The principles of advertising arrangement . ough 300advertise-ments to seehow manytimes I got thethought at thefirst glance. Ina good manyinstances I gotsome otherthought—thealtogeth-er wrongthought —be-fore I readthe text. Youfirst get sightc o n n e c -tions, but thethoughts haveto come at thesame manyadvertise-ments fail be-does not reador because themind does not read them easily,or because they say a differentthing to the eye and to themind. TOPOGRAPHY EFFECTIVE TYPE, DIVI- CIIOICE OF OF BASE, EXCELLENT loinic ]Q^( 123 smr J QQ) [ ] Q] Q [ |(QQI^ it is good; if the illustrations
The principles of advertising arrangement . ough 300advertise-ments to seehow manytimes I got thethought at thefirst glance. Ina good manyinstances I gotsome otherthought—thealtogeth-er wrongthought —be-fore I readthe text. Youfirst get sightc o n n e c -tions, but thethoughts haveto come at thesame manyadvertise-ments fail be-does not reador because themind does not read them easily,or because they say a differentthing to the eye and to themind. TOPOGRAPHY EFFECTIVE TYPE, DIVI- CIIOICE OF OF BASE, EXCELLENT loinic ]Q^( 123 smr J QQ) [ ] Q] Q [ |(QQI^ it is good; if the illustrationsays the same thing that thethought and the type do, itis good; if the decorativematter says the same thing—ordoes not say anything—it isgood. If you have laurelleaves, and a Roman wreath the necessity for though a man is an artist,if there is no principle back ofwhat he does it is not you are not an artist, there iscertainly a necessity for princi-ple, or your work must be dis-organized. We begin in art. A CAR CARD ILLUSTRATING THE FACT THAT ATTEXTIOX, INTER-EST AND MERIT MAY BE ATTRACTED AND EXPRESSED THROUGHARRANGEMENT. NOTE SPACES, MARGINS, BALANCED PARTS, ETC. and festoon belonging to theage of Roman games, it willdispute your advertisement ofmachinery, it will dispute youradvertisement of chiffon, or itwill dispute your advertising aFrench product, because it willspeak another tongue. No oneof these three things may dis-pute the other, and they mustnone of them dispute thethought of any other if youwant a clear shows the importance, andnot only the importance, but expression with the study of thefirst principle of form. Following the type harmonywith the thought of the ad, andillustrative and decorative har-mony with the thought of thead, we come to the third prin-ciple of criticism—Consistentsizes and shapes. After wehave found that a thing is con-sistent in material, we may findthat it is not legible. It is thenti
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectadverti, bookyear1912
