Get every issue of Print from 2011 on one disc! Portable, searchable, and printable, it's a gorgeous look book and insightful critique of the best design in the United States and around the world.
February Issue: Project Projects: Collaboration—All Together Now? Plus a special section of Print guest edited and designed by Project Projects. Roundtable - A Meeting of the Minds
13 artists, writers, and designers discuss why we bother working together. Prudence Peiffer - A Menu of Chance. Whether Fluxus or flax, language or legumes, artist Alison Knowles has spent a lifetime working in dialogue. Isaac Gertman - Five Man Band. Athletics is a Brooklyn design studio that's putting a new twist on an old business model. Sarah Hromack - Collective Collectors
Art collective Group Material's seminal work from the 1980s and 1990s continues to challenge the relationship between art, politics, and design. Adam Kleinman - Sweet are the Uses of Adversity
What happens when you ask a curator, a graphic designer, and a group of architects to reinvent an essential New York alternative art space?
April Issue: The Future of Design—What Lies Ahead? A special section of Print guest designed by Counterspace. A Meditation on Curation - How does one establish the criteria in selecting 20 of the world's most promising young designers? by Michael Worthington and Yasmin Khan. A Family Tree of Design - Visualizing the connections between (mostly) American graphic designers (1960–present), including the 2011 NVAs. Researched by Counterspace and Mary Kim Harmon with input from Lorraine Wild and Mark Owens built by Jesse Lee Stout and Sudeshna Pantham. Nostalgia for the Future - An evocative and reflective look back at the future of our past, when robots were poised to inherit the Earth. by Steven Heller. Where you Heading? -Visionaries from a number of design disciplines weigh in on the paths of their domains. by Joe Kloc, Evan Lerner, Andrew Losowsky. The New Visual Artists 2011 - Print's annual portfolio of 20 emerging designers, illustrators, and photographers under the age of 30. Self-Initiators—Critical Practitioners - Sara Cywnar, Zak Kyes, Brett Tabolt, Jessica Walsh, Hrvoje Zivĉić and Dario Devcić.
June Issue: Guest art directed by the Finnish design firm, Kokoro & Moi, this issue is truly an experiment. Throughout our entire feature section we play with notions of magazine design standards. (How should display type be oriented? What does justified text of two or three words per line communicate? What if it doesn't "say" anything? How crazy is too crazy?) While flipping through this unique issue, you might be intrigued, perhaps enticed, or simply confused, but hopefully you will, indeed, be surprised by every page. PLUS: You will find the winners for our Hand Drawn Competition.
August Issue: Our August issue is about movement: the movement of cities and airports, filmmakers and baseball players, museumgoers and revolutionaries. But above all, it's about the way people move in step with design. Ursula Lindsey reports from Cairo on how Egypt's protesters used visual language to advance their cause—and how Coca-Cola and other companies are now getting in on the revolutionary spirit. The architect James Biber explains New York and Paris in terms of the choreography of their streets, and offers excerpts from his book 100 Ideas for New York. And Angela Riechers argues that we should think of the San Francisco Giants ace, Tim Lincecum, as every bit the equal of mid-century designers like Marcel Breuer. Our guest art directors, the London-based studio Spin, captured the same sense of motion in their brilliant design of our feature well. We hope it will move you too.
October Issue: Guest designed and coedited by the Dutch designers Metahaven, October is the Identity issue. We expanded our usual focus, moving, as Metahaven writes, "to the fringes of the design world." You'll find stories on the "design" of geopolitics, the artist behind M.I.A.'s unusual websites, Experimental Jetset's grappling with modernism, and the masks that comic-book artists wear in their own work. Elsewhere in the magazine, Rick Poynor wonders if we need a new term to describe the field of graphic design, Chermayeff & Geismar previews its new monograph for Print Publishing, and the Heads of State offers its take on the iconic form of the business card.
December Issue: Print's Regional Design is the most comprehensive survey of graphic design in the United States, containing more than 150 pages of award-winning work, and the only design annual organized by geography. Ever since our first Annual, in 1981, we've found it useful to divide the country into six regions—which, naturally, has created all sorts of taxonomic problems. Is there really a stylistic difference between the work being done in Arlington, Virginia (which is in the South), and its neighbor Washington, D.C. (in the East)? Add to that the flattening effect of the web, and you begin to question if regions still matter. That's precisely what we heard from many of this year's winners when we asked them about regional variations: There aren't any, they said, because the internet killed them. And yet—we wonder. Most everyone cited something in their immediate environment that influences their work—Nuts 4 Nuts carts, old Laundromats, Disneyland, bike-friendly culture, the ghost ads of the South, the Herb Lubalin Center. These things percolate in the mind, and they show up on the page. Michael Freimuth, our Midwest judge and a regional agnostic himself, puts it best: "Regions still matter in the sense that they comprise creative communities. There's quite a lot more to our business and world than servicing clients—becoming an integrated and active member of your creative community is huge. You can't ignore your immediate surroundings." We couldn't agree more.