IMPACT magazine TYPE
The of
by Emma Holmes
The Impact of Magazine Type
The Impact of Magazine Type
What
impact
does
magazine
type have on today’s magazine consumers?
Editorial designers create an identity for a magazine, they are the architects for page structures, typographic creation and entertainers in the world of visual communication. Whether it be for an aesthetic purpose or functional, they create a style or statement and deliver a personality with each issue printed.
The Impact of Magazine Type
rebellious sexual values
O
ne could argue that
the design wasn’t particularly
broke all the rules of page
magazines with their
interesting or appealing, people
layout and grid layout and so
identities are no longer
bought the product because
was very much illegible but an
a magazine but a brand that
of what it stood for and the
innovator in magazine design.
readers buy into, such as a style,
rebellious sexual values of the
As stated by Andy Cowles,
a culture and a belonging.
message FCUK. In relation to
art director of Rolling Stone
FCUK the clothing brand by
magazines another example is
Magazine on the subject of Ray
French Connection is a good
Ray Gun Magazine by David
Gun and The Face magazine: ›
example of this as although
Carson, published in 1992, which
The Impact of Magazine Type
“
Those kind of magazines are not consumer magazines in the strictest sense. They are niche titles for people with an interest beyond the content: like a fashion magazine, but where the fashion is the very nature of print and ink.
�
(AndyCowles interview, Jeremy Leslie, pg.10).
The Impact of Magazine Type
W
hat is it exactly that
Jeremy Leslie pg. 78). In addition
competitors on the shop shelf,
dictates the identity
to the text and image choice,
thus capturing the attention
of each magazine?
the magazine logo is created
of a particular gender, socio
What identifiable differences
from a stencil font giving the
status, sexuality, or political view
can there be? All magazines
magazine a militant tongue in
of the reader also known as
have their own unique
cheek identity (see appendix
the core target audient. Type
characteristics and this can
1). From these given identities
more so than any other element
be seen in the paradigmatic
using type and design it could
in magazine design is what
choice of images and content,
be argued that the masthead
creates associations for the
chosen to make a particular
is the most important part of
person who reads and chooses
statement. For example
the magazine uniqueness, as
to read literature that consumes
Sleazenation by Scott King in
this is essentially how each
and moulds their own personal
2001, which experimented with
magazine is differentiated
ideas, influences and identities.
direct messages to the reader
from the next. On viewing
The interpellation of language
for example “Now even more
newsagents shelves your eyes
used for headlines delivered
superficial, over one hundred
search through the hundreds
using particular fonts, styles,
pages of hype and lies” (Issue
of periodicals that lie next to
structures, construction and
Sept 2001, Jeremy Leslie pg.
one another, homing in on that
deconstruction of letterforms
79) cast across the cover,
masthead or logo you recognise
are perhaps what creates a
images of a sexual woman
and know you want. This is why
relationship with the reader
with a speech bubble quoting
designers choose a divergent
and makes them desire the
“Oh Anarchy!” (Issue Feb 2001,
type, size and style from its
creation that they buy into. ■
The masthead is the most important part of the magazine uniqueness. Image by Scott King http://www.scottking.co.uk/images/sleaze_9.jpg (September 2001)
The Impact of Magazine Type
The Impact of Magazine Type
A
with letters
The Impact of Magazine Type
V
isual communication and the frameworks of typography can
be traced back to before
15,000 - 10,000 BC
pre-printing days, as far as
Cave paintings at Lascaux.
15,000 – 10,000 BC with the cave paintings at Lascaux. (Meggs, 2006, pg.5). Many countries around the globe have some form or picture carvings, drawings and paintings from prehistoric days when man communicated with one another in this way using substances found on their home grounds such as charcoal. These paintings were probably created for means of survival
2100BC
and not art. The Cuneiform
Cuneiform tablets.
