PRINT: THE MAGAZINE OF THE GRAPHIC ARTS
Volume 9, Number 5, 1955

William Rudge

8.5 x 11 perfect-bound magazine, with 72 pages and many b/w photos, illustrations, diagrams printed in a variety of methods, primarily letterpress. Print was devoted to showcasing the best in American Graphic Design, circa 1955. For this goal, the Publishers used a wide variety of paper stocks and printing styles for each issue. Print also had the radical idea of having a Guest Art Director design each issue, thus insuirng the magazines' fresh look. Print from the mid-to-late 1950s remind me of Herbert Spencer's Typographica, but without the cultural pretensions of the English magazine. Print was meat and potatoes compared to Spencer's elegant souffles.

Contents

• Editorial
• Painters and Letterforms by Georgine Oeri: 14 pages with 19 b/w illustrations including Yasuo Kuniyoshi, Kurt Schwitters, Georges Braque, Juan Gris, Robert Motherwell, Marcel Duchamp, Stuart Davis, George Grosz, Robert DeLaunay, Paul Klee, and Fernand Leger among others
• Book Reviews
• A.G.I.: 2 writers on a truly International Graphic Arts show
• A Sort of Glass: Charles Rosner on Ronald Searle¹s drawings: 6 pages with 12 b/w illustrations
• Seals: A Brief Glance: Three-dimensional designs for today¹s graphic artist
• Will Burtin: A ³close-up² of the man and his views on design‹one page introduction to his work for The Upjohn Company
• Program in Print: The Upjohn Company and their successful use of good design (23 pages with 8 full-page color illustrations, 6 color illustrations, and 27 b/w illustrations including the magazine ³Scope,² advertising, and sales literature among other projects)
• The Lion¹s Tail: Leo Lionni¹s regular feature
• Book Reviews

Will Burtin (1909-1972) studied typography and design at the Cologne Werkschule, then practiced design in Germany before emigrating to the US in 1938. He worked for the US Army Air Force designing graphics and exhibitions before becoming Art Director of Fortune magazine in 1945. His work for Fortune was marked by innovative solutions to presenting complex information in graphically understandable ways. In 1949 he established his own firm. Among his clients were the Upjohn Company, Union Carbide, Eastman Kodak and The Smithsonian Institution. Burtin¹s great genius was in his ability to visualize complex scientific and technological information. He created several award winning exhibitions including the 1958 model of a human blood cell. Burtin believed that through his work he could become the ³communicator, link, interpreter and inspirer² who is able to make scientific knowledge comprehensible.

PRINT started out under the auspices of William Rudge and played a significant role in the fine press and typographic movements in the mid- twentieth century. Each issue of this beautifully-designed and printed quarterly magazine stands as an essential reference for the private press and fine printing activity of the period.

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