PM Magazine & A-D Magazine

PM magazine began publication in 1934 and ceased in 1942 when the United States entered World War II. The publication began as a monthly journal to provide information about printing to production managers and other interested people in the field and featured articles on printing processes, typesetting and other production specific topics. The publication, which was the only non-profit, cooperative graphic arts magazine in the US, ran for a total of 66 issues and in February-March 1938 it became a bi-monthly.

PM cover by Lucian Bernhard, March 1936.

Through its life it evolved and expanded to become one of the first publications to showcase new US born artistic talent as well as talent emigrating to the US from Europe.

The first issue to feature an artist was in March 1936. The entire front section was designed by Lucian Bernhard and featured his work as well as biographical information.

In April 1937, the editors announced their intent to devote their July or August issue entirely to the Bauhaus school. The issue was to be guest edited by Professor Josef Albers and was to feature contributions by Walter Gropius, Xanti Schawinsky, Grace Alexandra Young, William Lescaze and A. Lawrence Kocher. The importance of this issue and of the mission of the editors is summed up in the editorial notes of the announcement:

"This issue will be the most ambitious expression of the editors' belief that those engaged in a given art of design should be aware of their common interest with those in other branches if design, whether it be poster art, typography, scenic design, furniture design, or architecture."

As the magazine evolved to become a journal for art directors and designers, so too did the covers. While early covers of the journal focussed on new or interesting printing and production processes, later covers were uniquely designed, featuring a unique interpretation of the journal name, often by the feature artist of the issue.

A-D cover by Irvine Kamens, August/September 1940.

The feature artist became a regular occurence and was one of the things that makes this periodical so important to the history of graphic design.

I have examined each issue individually and the information included on the data cards comes from these examinations. The entire run is in the collection in the Cary Library at Rochester Insitute of Technology. Selected issues, designed by important designers, are in the Special Collection Archives at Rochester Institute of Technolgy.