Printed Pages, from It’s Nice That, just gets better and better. Launched last year after a period of reflection post–It’s Nice That magazine, it offers a unique voice about contemporary creative work that embellishes their online presence rather than competes with it. The new issue has more pages (130), is perfect bound, and – especially for us magaholics – reveals a new project from Bloomberg Businessweek creative director Richard Turley.
Interview with Cristian Lupsa of excellent Romanian mag Decat Revista; ‘What matters to us is they are feel real stories, more than feel good stories.’ (thanks Andrew).
Is the London Review of Books the best mag in the world? No, but a good piece worth a read.
Haymarket CD Paul Harpin has launched Buy Fonts, Save Lifes – simple idea, well worth supporting.
You have six days left to support for Winter magazine on Indiegogo. Do it!
Steve Watson’s doing another Guardian masterclass, with me and others contributing.
I was on Monocle24’s The Stack last weekend. Hear it here.
Penny Martin is editor-in-chief of The Gentlewoman, the biannual magazine that like its brother Fantastic Man is a flagbearer for contemporary independent publishing. It offers a clear alternative to mainstream women’s magazines, its choice of cover stars – including Adele, Angela Lansbury, Beyonce and most recently Vivienne Westwood, all shot in black and white – symbolising that difference. Before launching the magazine in 2010 Penny was chair of fashion imagery at the London College of Fashion and before that editor-in-chief of SHOWstudio. Here she looks ahead at her week with issue nine of her magazine still fresh on the newsstand.
Portrait of Penny by Thomas Lohr
The Financial Times grows via digital subscriptions.
‘Brands who advertise in magazines have the advantage.’ Who’d have thought?
Monocle is seven. Time for a movie!
‘There is nothing in the digital domain that can compare to the real thing.’ Cue new print mag from travel website Sidetracked.com.
Intriguing online, collective content creation for That New Design Smell (via QVED).
Also discovered at QVED: illustration magazine Spring.
Kickstarter news: support oral history magazine In The Air, to be designed by the people behind the fine-looking Shelf Journal.
Simon Esterson has had a huge influence on editorial design, not only through his ground-breaking work on projects such as Blueprint, Domus and The Guardian but also via the many young designers who have started their careers in his studio and gone on to establish their own reputations. Since 2008 he has co-owned and designed Eye magazine, and here we look ahead at his week as issue 87 completes production.
After a very civilized, slow morning QVED kicked off yesterday lunchtime with opening comments from co-founder Boris Kochan. Held at the beautiful fifties-built Alte Kongresshalle, the theatre full following the sell-out of all 650 tickets, the day had a real buzz about it as people from large and small magazines shared experiences.
First speaker was David Moretti, who presented a beautiful set of slides and described his typographic and infographic work for Wired Italia in a very engaging way. The examples of calligraphy and print effects were stunning, a really powerful and individual addition to the Wired series. German designer Dominik Schatz followed with a more downbeat talk without slides, an overview of his freelance career to date. The translation service did an impressive job but couldn’t make up for the lack of images – there were many references to projects I didn’t know but would have liked to have seen.
Canadian Michelle Champagne speeded things up again with some astute analysis of contemporary communications, and the editorial process behind her That New Design Smell magazine. Check out the project’s website for a forceful example of how to encourage reader (user) input.
Panel discussions sometimes work, sometimes don’t, and I awaited the illustration panel slightly anxiously. Luckily the panel moderator Raban Ruddigkeit knows his stuff and the five speakers presented a good range of work and spoke intelligently about it. The discussion afterwards was complicated listening via translation – the six people speakers blurred together when presented by a single voice.
The day ended with a rare talk from Mike Meiré. Focusing on the relationship between art and magazines, and his recent work with Garage magazine, this was a real treat that started with the Mona Lisa, moved via Duchamp’s LHOOQ parody to Warhol’s factory and then Mike’s work with Garage. I’ve been a bit ambivalent about Garage til now, but this was a good example of how hearing from a project’s maker can bring it to life. I’ll be picking up the back issues from the QVED shop.
Meiré ended the day echoing David Moretti’s start: we shouldn’t be afraid of complexity and difficulty. Sometimes magazines shouldn’t be easy.
After the jump, a picture report from the opening day.
On the way to Munich yesterday I found myself behind designer John Morgan in the security queue. He mentioned the latest set of Art Review covers his studio had designed, four covers representing unknown future artists. The blown out faces nicely subvert the standard head shot and will look really strong, even disturbing, on newsstands.
Mirko Borsche is one of Germany’s most exciting editorial designers. This week he’s speaking in Luxembourg as a guest of Design Friends then heads home to Munich and take part in QVED2014. Sven Ehmann, creative director at Gestalten books, recently prepared this interview for the Design Friends event.