An autobiographical note

Abstract

At the time when Street Comer Society was accepted for publication, the University of Chicago Press used only a paper wrapper. Bill wrote to say that I was a book jacket designer and would like to contribute a design if they would print it. They agreed if I would use only one color, I decided on scratch board, which gave the effect of a wood engraving but took much less time. Since "Eastern City" was not then identified as Boston, I combined the street where we lived with another corner to avoid identification. This was used on the first edition and again, printed in rust, on the second. I had moved to New York at 17 to study at the Art Students League. Most of my parents' friends were horrified that they would allow me to go and live alone. As a child, I was always drawing, and I planned a year at the League while I decided on a college. I stayed four years and studied life drawing, illustration, and oil painting. My chief subject was print making: etching, wood engraving and especially lithography, all of which we printed in hand presses. I wanted to be an illustrator but realized that I knew nothing of preparing work for reproduction. I heard of George Salter, a German refugee, who had been a prominent book designer and had taught in a large Berlin art school until the Nuremburg Laws forbade it. He was teaching at Columbia. Most of the students were librarians and teachers, who wanted to learn about book design. He wanted to teach actual designers but felt he could not give me extra attention in class. He invited me to his apartment once a week for instruction. This led to a real friendship with me and my family and an invaluable apprenticeship of three years. During this time, I planned a trip to London and Paris one winter. Calligraphy hardly existed in the United States, but was much used in England. There were half a dozen calligraphers in the United States and Canada, who were in