Any review of the work of a country like England, covering the period of a year, could easily fill a volume. In an Annual including the work of France, Germany and the U.S.A., as well as England, the space is naturally too restricted for anything like a com prehensive review of the whole field of publicity. Frequently, in an endeavour to be as comprehensive as possible in a limited space, Annuals of this kind show, in my opinion, far too many examples. All the reproductions, therefore, tend to be too small and too crowded for the reader to study easily. Adequate comment on the significance of the work chosen becomes well-nigh impossible. For these reasons, therefore, I have decided to choose a limited number of examples onlyfrom the field of posters, press advertising and booklets—thus enabling me to display them more prominently and comment on them more fully than would otherwise be possible. I must explain also that this selection makes no attempt to be a documentary cross-section of all the different styles and tech niques used throughout the period of 1937*38but is purely an appraisal from my point of view of what struck me as the most interesting and outstanding works. As a practising designer and typographer myself, I am naturally as much interested in the technique of expression as in the idea to be expressed. In my belief the two are interdependent. This is advertising at its highest. Why stop short at the creativeness of an idea or content oneself with the creativeness of technique alone. The creativeness of the whole is what is important. In making my selection of work, I have sought, therefore, to find examples of what appear to me to be creative entities, free from irrelevanciesclear, simple and precise statements in which the form and the idea intermingle. ASHLEY HAVINDEN 53

Modern Publicity en | 1938 | | page 55