FOREWORD
BOARD PROCEDURE for artists in agencies and studios encompasses
numerous skills and techniques. One category of this procedure is re-
ferred to as \"mechanicals，\" which， although it is essentially a subject
within itself， is yet so interrelated with all other aspects of board proce-
dure that it is difficult to define. Because the subject requires so vast a
knowledge of advertising， it is fast becoming a necessary prerequisite to
gaining a foothold in the broad field of advertising. Keen competition
makes it difficult for the average student， at the onset of his or her career，
to obtain a first position in the capacity desired. There is little time to break
in the beginner--who must already have some knowledge of the busi-
ness， not just creative abilit~ In order to produce the desired effect， which
is the result of advertising \"know-how，\" the beginner must first accumu-
late certain specific information and experience.
While the student (as well as the already developed artist) is making
every effort to find a position that will present an opportunity for self-
expression， he or she must reach out in every direction for additional，
more extensive knowledge and understanding， in order to nurture latent
creativity， as well as manual capabilities.
Quite often， people who do mechanicals are not considered creative
artists. They are sometimes looked upon as ordinary machine operators in
a factory. This attitude， of course， is fallacious. An employer may say，
\"Mechanical artists? They re expendable.\" An experienced artist may say，
\"Mechanicals? There s nothing to it! You can learn it in two weeks.\" These
people have either forgotten how long it takes to learn all the require-
ments of this position， or are kidding themselves in to thinking they know
all that it involves. For if they deliberated the requirements of the artist
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