Mens magazine cover wall art7/23/2023 Indeed, there is a place for sharing pretty objects, and we continue to share them in this issue and beyond. In the world of design media, it’s so much simpler to share a beautiful project than to ask real questions of the field. “And with a community comes community values. As Steven Heller details in his reflections on page 160, it’s long been so much more: a community. For in its years, Print did that rare thing publishers yearn for but cannot simply manufacture: Print transcended its status as a simple paper magazine. But if we must mourn, let it be an Irish wake. This is the final print issue of Print, and the magazine will be fully online going forward. “I write this in the fall, when reminders of life cycles are never more apparent. But in the end, I was powerless to the prospect of the gig. “While standing on the shoulders of giants, one does not want to teeter. But it’s another to edit a magazine that has been around for nearly eight decades, has won every award in the industry (including a ‘best consumer magazine’ win this year in the Folio Awards), and has served as a vital chronicler of the field since before the term “graphic design” was ever used. It’s one thing to be the prospective editor of a magazine riding a timestamped trend like, say, fidget spinners. “Magnifying my fear was the pure fact that Print has always been special. Even with a devoted army of print Print fans, how long could we keep it going? And publishers are not exactly leaping at the chance to take on the costs of a print magazine if they can reach more people online for much less. “For those of us working in the magazine industry, the writing has long been on the wall: Users, indeed, are completing their mass migration online. ‘What I’m afraid of, I told my boss at the time, ‘is being Print’s last editor. “When I was offered the job of being Print’s editor-a gig I had long fantasized about over the years while working for other magazines owned by the same publisher-I planned on turning it down. It has been a privilege to work on this national treasure, and we are so grateful for your attention, your curiosity and your support.” -Debbie Millman “To everyone reading this, and to everyone that has ever read an issue of Print: We thank you. Reader feedback and recent industry awards suggest we were well on our way. Together we tried to increase the cultural vitality of the publication, itself a cultural institution. In 2015, I was appointed editorial and creative director by then-publisher Gary Lynch, and working with him, the brilliant editor-in-chief Zac Petit, and legendary contributing editors Steven Heller, Rick Poynor and Seymour Chwast has been the gift of a lifetime. Since 2005 I have written for nearly every issue of the magazine. Shortly thereafter, she asked to see some of my writing, and several months later, I was assigned my first piece for Print. Over the next few days, we bumped into each other at the conference and subsequently met for lunch when we returned to New York. Though I had been avidly reading the magazine for decades, I had never met anyone employed there, and I was simultaneously awed and intimidated. When I asked her what she did, she replied that she worked at Print. I didn’t know Joyce, and it didn’t occur to me that she was also traveling to the conference until Paula Scher passed by our aisle and they waved. “I first met Joyce Rutter Kaye, Print’s four-time National Magazine Award-winning editor from 1998–2008, on an early morning flight from New York to Vancouver for the 2003 national AIGA conference. Martin Fox, Print’s editor for 40 years, was committed to showing all of the influences in visual culture-high and low-that affect designers, and also revealing to designers their impact on the world of visual culture. “Since the beginning, the magazine has sought to identify emerging trends and issues in design. The first issue revealed a magazine that was completely ahead of its time: It featured Bruce Rogers’ thumbprints on the cover, and nothing else-not even a logo. In its 77-year history, the magazine evolved from a technical and scholarly journal aimed at the printing trade, to a main- stream magazine providing critical reporting and analysis of all facets of graphic design and visual culture. “In publication since 1940, Print is the oldest graphic design periodical in the world.
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