Wired x Heatherwick Studio

A quick break from holiday to share the new cover of Wired UK, published this week. It’s been developed in collaboration with designer Thomas Heatherwick and his studio (Heatherwick also features on the front cover, shot by Olaf Blecker). Art director Andrew Diprose explains, ‘Heatherwick wanted something textural and hand-made’ and the result is a a soft touch varnish with a high-gloss splatter pattern across it, reflecting the issue’s focus on materials and making. I haven’t had a chance to touch it yet, but I want to. Heatherwick has also curated a feature on ‘makers’, and the stencil typography is by Studio Oswald.

Click image for larger, clearer version.

After the jump, the iPad edition front page.

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My Favo(u)rite Magazine – the contributors

I’m on holiday the next two weeks but in the meantime don’t forget to visit our online shop to order your copy of My Favo(u)ite Magazine, our publication in aid of Bob Newman. Below is a complete list of contributors to the project – each chose their favo(u)rite single issue of a magazine, and there’s only one place to find out what their choices were.

Thank you to all of you for taking part.

Contributor Carlo Apostoli has reviewed the magazine; UK designer Ben Serbutt has added his favo(u)rite in response to receiving his copy; the Alberta Magazine Publishers Association (where Bob gave a talk earlier this year) have an update on his recovery.

UPDATE: The Limited Edition package is now sold out.

Several people have also asked for further details of the Modern Magazine conference (October 16, London) so they can book travel. We’re still finalising details but expect a day that starts at 930 and continues until 6pm with drinks after that. Full details here Monday 2 September.

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At Work With: Brian Struble, Boston Magazine

We start the week at work with Brian Struble, an art director who was worked in New York and Berlin on editions of Vanity Fair, FHM and Esquire. He moved to Boston at the start of 2013 to become design director of the monthly Boston magazine, and quickly found his skills tested by the Boston Marathon bombing.

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My Favo(u)rite Magazine update 3

Here’s the final missing text from My Favo(u)rite Magazine, by Eye editor John L Walters, who selected early editions of music magazine The Wire. Apologies to John. Sales continue, there are now just two Limited Edition packages left.

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A date for the diary

My book ‘The Modern Magazine’ is published on 23 September and to mark its arrival we’re organising a one-day conference at the new Central Saint Martins college in London’s Kings Cross. The day will feature many of those included in the book, and others, talking about our industry and sharing how they made a success of their magazines.

It’ll be a must for anyone interested in contemporary editorial design, so get it in the diary and a full line-up and ticket details will be announced here early September.

Hope to see you there!


Magazine of the week: mono.kultur #34

Picking mono.kultur as magazine of the week may seem a little predictable, it’s been selected before and I’ve written and spoken about the magazine plenty of times here and elsewhere. But even by its own high standards, this new issue is very strong.

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My Favo(u)rite Magazine, update 2

Sales of My Favo(u)rite Magazine are continuing well, with just three Limited Editions packages left. The big news is that Monocle have ordered 80 copies to sell in their shops around the world. They’re buying them at full price, with all proceeds going to the fund. We’re very grateful to Tyler Brûlé and the Monocle team for their support.

Here’s the second of three texts we accidentally missed from the project. Apologies to Sue Apfelbaum in New York for omitting her contribution.

I’ve tried, although not always successfully, to save at least one copy of all my favorite magazines over the years. I’ve held onto a few Grand Royals, several Artbytes, one Brill’s Content. Tragically I have no copies of Might. Fortunately I saved this one issue of Index, and I’m so glad I did.

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Overmatter 14.08.13

Andy Cowles examines a recent US Glamour cover, revealing some of the thinking that leads to mainstream magazines being so look-a-like.

Cosmopolitan offers readers the chance to design its front cover.

Malta has its own pop-up indie magazine store open 30 August– 01 September, details here (scroll down).

A behind-the-scenes slideshow at Vanity Fair reveals a remarkable quantity of fresh-cut flowers.

The move to iPad magazines continues at snail mail pace.

Ex-Bearded publisher appeals for support for his Untitled Magazine Project – to launch a magazine without financial backing.


Wallpaper* redesigned

reveals a new look this week with their September issue. Led by creative director Sarah Douglas and art director Lee Belcher, the typography has been completely overhauled. The previously Swiss/brutalist headline face Graphik has been replaced by a more decorative set developed by long-time collaborators Paul Barnes and Christian Schwartz of Commercial Type, softening the overall look of the pages.

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My Favo(u)rite Magazine: update 1

It’s been a good first week’s sales for My Favo(u)rite Magazine, with the Limited Edition packages going well. The first six of the ten available go out in the mail today, so expect deliveries later this week. The other copies are all on their way too, with people tweeting their arrival over the weekend. Share yours! (#MyFavouriteMagazine). You can hear Andrew Losowsky and I discuss the project on Moncole24’s The Stack.

88 contributors always seemed a rather arbitary number, and indeed it’s turned out to be incorrect. Somewhere in the magazine production process we lost three submissions. Sincere apologies to all concerned, but the choices deserve publication so this week we’ll be posting those missing entries on the blog, starting today with David Jacobs’ choice, below, which should have slipped nicely between Marc Thomas’ choice of The Germans and Rudy Vanderlans’ Hard Werken in the printed magazine.

Gratuitous Type
#2 is one of the few magazines I have picked up that seemed to be in a genre by itself. Although editor Elana Schlenker writes principally about work published elsewhere, the book is undeniably its own achievement. The design is playful and varies only slightly between spreads, and the pages sit between heavy cover stock. And through the interviews with other people about their work, you get to know what Elana values. But the book is not overly precious – in fact it’s quite accessible, and it’s as much a joy on the fourth read as the first.

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