tablets from 2100BC are a good example as they were used to list expenditures of grain and animals. They also demonstrate how writing techniques had a need for speed by altering the stylus tip shape from a point to a triangle tip, thus being pushed › The Impact of Magazine Type
into rather than dragged
with Chinese calligraphy
through the clay. (Meggs,
and the discovery of printing
2006, pg.7). The Egyptians
techniques around 1000AD,
also demonstrated early
which stormed a revolution
manuscripts and the evolution
for learning and literature in
2700 - 400 BC
of their hieroglyphs can be
Chinese life. It wasn’t until
The development of Egyptian
recognised through from 2700
more than five hundred years
hieroglyphs, hieratic scripts
– 400BC in studying hieroglyph,
later that Johann Gutenberg
and demotic scripts.
hieroglyphic manuscripts,
brought movable type to the
hieratic scripts and demotic
west and we welcomed a similar
scripts, where pictures can be
academic culture and lust for
seen to be simplified and evolve
learning. (Meggs, 2006, pg.35). ›
c 2000 BC
into lines (Meggs, 2006, pg.2-
Cretan pictographs
3, 13). Early western alphabets
c 1000 BC
were also being developed
Greek alphabet and Phoenician
around these times and can be
writing methods
traced back to around 2000BC
c 850 BC
with the Cretan pictographs
Aramaic alphabet
(Phaistos Disk, remains undated), the early Greek alphabet, the Phoenician way of writing and
1000 AD
the boustrophedon methods Discovery of printing techniques
C1000BC, and the Aramaic alphabet used throughout the east C850BC. (Meggs, 2006, pg.19, 22) There was also of course the Asian contribution The Impact of Magazine Type
M
any books and manuscripts before movable
type arrived were hand written and illustrated, which are now classed as works of art alone, but Europe was in need of mass production and a quicker method of producing printed material, also re-usable type was desperately sought after. The first printed typographic book produced was the forty-two line Bible, which is suspected to have originally been a forty-line Bible but Gutenberg increased the lines for economy. The type throughout the book was reflective of German calligraphers of that day and it is possible that Peter Schoeffer c 1455 AD
(1425 – 1502), Gutenberg’s
Forty-two line Bible by
foreman, designer and
Gutenberg and Fust
illuminator, could have been involved in the development and therefore could have been the first typeface designer. › The Impact of Magazine Type
Gutenberg’s story was that Johann Fust, his apprentice sued Gutenberg before the Bible was finished as he owed Fust a considerable amount of money to which Fust won favour of the courts and took all Gutenbergs printing equipment and works in progress, from
Peter Schoeffer
which he continued for himself
(1425 – 1502),
and his new partner Schoeffer,
Gutenberg’s
1468 AD
(Gutenbergs other apprentice).
foreman, designer
Gutenberg dies
(Meggs, 2006, pg.69-77)
and illuminator,
1470 AD
With the spread of printing
could have been
Jensons Roman Type
knowledge, more and more
involved in the
literature could be produced
development and
and a revolution of typography
therefore could
designers began. The letter,
have been the first
which was once merely a
typeface designer.
pictogram carving on the walls of a cave or perhaps a symbol from which it had derived, was now being designed, studied, and transformed into a style incorporating measurements, structure, and finishing techniques by true craftsmen. › The Impact of Magazine Type
The nineteenth century, the industrial revolution and the demand for mass-communication gave birth to some of Britain’s most famous type designers, such as William Caslon (1781 – 1869), Robert Thorne (d 1820), and Vincent Figgins (1766 – 1844), of whom all owned printing presses and altered type format in their own right. Thorne created the 1803 AD
first fat-face type in 1803, Figgins
First fat-face typeface by Thorne
with his first Egyptian type in
1815 AD
1815 and Caslon was the first
First Egyptian typeface by Figgins
to create a sans-serif type in
1816 AD
1816 (Meggs, 2006, pg.62-63,
First sans-serif typeface by Caslon
117, 123, 135, 136). The spawn of new typefaces meant that print and design decisions could be made with regards to page structure and emphasis could be made on important words, plus the kerning and leading could all be taken into consideration, thus creating cluster or space, dependant upon the aesthetic purpose of the publication. ■ The Impact of Magazine Type
My
TIT
says
who
I am. The Impact of Magazine Type
TLE T
he first magazines looked like books
and Daniel Defoe
was the man who created the
first English magazine called The
Review, in 1704. Its audience being members of the same
social variety that soon came to depend on the regularity of its point of view. The structure of Review
