Editing Walter Dorwin Teague (section)

===Career beginnings===
Books on architecture in his high school library influenced Teague's desire to become an artist.<ref name="BusNews">"Walter Dorwin Teague: Industrial Designer Remembered," ''Business News - San Diego'', p. 6, December 19, 1983.</ref> At 19 years old, Teague left Indiana for New York City.<ref name="Grove">''The Grove Encyclopedia of Decorative Arts,'' Gordon Campbell 2006 ed., Oxford University Press; Vol. 2, p. 437. {{ISBN|0-19-518948-5}}</ref> He studied painting from 1903 to 1907 at the [[Art Students League of New York]], where he met his first wife, Celia Fehon, a fellow artist. To earn money upon his arrival in New York, Teague checked hats at the [[Young Men's Christian Association]] in Manhattan, where he also began sign painting. His lettering work evolved into illustration projects for mail order catalogues, for which he drew apparel items such as neckties and shoes. Refusing involvement in the fashion industry, Teague focused his creative efforts on elaborate advertising illustrations, which caught the attention of Walter Whitehead, an advertising executive whom Teague had met at the YMCA.<ref name=DCrit/><ref name=BusNews/><ref name=newyorker/>

Whitehead hired Teague at the Ben Hampton Advertising Agency. When Whitehead left Ben Hampton for the larger agency of Calkins & Holden in 1908, Teague went with him. During Teague's four years at Calkins & Holden, he developed a distinct artistic style recognized by Earnest Elmo Calkins as a reconciliation of past art and present day production.<ref name=Grove/><ref name=DCrit/><ref name=newyorker/>

By 1911, Teague was an active freelancer in decorative design and typography. He also shared offices with Bruce Rogers and Frederic Goudy, and was a co-founder of Pynson Printers. Teague became known for his distinctive frames for advertising art, which blended Baroque and Renaissance influence with a simplicity ideal for high-volume printing presses.<ref name=DCrit/><ref name=newyorker/>

In 1912, Teague left Calkins & Holden to expand his freelance work from his own typographic studio.<ref name=artdeco/><ref name=newyorker/> Through his graphic design contributions to magazines, Teague's signature style earned widespread recognition in his field, particularly during the early 1920s when he designed frames for the famous Arrow Collar ads.<ref name=artdeco/><ref name=DCrit/> "Teague borders" became a generic term for ad frames of a certain type, even those created by others.<ref name=BusNews/><ref name="fifty">Abercrombie, Stanley, "Fifty Years of Interior Design," ''Interiors'', New York, June 1977</ref>

By the mid-1920s, as the demand for border designs weakened, Teague had become lightly involved in commercial packaging. Intrigued by the International Paris Exposition and European stylistic movements, Teague left for Europe on June 30, 1926, to investigate European design. While abroad he familiarized himself with [[Bauhaus]] work during an exhibition in Italy, and became greatly inspired by the architectural creations and writings of [[Le Corbusier]].<ref name=artdeco/><ref name=DCrit/>