The Businessman’s Record Club of Chicago was sponsored by the National Communications Corp., Chicago, and claimed to have 5,000 active subscribers. The recorded speeches of experts were ground out at gatherings in the fields of insurance, manufacturing real estate, auto sales, food, printing and publishing. The album covers had this aura of faux Modernism with a touch of the kitsch and a dab of bad typography as a seasoning. But if you wanted to be a good seller of things—a salesman par excellence—this was the wellspring of inspiration, even if the grammar wasn’t always the goodest.
This year, our brilliant Regional Design Awards judges—Aaron Draplin, Jessica Hische, Pum Lefebure, Ellen Lupton, Eddie Opara and Paula Scher—have pored over, puzzled over, obsessed and stressed over nearly 4,000 entries to bring you this list of their selections for the best American designs of the year. Perhaps with a bit more pressure than in years past. With this issue of Print, we say goodbye to the physical copies of our magazine, and hello to a robust and thriving online community.
As Debbie Millman says in her editor’s note, “In its 77-year history, the magazine evolved from a technical and scholarly journal aimed at the printing trade, to a mainstream magazine providing critical reporting and analysis of all facets of graphic design and visual culture.”
Grab this final copy of Print magazine today and join what Steven Heller describes as “more than a mere magazine, but a community—in a sense, a family—of shared interest that has promoted, critiqued, enlightened and introduced a broad swath of art and craft from which its readers have carved out not only careers but creative lives.”
This is not an end. This is a beginning.