was an innovator in
British editorial design using
four small pages, dense print,
few illustrations (except some
engraved borders and lettering) and most of the compelling
force contained in the sarcasm of the text (http://www.well. com/~art/maghist02. html accessed 02/11/2007).› The Impact of Magazine Type
S
till these concepts can be found in today’s publishing
industry. Through design and content, magazines have had a massive impact on society in documenting fashions, political movements, music and even social stature to an extent. As technology has advanced over the centuries and especially with the invention of photography more style and creativity have been incorporated into the production of magazines. ›
The Impact of Magazine Type
The magazine seems to play a sister role to the newspaper except they are produced on either weekly, monthly, or even bi-monthly basis. They first came about in the nineteenth century when printing firms had the technology to produce large press runs at affordable costs. Harper and Brothers, a printing firm in America were amongst one of the first printers to demonstrate this in 1850, by producing one of the first periodicals called Harpers New Monthly Magazine, which consisted of English fiction and illustrations, there then came Harpers Weekly in 1857 and Harpers Bazar for women in 1867. The magazines became a great way for budding new artists and illustrators to demonstrate their work as well as providing regular news feeds, which society came to depend upon and look forward to the next issue. Much like the standard newspaper, but with the extra effort of art and illustration, consideration of typography, and better quality paper stock, the magazine was a little more luxurious to its sister the newspaper. › The Impact of Magazine Type
“Broady’s main contribution to this youth-culture magazine was to break with traditional methods of type construction and establish it as a versatile, malleable design element that was barely distinguishable from imagery and could act as a vehicle for meaning.”
M
(Yolanda Zappaterra, 2007, pg161, 166).
agazines are
overthrowing oppression. Neville
malleable design element that
created for
Brody in the 1981 demonstrated
was barely distinguishable from
different reasons
exactly this principle with
imagery and could act as a
whether that be informative,
The Face magazine by
vehicle for meaning.” (Yolanda
specialised, a fanzine, or a
reverting back to the Russian
Zappaterra, 2007, pg161, 166).
microzine, they all attract
Constructivists 1930s style,
The masthead as a visual reflects
a different audience and
covering his pages in sans serif
what was inside The Face.
typography plays a large
type, geometrical shapes and
Tall narrow sans serif font with
role in this. Understanding
structures, which were perfect
positive kerning, creating space
why designers choose
for the readership he was aiming
between each letter. A futuristic
various typographic styles or
to grasp the attention of.
approach and rebellious attack
a particular structures and
“This was visual culture
on the letters, the A replaced
fonts can often be associated
affiliated to political rebellion”
by a triangle thus very much
with past influences or art
“Broady’s main contribution
“in your face” and expressive
movements such as the
to this youth-culture magazine
grasping the attention of all and
Bauhaus. This too can be a
was to break with traditional
mimicking youth-culture of that
representation of a social
methods of type construction
day, forcing you to notice the
movement and perhaps an
and establish it as a versatile,
post-punk culture of society. ›
The Impact of Magazine Type
Image by Yolanda Zappaterra, 2007, pg 166 The Impact of Magazine Type
I
n 1965 a revolutionary
for women. Harri Peccinotti, art
magazine was launched
director and Dennis Hackett
that employed pioneering
editor, worked together to
designers called Nova (1965
create a magazine that was
– 75 & re-launched 2000 - 01).
groundbreaking both socially
Reverting back to old styles
and structurally. Even after 1969
and structure, which other
when Peccinotti’s predecessor
designers were trying to move
David Hillman began work with
away from due to fear of the
Nova, the intense social, sexual
reader becoming bored. Large
and political upheaval of the
blocks of text, shapes, and tones
era was mirrored in Nova’s
filled double page spreads,
content, yet the elegance and
appearing rather elegant and
appearance of the magazine
demanding the attention of the
still has feminine qualities,
reader. Nova was an explosive
especially the masthead. The
confrontational magazine for its
semiotics of the Nova masthead
time, sort of a mans magazine
conveys images of the female
Image by Yolanda Zappaterra, 2007, pg 177
Nova was an explosive confrontational magazine for its time, sort of a mans magazine for women.
