This year, in compiling Modern Publicity, the method has been adopted of inviting the experts of various countries to make a representative selec tion, each of his own country, with notes as to the general position and where desirable on the individual illustrations. Issuing this invitation to their prospective collaborators, the Editors were careful to point out that whilst giving a free hand, they expected a display without bias of the best that each country could dowithout bias, that is to say, except of the collaborators' standard of a national best." We looked on these national sections as making a sort of friendly international competition. In the case of some of the smaller countries we drew upon material at our own disposal, but for the most part the sections that appear in the following pages are the creation of the countries they represent. Each has an interest for the others, for visual advertising speaks all languages. We are not unaware, of course, of the fact that the individual stand point of the selector must affect the atmosphere of his section, though his search has been nation wide, and that someone else might give a different impression again. What we say, however, is that this also has its value. Here are those of undisputed eminence in advertising explaining how they themselves approach the problem, the standards they set up, the qualities they expect. Even so, we are struck more by a basic agreement among our con tributors than by divergence of opinion. Methods of approach may vary but one thing emphatically stands outthat our contributors all feel the national importance and responsibility of advertising. They stress its ethical duty, its artistic duty, its patriotic duty in different degrees, but always with a sense that it has a duty. Thus we find among the annual advertising awards in the United States a specific award for a campaign which contributes most to the ad vancement of advertising as a social forceor for a campaign distinguished for technical excellence and ethical soundness. Ashley in Great Britain and Tolmer in France lean towards an aesthetic interpretation of advertising but still as part of its duty to progress and improve. Thus Tolmer indi cates the role of advertising as a popularisation of the modern movement. 7 FOREWO RD

Modern Publicity en | 1938 | | page 9