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.