The Impact of Magazine Type
figure with its bulbous serifs and exaggerated rounded terminals, oval counters and bold weight. These gorgeous
D
avid Carson as mentioned previously was
too a pioneer in magazine
letters like to express themselves
design. His most famous work
and this is exactly what Novas
was on Rag Gun magazine.
content and body copy did.
With a background of skate
The kerning is also quite tight
and surf and no design training
so that the letters touch one
Carsons art direction was a
another, which I find gives off
visual experimentation that
an image of a rounded shapely
created expression between
sophisticated woman perhaps
the photography and type.
who would say something of
The subject matter of the
the sort “do I look fat in this,”
magazine being alternative
when really she knows she
Rock and so this expressive
already looks great, and so
type was well suited to
says it just for the attention.
the style of the magazine but functionally inept. ›
Image below by Yolanda Zappaterra, 2007, pg 168
The Impact of Magazine Type
i-D
I
n 1980 i-D magazine (a wink and a smile) followed a similar route to that of
Neville Brody and The Face. Both produced in the same
A wink and a
era, editorial designer Terry
smile is a clever
Jones was too one of the most
interpretation
influential designers of today.
of the symbolic
Again i-D was born into the punk
representation
era as was The Face, mostly
of the magazine
focussing on the fashion world.
and what it stands
Tapping into the street culture
for culturally.
and individual style constantly re-inventing itself to encourage creativity. Once a 40 page tatty 3 stapled magazine, now a glossy innovator for anti-fashion magazines. I-D utilises it space and creates a connection between content and design. This then becomes more appealing for readers and grasps their attention for longer as does the layering of type to make it less readable. The i-D masthead, a wink and a smile is a clever interpretation
The Impact of Magazine Type
Image below by Emma Holmes (Nov 2007 Issue)
of the symbolic representation
specifically for this purpose.
“For each issue of
of the magazine and what
There are many negative
LEMON, we create
it stands for culturally, again
opinions circulated on web
a specific theme, a
with inspiration from Dadaists.
forums regarding this typeface
limited colour palette
being used commercially, but
and an equally
as a masthead, it was perfect
limited set of fonts,
for era, style and attitude of the
and then we really
magazine. Tilted italic letters
go to town in an
mixed with perfectly round
attempt to support
counters are an abstract mix but
the theme. Many
beautifully created for the logo.
of our pages play
Lemon and Gum are Sister
out like storyboards
magazines, Lemon influenced by
from a film, and
nother striking
Avant Garde (see appendix 2),
we like there to be
magazine that
and adopted the typeface for
continuity across the
shocked and wowed
its own headlines but modified
pages of the entire
people of the mid-sixties was
some of the characters to
magazine. Film is
Avant Garde by Ralph Ginzburg.
create sharps angles and edges.
a big influence on
Notorious for its nudity and
Lemons target audience being
LEMON in particular,
rough language, the magazine
the more glamorous as oppose
and we see ourselves
logo needed to represent the
to Gum, which is very much all
as directors in terms
cultural shift and erotic era of
about fun, and pop orientated.
of how we work to tie
the swinging sixties. Ginzburg
“Our editorial design
everything together
collaborated with Herb
approach is based on our
into one unique
Lubalin to produce a logo for
desire to create what we call
vision.”
the magazine, Avant Garde
“experiences in print,” a viable
being the typeface created
antidote to online media”
A
See appendix 2 ›
The Impact of Magazine Type
T
here will always be progression within design, print and
finishing techniques. Magazines will follow fashions or perhaps be innovators and create their own style. The Cube magazine is a good example of this although it is not for sale and Georgio Di Mitri the creator, only gives copies to
“
print was Who said
DEAD?” (Charlotte Rivers, 2006 pg.9)
close friends, so it is not widely published and is a collectable. His concepts are random and follow no guidelines other than whatever images his friends
have also created clones of
they have their own unique
have sent to him to incorporate
themselves on the web, which
selling point, which is what
into the magazine. His ideas
takes away the long lasting
attracts the readers. They
are open and his basis for
hard evidence of progression in
hold quality and status and
the magazine is “be true to
printing techniques and stylised
together with the content and
yourself” (see appendix 4), thus
pages. So the elaborately
use of language and images
his issues are all different from
produced magazines created
they are produced specifically
one another, progressing with
in today’s society become
for core target markets. The
styles, ideas and experiments.
