It must be attributed to the credit side of the Fascist account that in Italy strong government support and en couragement has been given to young architects and modern designers. The account of two schools of Industrial Art in Italy is both interesting and timely. All those who have anything to do with printing should read carefully Herbert Bayer's clear statement of reasons why a strong effort should be made to bring the design of printed matter into harmony with surrounding expressions of other forms of life. Heirlooms can become a burden, and the rich heritage of printing tradition is in danger of becoming a strait-jacket. Industrial Arts

Industrial Arts en | 1936 | | page 13