SECTION COMPILED BY TOLMER If graphic publicity is to remain in the forefront of the modern movement throughout the world, contributing (as its purpose requires) to speed up the popularisation of that movement, it must redouble its efforts. The severe competition which has grown up from the application to publi city of all the by-products of light and sound must be taken into account. Graphic publicity is at the cross-roads. Helped by improvements in technique it has to maintain its progress forward. The attractions of colour are at its disposal. The three main reproduction processes, letterpress, gravure and offset lend themselves to endless variation. Art, high standards of taste, new ideas, should, more than ever, be its source of inspiration. But, like a river, beginning as a mountain torrent painfully and forcefully <l cutting out its course, printed publicity seems to be slowing down, now that it has reached more level going. The excuse is that it must obey the laws of economics and adapt itself to difficult times. The Paris Exhibition of 1937 gave publicity the opportunity of strengthening its prestige. Never has it been accorded such a place of honour. A Palace to itself and the collaboration of gifted men, assured it of a success which further convinced a very large public. The value of technical processes, such as photography, was emphatically demonstrated. Graphic publicity was very well represented and might be said to reach full bloom. It is a pity we must add that we could not find in it that essence of the movement of to-morrow which a really great form of expression always contains. In our age, when everything is organised, classified and card-indexed, publicity has not escaped the trend. It is frequently called on to play a part as one instrument in a large orchestra. How can it undergo this discipline without losing its free individual spirit Very often it is addressed to women. In that case it must preserve at all costs the charm and grace which the man in horn rims, who has worked out the general plan of campaign like a mathema tical equation, has perhaps overlooked. It is up to us who have witnessed so many evolutionary movements to be aware of their transition, and to look to the harmonious use of new develop- ments in the art of publicity. In that respect, also, lies the necessity of publica tions like Modern Publicity. They provide extremely useful comparisons between the efforts of different countries, and act as excellent stimulants. They have greatly helped to make publicity one of the strongest forces in the modern world. 36 FRANCE

Modern Publicity en | 1938 | | page 38