Editing Walter Dorwin Teague (section)

===Pioneering an occupation===
As the Great Depression loomed in America and mass-produced, machine-made objects intensified, large companies were desperate to find measures of survival.<ref name=BusNews/> Stirred by European modernism, America's design heritage, and a keen understanding of modern market dynamics, Teague promoted new ideas about the impact and significance of design in American culture, fueled, so, too, by the desire to transform machine-made objects into contextual heirlooms.<ref name=DCrit/><ref name=newyorker/><ref name="Woodham">Woodham, Jonathan M., "Twentieth-Century Design," from ''Oxford History of Art''. Oxford University Press (USA), 1997. {{ISBN|0192842048}}</ref><ref name="seventh">Teague, Walter Dorwin, "Design as a Construction Stimulant in Marketing," Reprinted from the ''Seventh International Management Congress'', Washington DC, 1938.</ref>

Shortly before Teague concluded his 18-year advertising career, he partook in several commissions in product design, for which a growing number of clients sought counseling.<ref name=BusNews/><ref name="QtrCen">Teague, Walter Dorwin, "A Quarter Century of Industrial Design in the United States," ''Art & Industry'', London, 1951.</ref> At age 43, Teague established a sole proprietorship devoted to product and package design. By 1927, Teague added "Industrial Design" to his letterhead upon landing his first big client, [[Eastman Kodak]].<ref name="IDSA">{{cite web|url=http://www.idsa.org/walter-dorwin-teague|title=Walter Dorwin Teague, FIDSA|date=January 20, 2010|access-date=September 22, 2016}}</ref>

Richard Bach, a curator of the [[Metropolitan Museum of Art]], had recommended Teague to Adolph Stuber, a top manager of Rochester, New York-based Eastman Kodak, when the company was considering the assistance of an artist to design cameras. With no knowledge of cameras, Teague proposed working on-site in collaboration with Kodak engineers.<ref name=QtrCen/> Designing according to engineering necessities, insisted Teague, "ultimately leads to greater beauty and heavier sales."<ref name=newyorker/> In Teague's ''Forbes'' article, "Modern Design Needs Modern Merchandising," published February 1, 1928, he advises, "The designer who gets results for the manufacturer plans with all departments of a business before he ever lays pencil to drawing board."<ref name="Forbes">"Modern Design Needs Modern Merchandising," By Walter Dorwin Teague as told to Charles G. Mueller, ''Forbes'', February 1, 1932.</ref>

[[File:Walter Dorwin Teague. Camera, No. 1A Gift Kodak, ca.1930.jpg|thumbnail|right|Camera, No. 1A Gift Kodak, ca.1930 [[Brooklyn Museum]]]]
On January 1, 1928, Teague embarked on a design endeavor that culminated in an extensive relationship with Kodak<ref name=QtrCen/>—that would last until his death.<ref name="britannica">{{cite web|url=http://www.britannica.com/EBchecked/topic/585213/Walter-Dorwin-Teague|title=Walter Dorwin Teague - American industrial designer|access-date=September 22, 2016}}</ref> He designed a number of well-known Kodak cameras, including an [[Art Deco]] gift camera (1928), the Baby Brownie (1934), the Bantam Special (1936) (considered a masterpiece of Art Deco styling<ref name="Kodaks">{{cite web|url=http://kodak.digitalfx.tv/|title=Gloriously Colorful Kodaks|access-date=September 22, 2016}}</ref> and one of the most popular cameras ever produced,<ref name="T80">"Teague80: 8 Decades of Influential Design." Published and printed by Walter Dorwin Teague Associates, copyright 2006, Seattle.</ref>) and the Brownie Hawkeye (1950).<ref name=IDSA/> By redesigning the camera case to match the camera, the two items presented a unity difficult to break during purchase; thus, the sales of carrying cases increased four times over in 1934.<ref name=newyorker/>

Teague's camera designs for Kodak expanded into the design of Kodak's displays, retail spaces, and exhibits. By 1934, the company created an entire styling division, to which Teague's role became advisory.<ref name=QtrCen/>