opened up a new playing-field of fancy. The song of colour, the chords of colour composition lead us on to the music of matter. Let us consider the methods and materials which technique has placed at our disposal; they are distinguished by exactness, lightness and elegance and by a singular transparency. We have coloured mirrors, galalite, cellophane, the delicate aluminium skeleton of the Zeppelins, neon light, chro mium plating, photography and the cinematograph, speech and song resolved into thin lines, the technique of the autotype, television, vulcanite, bent steel tubing, sprayed and molten enamel, colours of translucent light, sheets of pierced tin, reinforced glass these are but a few examples of the new scale of matter, but they ring true and are components of a new spirit. The inner compulsion to overcome gravity and to disin- 255 tegrate the cube arises from new relations to space, which find expression in a spatial perspective of piling- up, penetration, and super-imposition. The conse quence is that we have a transparent verticality instead of the juxtaposition of rigidly limited forms; realisation of colour in the third dimension; dynamic collaboration of picture, word and construction in space. Advertising as a factor of form is still young and at the beginning of a development. Trammelled to time, it must needs work with an ordered exactness in which the personal note must give way to the super-personal. It is thus in the midst of a peculiar process: behind the scholastic demonstration and the reduction of the com plicated to the elementary, apparently simple presenta tion, stands Imagination the organiser, building up a "functional" form of advertising. POSTERS BY XA'NTI

Industrial Arts en | 1936 | | page 75