collectables for the magazine
masthead being the identity
ith use of
fanatic. These specialised
that delivers the immediate
the internet,
magazines with their own little
initial message and what the
magazines
forte are in no competition as
reader associates with. ■
W
The Impact of Magazine Type
References
Bibliography
Internet Sites
Andy Cowles, Leslie, Jeremy,
Leslie, Jeremy, 2003, magCulture,
Avant Garde Magazine http://the-
2003, magCulture, New
New magazine design, Laurence
forum.com/ephemera/avant.
magazine design, Laurence King
King Publishing, London, UK.
htm accessed 14/11/2007
Publishing, London, UK, pg.10 Lupton, Ellen, 2004, Thinking with
Heller, Steven, 04 August 2004, Crimes
Issue Feb 2001, Leslie, Jeremy,
Type, A critical guide for designers,
Against Typography http://www.aiga.
2003, magCulture, New magazine
writers, editors & students, Princeton
org/content.cfm/crimes-against-
design, Laurence King Publishing,
Architectural Press, New York, USA
typography accessed 14/11/2007
London, UK. pg 78. Meggs. B, Phillip, and Purvis.
http://www.internetcampus.org/frtv/
Issue Sept 2001, Leslie, Jeremy,
2006, W. Alston, Meggs’ History of
mag1.htm accessed 02/11/2007
2003, magCulture, New
Graphic Design, Fourth Edition, Jon
magazine design, Laurence King
Wiley & Sons, Inc, New Jersey.
Publishing, London, UK. pg 79
http://www.well.com/~art/maghist02. html accessed 02/11/2007
Rivers, Charlotte, 2006, mag-art, Meggs. B, Phillip, and Purvis. 2006,
Innovation in Magazine Design,
White, Alex W, Alex White on Herb
W. Alston, Meggs’ History of Graphic
Rotovision SA, Hove, UK.
Lubalin’s Avant Garde http://www.
Design, Fourth Edition, Jon Wiley & Sons,
graphic-design.com/Type/Avant/
Inc, New Jersey. pg. 2-3, 13, 5-7, 19-
Zappaterra, Yolanda, 2007,
22, 35 62-63, 69-77, 117, 123, 135, 136
Editorial Design, Lawrence King
Avant2.html accessed 14/11/2007
Publishing, London, UK. http://www.well.com/~art/maghist02. html accessed 02/11/2007 Rivers, Charlotte, 2006, mag-art, Innovation in Magazine Design, Rotovision SA, Hove, UK. Pg.9 Zappaterra, Yolanda, 2007, Editorial Design, Lawrence King Publishing, London, UK, pg161, 166
The Impact of Magazine Type
Appendix 1,
Is there a particular structure
obvious reasons! So it’s all worked
you follow for each issue?
out quite well in the end, even though we didn’t follow your
Thu, 15 Nov 2007 - Sleaznation
Would you say that Lemon / Gum
typical journalistic career route.
Magazine carries a message to its
Q: Hi Scott,
readers, if so what would it be?
3) You worked on the Truth Campaign, no? Are you a
I was just wondering if would be able
Are there particular fonts that
to let me know what font you used
you use to express this deeper
for Sleazenations logo? I’ve trawled
aspect of the Magazine?
smoker? Any funny stories?
the net and have a couple of books, but I don’t seem to be able to find it.
such--just a deadly product that
Would you say that people like
kills a third of the people who
to collect or buy magazines
use it as directed. Can we get
to show off a particular status
a product recall?! The tobacco
scottking986@btinternet.
about themselves, like a personal
industry is a crazy one. Needless
com (past Creative Director)
accessory or a culture they
to say, I don’t smoke. Working
like to belong or buy in to?
