Archive for the ‘British Magazine Design’ Category

On this day in magazines: Queen in 1962 and stale eggs for Home Chat in 1915

February 22, 2017
Queen magazine cover by Norman Parkinson from February 20, 1962. It was the 'mad Italian fashion' issue

Queen magazine cover photograph by Norman Parkinson from February 20, 1962. It was the ‘mad Italian fashion’ issue

This dramatic cover from Queen magazine of 20 February 1962 was part of a black-and-white feature on ‘mad fashion’ from Italy. Norman Parkinson’s ‘Beauty and the beetles’ photograph shows a model wearing false nails of pearl and coral by the fashion designer Irene Galitzine, famed for her ‘palazzo pajamas’ as worn by Claudia Cardinale in the 1963 film The Pink Panther. Inside, the article also showed Galitzine’s ‘smartest nutty hat in Florence’ and her Corinthian column evening dress.

The Queen had been a society weekly launched by Samuel Beeton (husband to Mrs of cookery fame), but was relaunched by Jocelyn Stevens in 1958 to become part of Swinging Sixties London. Stevens Press was based at 52 Fetter Lane, just off Fleet Street. Art editors on Queen included Mark Boxer, Tom Wolsey from Town and David Hamilton, who was lured back from Paris where he worked with Peter Knapp on Elle magazine.

Queen was later merged with Harper’s to become Harper’s & Queen, though the ‘& Queen‘ became a victim of globalisation when it was dropped by US-owned Hearst UK to standardise the magazine’s name as Harper’s Bazaar across the world.

These days, the big fashion glossies are always thought of as monthlies, but the likes of Harper’s & Queen and Vogue were published twice a month until about 1980.

Articles in this issue included George Melly on the characters of Pulham Market in Norfolk with photos by John Hedgecoe; ‘The Schweitsers: who are they?’ by Colin Macinnes; a London collections spread shot by Terence Donovan; Graham Sutherland at Coventry Cathedral; and a Frank Sinatra profile by the aristocratic Robin Douglas-Home.

In total contrast, how’s this for a cover from a wartime Home Chat of 20 February 1915? The First World War saw food shortages and high prices, and eggs must have been in short supply judging by this issue. The cover, ‘How to tell a fresh egg’, suggests holding the egg up to a candle, gas or electric light. It illustrates ‘red spots’, ‘blood rings’,  the yolk sticking to the shell or settling at the bottom, and black mold as signs that an egg is stale or bad.

Home Chat magazine cover from 1915, February 20, showing how to tell a stale eggs

Home Chat magazine cover from 1915, February 20, showing how to tell a fresh egg by looking at its insides using a candle

Home Chat was one of Alfred C. Harmsworth’s weekly launches that spawned the Amalgamated Press magazine empire. Its format was about about half way between A5 and A4. Its mix of social gossip, home hints, dress patterns, short stories, recipes and competitions kept this popular women’s weekly going from 1895 to 1959.

 


To see almost 500 magazine covers and pages, look out for my book, A History of British Magazine Design, from the Victoria & Albert Museum, the world’s leading museum of art and design

 

 


On this day in magazines: Grazia goes with Kate Moss in 2005

February 21, 2017

 

First issue cover of Grazia magazine, the weekly fashion glossy. The cover feature for the 2005 February 21, issue was Kate Moss saying she will never marry

First issue cover of Grazia magazine, the weekly fashion glossy. The cover feature for the issue is Kate Moss saying she will never marry

Emap set out to change the face of glossy fashion magazines with Grazia, a weekly glossy, on 21st February 2005. The idea of having the production values of the big fashion glossies on a woman’s weekly is not original, having been tried, in vain, by Home Journal in the 1930s, Riva in 1988 and Real in 2001.

Kate Moss is the cover model, with a newsy story about her views on marriage to provide the topicality – and the celebrity interest – a weekly needs today. Take a look at the Evening Standard, one of London’s free papers, these days and you’ll see there’s barely a story without a celebrity angle.

