PRINT declared, in its first issue in 1940, its intention to demonstrate the far-reaching importance of the graphic arts which they defined as all the means by which ideas are reproduced in visual form. Excluded were the fine arts, photographic prints and television. In their first editorial, the editors decried “the dissociation of the field, the uncoordinated energies, the inarticulate voice. The power of graphic arts are needed to build a better world,” they declared.
In the 20 years of PRINT‘s existence many accomplishments and changes have come about.
Articulate indeed we have become, and the men and women who have raised their voices and given us the privilege of their talents are among the most respected in the world of creative effort: Philip Hofer, Moholy-Nagy, Frederick W. Goudy, John Taylor Arms, and more recently by such as Will Burtin, Saul Bass, Walker Evans, Herbert Bayer, Egbert Jacobson, etc.
We have grown to see the field develop the broadest use of visual communication utilized by educators and educational institutions, industrialists, governments, and collectors of works of art as well.
The energies of our professional people have been recognized and supported by such organizations as American Institute of Graphic Arts, Society of Typographical Arts, The Art Directors Club, Package Designers Council, Type Directors Club, etc.
Today, mindful of the indivisible unity of all the arts, PRINT recognizes the relationship and indeed interdependence of painting, sculpture, architecture, photography, the film, television, the cartoon—all visual expressions of our three-dimensional world. Barriers of intellect, snobbery, and use are being eliminated. This is being accomplished by evolutionary means, more slowly paced than the revolutionary methods and manifestations in our surroundings.
PRINT mourns the demise of Flair, Portfolio, Verve, P.M., and A.D. We who have shared their hopes salute their past efforts and hope we have pursued their purpose and tradition. PRINT looks forward to the next 20 years, to expanding its horizons and fulfilling the needs of our time. These needs must not be confused with the quotidian insistence on commercialization, on the initiative of design mainly for purposes of sales and profits. Artists and designers should be trained more and more with philosophical concepts and technological ideas as well as with the skills and techniques of their craft.
In this anniversary issue, the editors have asked Albert Christ-Janer of Pratt Institute as an educator to look back into the past and review the last twenty years. It is most fitting that he, at the helm of one of the most forward-thinking institutions, should do this. Himself a painter and writer, and for many years an educator, he brings something of the visionary to his work and thus acknowledges the past in the future. Bruce Mackenzie, editor of the IBM Journal of Research and Development, helps to extend the present into the future in his section on the next twenty years. Again it is fitting that he should do this. It is no longer extraordinary that magazines on design should include in their pages material on architecture, on economics, on scientific and technical views. It is also not extraordinary that the world of science should recognize and use the work of designers. We all work with the vocabulary and grammar of our times.
—THE EDITORS, Print January/February, 1960; Vol. 14 No. 1
To prepare this issue, PRINT‘s editors interviewed many of the top creative people and executives of the Interpublic components. Those interviewed include: David Deutsch, executive art director, McCann-Erickson; Tom Heck, executive art director, Johnstone, Inc.; Wolf Lieschke, executive vice president, Fletcher Richards; Paul Foley, chairman, McCann-Erickson; Henry Wolf, Jack Tinker & Partners; Leyton Carter, president, ICR and more.
Bottom right: New York artist Barbara Nessim was one of the first significant women illustrators working in a primarily male-dominated profession. She had a lyrical style that was suggestive and symbolic and built a reputation for transcending the clichés of a field built on realism. Frequent editorial work helped solidify her place in illustration history. “There are virtually no differences either in style of point of view between the work which Miss Nessim does for herself and that which she does for commercial clients,” wrote associate art director Carol Stevens in the cover story. That lack of duality between art and commercial art was highly valued by Print‘s editors.
—Steven Heller, Covering Print: 75 Covers, 75 Years