The Second Annual of Illustrations for Advertisements in the United States
The Art Directors Club of New York's record of its second exhibition of advertising art, held at the Art Center on East 56th Street in October 1922 and published in 1923.
What it is
The Art Directors Club of New York's record of its second exhibition of advertising art, held at the Art Center on East 56th Street in October 1922 and published in 1923. The Exhibition Committee reports that quality held despite the 1921 to 1922 slump, and introduces one change: each original was hung beside the complete printed proof of the advertisement it was made for. A jury including Charles Dana Gibson, Edward Penfield and the architect Cass Gilbert judged four things: the problem involved, craftsmanship, reproducing qualities and artistic presentation. Paul Manship's medal went to work across six sections, among them E. L. Blumenschein's painting for Steinway, J. C. Leyendecker's Chesterfield poster, Walter D. Teague's border design and H. W. Scandlin's photographs. An essay by Earnest Elmo Calkins follows, then plates credited to artist, lender and agency, the full proofs, and indexes of artists, advertisers and agencies.
Why read it now
Its central move still holds: judge an image as part of the finished ad, at the size and in the medium where it will run, not as a picture on a wall. Today that means reviewing creative inside a mockup of the feed or the page, and the 1921 jury's worry about reproduction has become a worry about compression and small screens. Industry evidence supports the stakes; Nielsen's analyses credit creative quality with close to half of the sales lift that ads produce. What has dated: the jury of illustrators and an architect scored craft and fit but saw no sales or response data, so the book cannot tell you which of these ads worked; the painterly realism it rewards soon gave ground to photography, which here is one small section; and several winners sell cigarettes. Calkins's point that far more people see advertising art than gallery art is still the reason craft in ads matters. Use it this way: adopt the four criteria as a creative review checklist, and always show the raw asset next to the finished ad.
Passages worth keeping
it shows clearly how the illustration was made a part of a complete advertisement, and this gives a basis for judging its worthiness, not as an art expression, but as a commercial tool.
عرض الإعلان المطبوع بجانب الرسم الأصلي يسمح بالحكم على الرسم بوصفه أداة تجارية ضمن إعلان كامل، لا بوصفه عملًا فنيًا مستقلًا.
Many artists do not have sufficient knowledge of, or give sufficient consideration to, processes of reproduction.
كثير من الفنانين يرسمون دون أن يفكروا في شكل العمل بعد طباعته، مع أن الطباعة هي ما يراه الجمهور فعلًا.
Now every agency worthy of the name has an art director, whose sole duty is to see to it that each advertising plan has the advantage of the very best pictures or designs that can be made.
صار لكل وكالة جادة مدير فني، مهمته الوحيدة أن تحصل كل حملة على أفضل صورة أو تصميم ممكن.
the power of the picture to tell a story, or create an atmosphere, or illustrate an idea.
للصورة في الإعلان ثلاث وظائف: أن تحكي قصة، أو تصنع جوًا، أو توضح فكرة.
Art work must be judged and measured by what it tries to do.
يُقاس العمل الفني في الإعلان بمدى تحقيقه لهدفه، لا بمقاييس لوحات المعارض.
The scanned text has OCR errors. The passages are quoted from it, with only obvious slips fixed.
What it teaches best
Read the original archive.org
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