on the Truth campaign was fun,
A: From: SCOTT KING -
Unfortunately, no funny stories as
Hi Emma - I can’t remember what the original font was, but we made it into
though, and we really tried to
A: Date: Fri, 9 Nov 2007
use humor to make our points. I came up with a singing cowboy,
a stencil font ....Pat may be able to tell you, his email address is -@-.com
From: Kevin Grady - GUM & LEMON
Trachea Man, who sings through
kevin@lemonland.net (Editor in chief
his tracheotomy hole. Yeee-haw!
and Creative Director)
Appendix 2,
Oct 25, 2007 - LEMON and GUM
Q: Dear Kevin Grady and Colin Metcalf,
how did the idea to take ‘Big
questions. Please let us know if
Tobacco’ head on come about?
you need more information.
Who gave the major push? How is creativity encouraged
1) What is it exactly that you do?
My partner and I, Colin Metcalf,
within the organization?
Truth was one of the initiatives
be great. I also have read that
are both graphic designers. We just
initiated by the American Legacy
Lemon magazine was influenced
launched www.GradyandMetcalf.
Foundation, which is funded by a
by Avant Garde magazine. If you
com. On LEMON and GUM, I’m
huge settlement agreement with the
could shed a little more light on
the editor-in-chief and creative
tobacco industry. So, ironically, the
this it would also be appreciated.
director, and Colin is the executive
tobacco industry has been made
editor and creative director.
to fund Truth! You can bet that they LOVE that. Two ad agencies,
When was Lemon / Gum 2) Tell me about your background,
Arnold Worldwide and Crispin
where did you go to school? What
Porter Bogusky, were selected to
What inspiration lies
was your major? How did that help
share the account and have been
behind each issue?
you in your current position? Is a
the masterminds behind Truth.
specialized degree needed?
I worked as the design director
Magazine started and why?
best ad campaigns being run…But,
did that answers some of your
If you could answer for both Lemon and Gum magazine, that would
4) In our view that is one of the
Here is a previous interview we
on Truth while I was at Arnold.
Colin and I both went to (and met at) the University of Colorado
5) Now tell me about Lemon
at Boulder and we majored in
Mag and Gum… Give me the
journalism. Neither of us actually
idea behind the magazine.
have any training in design-we’re basically self-taught. The
The Impact of Magazine Type
GUM is an elaborate, occasional
journalism background has been
boxed publication that covers
a big help with our magazines for
art, design, popular culture, social
issues and whatever else grabs
There are very few, if any,
experience when they read our
us (bigfoot, anyone?). It’s kind of
mainstream magazines out there
publications--something they can’t
like a piñata, filled with goodies:
that go to the lengths we go to
get online. In the future, we feel
trading cards, comics, bubble gum,
in order to make a distinctive
that most magazines will either be
etc. LEMON covers similar ground-
magazine. LEMON and GUM are
online or will be distributed digitally
-”Pop Culture with a Twist”--but
incredibly time-consuming to
on “e-paper,” technology which
has a more sophisticated aesthetic
produce. For example, our new issue
will allow editorial content to be
and a more traditional magazine
of LEMON, a Stanley Kubrick tribute,
displayed on an easy to hold and
format. The aesthetic of LEMON is
has an article in it in which we
carry substrate (e-paper is to books
a kind of a mash up between 60s
recreated the computer panels from
and magazines what the iPod is to
and 70s Pop and 21st century hyper
2001: A Space Odyssey in order to
CDs). The only magazines which
culture. With both, we’ve attempted
run a single article in a memorable
won’t be distributed in this manner,
to create singular publications
format. Most magazines would never
many believe, will be elaborately
which don’t disappoint once you
go to such trouble--nor could they
produced special projects like
get beyond the fancy cover.
and be on time and on budget.
LEMON and GUM. (There’s a great new book out on the subject
6) How is Lemon distributed?
