by the way, these magazines were the size of books, and now sell for about $300 apiece
http://www.sirensofchrome.com/sirens/?p=547
He honed his technique with the airbrush while doing more mundane rendering for Crescent Engraving in Kalamazoo, Michigan: designing boxes for chocolate candy and the like.
One of the salesmen there saw Radebaugh’s airbrush work and asked if he could act as the young man’s agent; he probably surprised them both when he sold one of Radebaugh’s futuristic automotive renderings to MoToR Magazine in 1935 for $450.
http://arthur-radebaugh.blogspot.com/p/from-worlds-fair-to-world-war.html
Radebaugh's rise as a commercial artist was interrupted by the US entrance into World War 2. He was enlisted into the Army Ordnance Department, where he headed up a Design & Visualization division. He worked with fellow artists and industrial designers (notably, Will Eisner was working in the same office!), designing weapons of the future.
http://www.secondchancegarage.com/public4/radebaugh-1.cfm
Radebaugh's Sunday comic strip — "Closer Than We Think" — was syndicated in the United States and Canada and ran for five years, 1958-1963, reaching nearly nineteen million viewers at its peak. There was only a single panel accompanied by explanatory text and, at times, arrows pointing to areas of special interest. Comic strips, however, rely on clear line work rather than airbrush technique, so Radebaugh used shading and stippling — but the comic panels lacked the depth and intensity of his signature airbrushing. And rather than simplify an idea, he continued to add detail after detail to his drawings, leading to muddled drawings rather than the clarity we appreciate in comics.
https://www.pinterest.com/search/pins/?0=motor%7Ctyped&1=magazine%7Ctyped&q=motor%20magazine&rs=typed