February 19, 2015
Sometimes a magazine story comes along that really engages magCulture readers, and news that the New York Times Magazine was relaunching under new editor Jake Silverstein, with Gail Bichler promoted to creative director and Matt Willey imported as art director certainly did that. An 119-year old magazine most would rate as one of world’s great examples of editorial design was investing in being better? This weekend US readers will see the first edition of the new magazine; meanwhile, here’s a preview courtesy of Bichler, who talks us through the pages.
Every year The New Yorker marks its anniversary with a cover featuring its mascot Eustace Tilley, the monocled dandy who appeared on the very first cover back in 1925 and remains a central part of the magazine’s identity. For their 90th anniversary this week they’ve gone a step further, commissioning a set of nine covers, one for each decade to date, from regular contributors.
Artists: Christoph Niemann, Peter Mendelsund, Lorenzo Mattotti, Anita Kunz, Barry Blitt, Istvan Banyai, Roz Chast, Kadir Nelson and Carter Goodrich
Read an appreciation of the letter ‘R’ in the New Yorker logo.
In the latest issue of Eye magazine, critic Rick Poynor reviews Swedish women’s magazine Bang, noting how it runs ‘Against the flow, as editorial design becomes more predictable’. This is an easy complaint to make, and one I’ve made on occasion recently, particularly about the growing clichés of the independent sector, but there’s still enough interesting work out there for me to resist his critique as a generalisation. There are plenty of interesting directions being taken, not all are the same.
That said, Bang has a particularly different-looking layout for a women’s title and it’s great to see it highlighted. If I had to link it back to anything it would be nineties creative mag Marmalade and Martin Venezky’s nineties designs for Speak magazine; all three projects share an interest in the subtle distortion of classic editorial layout, knowingly awkward rather than ‘classic with a twist’. Design by Bastion.
Pictures show pages of Eye, more after the jump.
The fourth issue of YCN’s You Can Now magazine is out, with another smart cover illustration by Nathalie Lees. The magazine is one of several independents covering design and creativity (think also Works That Work, Printed Pages) from new angles and this issue doesn’t disappoint. Sarah Snaith visits brand guru Michael Wolff at home, photographer Nick Ballon shares a new project based on Bolivian architecture and there’s a set of smaller columns spinning off to unexpected areas. Art director Alex Hunting is developing Matt Willey’s original design nicely, with strong typography and good commissioning.
But I keep coming back to those covers, they have a classic confidence to them, as if the mag has been around forever, and they’ve built into a really smart set. The first one was by Ed Nacionale, the others all by Lees.
See the set after the jump.
Don’t write off paper, ‘Mankind’s original browser.’
Andy Cowles highlights The New Yorker’s attention to detail.
Spread some Christmas joy via the Little Magazine Gift Guide, with discounts on indie mags.
The ups and downs of US magazine readership.
Editorial designer Scot Stowell is Kickstarting a new book about the work of his NY studio Open. Help him!
Arjo-Wiggins have launched a paper with electrical properties. Powercoat provides interactive possibilities in a 100% recyclable paper.
October 7, 2014
Little White Lies creative director Timba Smits discusses the magazine with three illustrators next week at Foyles bookshop, to mark the new collection of film reviews from the magazine, ‘What I Love About Movies’. London, 14 October (next Tuesday).
SPD Blog highlights the beautiful editorial typography of Otto Storch.
Monocle’s david Plaisant bemoans the closure of the magazine’s local newsagent, ‘The passing of Green’s has resulted in something of a campaign…’ That campaign continues on the last two editions of The Stack (nos 109 & 110) with lengthy discussion of magazine retail. Recommended.
New biannual travel magazine Diaries Of is raising money via Ulele.
Condé Nast UK profits fall as they spend on ecommerce and technology.
Eye reviews The Modern Magazine 2014, ‘an enthusiastic celebration of the power of editorial design.’
The November issue of British Harper’s Bazaar comes with the magazine’s second Art supplement, building on its long-term relationship with contemporary artists that stretches back to modernist icons such as Dali, Cocteau and Warhol.
The supplement is published with six alternative covers featuring work by artists including Takashi Murakami, Howard Hodgkin and Wolfgang Tillmans. I love the logos developed for each cover, based on early Harper’s front covers from the magazine’s archive. More after the jump.
Subscribers to UK Harper’s Bazaar will receive this smart alternative cover featuring Rosie Huntington-Whiteley shot by David Slijper, inspired by Harper’s of old and art directed by Marissa Bourke (image via GymClass).
Meanwhile in New York, Vanity Fair’s Best Dressed shoot by Mario Testino is headlined with bespoke type by Alex Trochut. Art direction Chris Dixon.
‘At Work With’ returns next week.
April 23, 2014
Richard Turley announces his departure from Bloomberg Businessweek for MTV, following Arem Duplessis (NYT–Apple) as the latest in a stream of high-profile moves out of magazine publishing. A sign of strength or weakness of this industry?
Crust is a new food mag from Singapore, currently in development.
Charles Williams‘ type illustrations have appeared on/in a good few magazines.
Library Journal notes that ‘magazines are recovering,’ with an eclectic list of examples…
…and in India Kyoorius publish their own selection of best mags.
David Hepworth makes a good point about the thrill of delivery, but the quality of content being delivered remains important too. Even as we’re overwelmed by so much stuff, the really great stuff can still change your life.
Issue three of Hole & Corner is taking shape, and you can see the process happen over the next few weeks at 213 Piccadilly, London.