However, there are many similar
called “The Last Magazine” which
Do you distribute solely to
publications--at least in terms
covers this in more detail.)
specialty booksellers?
of their intentions--that are independently produced. They’re
out there, they’re just hard to find!
a specific theme, a limited color
they handle that side of things
I just bought a couple of copies
palette and an equally limited set
for us. We’re distributed at many
of FANTASTIC MAN, a European
of fonts, and then we really go to
specialty booksellers, but LEMON
Men’s lifestyle magazine, and
town in an attempt to support the
is also sold at large chains such
it’s extremely well done.
theme. Many of our pages play
as Borders and Barnes & Noble. In fact, our second issue of LEMON
out like story boards from a film,
One of our other favorites is an old
and we like there to be continuity
was a “Borders Recommends”
magazine called AVANT GARDE,
across the pages of the entire
title the month it came out.
which was published many years
magazine. Film is a big influence
ago by the late Ralph Ginsberg.
on LEMON in particular, and we
7) What is the main demographic
AVANT GARDE has been a big
see ourselves as directors in terms
you guys look for? Who is
influence on the format of LEMON.
of how we work to tie everything
your magazine aimed at?
together into one unique vision.
For each issue of LEMON, we create
We have a distributor, Disticor, and
9) Here’s the true heart of the
At the risk of sounding selfish, we
interview, please take a moment
create our magazines for ourselves.
to develop and detail your
Most magazines are basically organized around the promotion
We do lots of client work, and
editorial design theory. Anything
of whatever is current in film, TV,
in client work someone else is
and Everything can and should
music and fashion--it’s all very
ultimately in charge. GUM and
be included here. Theories,
promotional. With GUM and LEMON,
LEMON are really both artistic,
practices, thoughts, common
subjects are selected in part
expressive ventures for us, and
mistakes, etc. Some sample points
because they connect with either
we haven’t deliberately set out
to touch on: What is good page
our theme or our general outlook/
out to try to reach one particular
layout? Photography and the
aesthetic. The subjects become
demographic. That said, it tends
interplay with text. Font Selection
to be younger designers and
and Sizing. Margins and Borders.
“hipsters” (for lack of a better word!) who seem to appreciate
Our editorial design approach
what we’re doing more than
is based on our desire to create
other demographic groups.
what we call “experiences in print,” a viable antidote to online
8) Are there any other magazines
media. We like our readers to feel
out there doing something similar?
that they’ve been treated to a
Which are your favorites and why?
cohesive, thought-provoking, tactile The Impact of Magazine Type
pieces in a cohesive whole.
a lot of magazines seem driven by other desires—like selling ads, or scrambling to come up with stories to use as filler—this really feels like a labor of love.”
One of the ways we go about creating a flow throughout the
Like its debut publication, this second issue of LEMON is driven by its
magazines is to do away with many
creators’ commitment to breaking through most magazines’ formulaic
of the conventions of magazine
standards. “A lot of magazines feel like, ‘Here’s how a typical magazine
design. Like page numbers,
spread behaves,’ with big photo, a headline that’s kind of a pun, and
for instance! For more on our
then your body copy,” says Grady. “There are a lot of great magazines
approach, here’s a short article on
that do that very well. But as a designer, that doesn’t interest me.”
LEMON by Tiffany Meyers that ran in STEP INSIDE DESIGN magazine:
Rather than a series of separate elements that happen to be bound together in one book, LEMON is a continuous experience. In its design,
Designers Kevin Grady and Colin
Grady and Metcalf consciously remove mechanisms that would otherwise
Metcalf launched their newest
separate one element from the other. There’s a conspicuous deficiency
publishing venture, LEMON,
in page numbers, for instance, and every spread maintains a limited
because they wanted a more
palette of golds, blacks, and reds. The wholly intentional result is that
newsstand-friendly publication
it can be unclear when one article ends and another begins.
than their previous endeavor, the elaborate, award-winning boxed
Continuity also stems from the magazine’s treatment of themes. Mainstream
publication, GUM. Not that the
magazines—also fans of the “Focus Issue”—might offer a handful of articles
upstart publishers sold their souls in
about Theme X but otherwise conduct business as usual. This issue of LEMON
the process. The magazine features
presents its “Espionage” theme as part of the publication’s texture—literally:
four advertisers per twice-yearly
A subtly raised, spot-varnished pattern on the cover features mock national
issue, contrary to garden-variety
crests of feuding cold-war countries. Inside, the idioms of international
glossies that have readers sifting
intrigue—from Sagmeister posing as Bond to a comic strip interview with indie
through a haystack of ads to find
band Sonic Youth that reads like an FBI interrogation—infiltrate every page.
the needle of content therein.
