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
