The principles of advertising arrangement . DBEAUTY. LET US NOT IMAGINE THAT THINGS WHICHARE REALLY FIT ARE ALWAYS BEAUTIFUL; LET US NOTTHINK WE ARE ARTISTIC BECAUSE WE LIKE AN UGLYTHING, SIMPLY BECAUSE IT IS FIT FOR ITS IS NOT NECESSARY THAT A DISHPAN SHOULDBE UGLY TO BE A DISHPAN. IT IS NOT NECESSARYTHAT A PIANO SHOULD BE OUTRAGEOUS IN ITS PRO-PORTIONS IN ORDER TO BE A PIANO AND TO RESPONDWELL TO THE ARTISTS TOUCH. IT IS NOT NECESSARYTHAT A HAT SHOULD BE AN UMBRELLA OR A FLOWERPOT TO BE A HAT. IT MAY BE BEAUTIFJ^L ANDSTILL BE A HAT. IT IS NOT NECESSARY THAT ANADVERTISEMENT SHOULD
The principles of advertising arrangement . DBEAUTY. LET US NOT IMAGINE THAT THINGS WHICHARE REALLY FIT ARE ALWAYS BEAUTIFUL; LET US NOTTHINK WE ARE ARTISTIC BECAUSE WE LIKE AN UGLYTHING, SIMPLY BECAUSE IT IS FIT FOR ITS IS NOT NECESSARY THAT A DISHPAN SHOULDBE UGLY TO BE A DISHPAN. IT IS NOT NECESSARYTHAT A PIANO SHOULD BE OUTRAGEOUS IN ITS PRO-PORTIONS IN ORDER TO BE A PIANO AND TO RESPONDWELL TO THE ARTISTS TOUCH. IT IS NOT NECESSARYTHAT A HAT SHOULD BE AN UMBRELLA OR A FLOWERPOT TO BE A HAT. IT MAY BE BEAUTIFJ^L ANDSTILL BE A HAT. IT IS NOT NECESSARY THAT ANADVERTISEMENT SHOULD GIVE A SHOCK OF DISGUST ^IN ORDER TO BE AN ADVERTISEMENT. NEITHER ISIT ESSENTIAL THAT A THINp SHALL BE TOO ESTHETICTO BE WHOLESOME, IN ORDER TO BE THING CAN BE BEAUTIFUL AND STILL BE DIGNIFIED; § A THING CAN BE BEAUTIFUL AND STILL BE LIVABLE; ATHING CAN BE BEAUTIFUL AND STILL BE MANLY ORWOMANLY. WHEN THIS QUALITY IS PRESENT IN ANYMADE THING, THERE WE SHALL FIND ART. F. A. P. 42 MOVEMENT AS AVITAL FACTORIN ADVERTISING CHAPTER IV. 48 i )8PID[ 1 BIT Ml r }amt M O V E M E N T AS A VITALFACTOR IN ADVERTISING CHAPTER IV. If at- tentionis called to the left end of a con-tinuous line, the obvious tend-ency is to fol-low the linefrom left toright to itsend. This istrue of eitherthe straight orthe curvedline. The eye trav-els naturallyand continu-ously fromleft to rightin type, inspots, in illus-tration, in allthings. If aseries of spotsare nearer to-gether thanthe distanceacross any ofthem, we haveno difficulty inreading con- 111 — — — _ - — — S SHOWING THE OBVIOUS TEN-DENCY OF THE EYE TO FOLLOWLINES AND SPOT SUCCESSIONS TOTHE END OF THE SEQUENCE. spot. When we make that dis-tance greater than the width ofthe spots we have difficulty inpassing from spot to spot. This proves thatthere is a lawof co-ordina-tion of things,dependent up-on the distancethey are apart,and that thelaw of co-ordination ofthought de-pends uponthis distancealso. SHOWING HOW AN ENCLOSINGFORM C
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectadverti, bookyear1912