Of late, the partners have been entertaining new business models (LEMON could
Earlier this year, judge Robynne
become an annual with a higher newsstand price), but this operation will likely
Raye, co-founder of Modern Dog
never be shaped by ROI concerns. “This is much more personal,” says Grady.
Design Co. in Seattle, was browsing
“It would probably be easier if it we could say, ‘Okay, let’s throw some pages
a bookstore when LEMON caught
together and get this out the door.’ But for us, LEMON is more like making art.”
her eye. That first issue’s art, music, and fashion coverage offered
10) Much is said about the current state of print publishing. Where do you think
her more in the way of creative
the industry is headed? What about the rise of digital media formats? What do
inspiration than the nearby section
you think of the proposed transition where some magazines and newspapers
of graphic design magazines, which
become completely digital? Is this where you see the industry headed? Do you
have grown a little too familiar for
ever see a complete phasing out of print publications? Obviously there is a
her tastes. LEMON, she says, is the
certain aesthetic that is a byproduct of the tangible nature of print publications,
kind of magazine she’s likely to
is that something that can that be reproduced online? Why or Why not?
collect. “You get the sense that the people who put this together are
See above: the future will likely be e-paper and the net! We’re happy
really part of the culture they’re
for most written communications to go digital--it just makes more sense
covering,” says Raye. “Whereas
and is better for the environment. That said, we think there will always be a place for more tactile, elaborate, paper-based publications. Such publications will be the exception, we believe, and not the rule. Kind of like a special, expensive meal as opposed to take-out or fast food.
The Impact of Magazine Type
Appendix 3,
Appendix 4,
25 Oct 2007 - i-D Magazine
25 Oct 2007 - CUBE Magazine
Q: Dear Dominique or Angelo, When
From: giorgio de mitri - giorgio@
was i-D Magazine started and why?
sartoria.com (editor and art director)
What inspiration lies
Q: Dear Giorgio De Mitr
behind each issue?
Is there a particular structure you follow for each issue?
When was Cube started and why?
A: CUBE as it is now (bookzne format) started in 1998. As a
Would you say that i-D Magazine carries a message to its readers, if so what would it be?
magazine started in 1990.
Q: What inspiration lies behind each issue?
Are there particular fonts that you use to express this deeper aspect of the Magazine?
A: Personal experiences Q: Is there a particular structure
Do you aim to attract a particular readership with effective use of typography?
you follow for each issue?
A: Random, all the images and the stories come from friends
Would you say that people like to collect or buy magazines
Q: Would you say that Cube
to show off a particular status
magazine carries a message to its
about themselves, like a personal
readers, if so what would it be?
accessory or a culture they like to belong or buy in to?
A: From: Dominique Fenn dominique.
A: Be true to yourself Q: Are there particular fonts
fenn@i-dmagazine.co.uk
that you use to express this deeper aspect of Cube?
Hi Emma,
Thank you for your email and interest in i-D. I have attached a media pack which
A: We’ve been using several and we’ll continue to do so
Q: Would you say that people like
I hope will go some way in
to collect or buy magazines
answering your questions.
to show off a particular status about themselves, like a personal
www.i-dmagazine.com will also be
accessory or a culture they
able to answer your questions.
like to belong or buy in to?
I have sent you the latest issue - you
A: No idea, I do buy magazines
will see that the layout has changed
because of their contents
from previous issues. We have been working over the last couple
CUBE is a not for sale publication
of months to change it, obviously
that I print in a very limited edition.
keeping the same i-D style.
I share it with my personal friends. The Impact of Magazine Type
The Impact of Magazine Type
The Impact of Magazine Type
Editorial designers create an identity for a magazine, they are the architects for page structures, typographic creation and ÂŁ2 GBP $3.9 USD â‚Ź2.64 EURO
entertainers in the world of visual communication. Whether it be for an aesthetic purpose or functional, they create a style or statement and deliver a personality with each issue printed. An essay on the impact type has on magazine consumers today by Emma Holmes. The Impact of Magazine Type