Inside, Grazia is printed gravure, which gives a silky feel to the matt paper pages, with lots of fluorescent yellow ink and black.

Grazia's contents page shows its signature colour, yellow

Grazia’s contents page shows its signature colour, yellow, with a Tod’s advert opposite

A large format and gravure is the formula that works for Grazia, now published by German-owned Bauer, attracting fashion advertising and selling an average of 117,597 copies of its 50 issues a year, at a cover price of £2 (89.8% purchased).

Grazia‘s success has helped gravure printing become more popular against offset litho, with Cosmopolitan switching over last year when its adopted its ‘midi’ format, and stopped printing at two sizes, handbag and A4. Condé Nast rival Glamour – which popularised the monthly handbag format when it launched – adopted a midi format (276 by 203mm) with its February 2017 issue, and has been printed gravure at Prinovis in Nuremberg, Germany, since 2004. Glamour sells 256,466 copies a month (91.4% purchased; now £1 on the news-stands, against £2 last year); and Cosmo 400,547 (77.7% purchased; £1 on the news-stands).

Bauer has a Grazia data page and Grazia media pack. See Grazia’s ABC sales certificate.


To see almost 500 magazine covers and pages, look out for my book, A History of British Magazine Design, from the Victoria & Albert Museum, the world’s leading museum of art and design

 

 


This month in magazines: The Strand’s albatross cover

February 7, 2017
The Strand magazine cover from February 1930 - note the mini cover at the bottom right

February 1930: The Strand magazine with a mini cover at the bottom right and the Oxo advertising sign

The Strand magazine was first published by George Newnes in 1891 and was an immediate hit – establishing both itself and Sherlock Holmes in the world’s imagination. Even today, it is the world’s most collectable magazine. A set of all 75 issues with Sherlock Holmes stories is likely to set you back £50,000.

Raphael Sabitini's Captain Blood on the cover of Pearsons, January 1930

Competition fromRaphael Sabitini’s Captain Blood on the cover of Pearsons, January 1930

Its initial cover design by George Haité became an icon and, like Punch and The Wide World, was used for a long time. However, the iconic cover became an albatross around the magazine’s neck. The reason for this is that the magazine industry thrives on change, but readers hate change! Managing this dilemma is one of the great skills of an editor, but usually involves some painful decisions that will upset the most loyal readers.

As an earlier post explained, The Strand cover evolved. First, an advertising panel was introduced on the top left, then images were inset over the traffic on the right side. In the 1920s, colour was introduced and the street scene moved around the Covent Garden area that The Strand thoroughfare bounds. But by 1930, there was a lot of monthly competition with arresting, colour covers, such as Pearson’s. And the last of the Holmes stories had been published in 1927.

The Strand magazine of May 1922 with a colour cover and a Covent Garden flower seller

The Strand of May 1922

So the February 1930 tradition was an attempt to break with the past – it depicts a scene inside a restaurant, presumably on The Strand, with the Oxo hoarding seen in its familiar place through the window.

However, there must have been angst in the office, and it was Herbert Greenhough Smith’s last year in the editorial chair – after 40 years! At any rate, they felt they still had to show the usual cover, which was an updated colour version of Haité’s original work, in a panel. And they then reverted to that version – which dated back to 1921 – for the next two years, with a Covent Garden flower seller in the foreground and cars rather than carriages in the road.

 


To see almost 500 magazine covers and pages, look out for my book, A History of British Magazine Design, from the Victoria & Albert Museum, the world’s leading museum of art and design

 

 

 


Women war reporters and ‘immersion journalism’

January 5, 2017
A glamorous female war correspondent similar to Martha Gellhorn shown in a 1946 issue of Woman magazine

A glamorous British female war correspondent similar to Martha Gellhorn shown in a 1945 issue of Woman magazine

The International Association for Literary Journalism Studies (IALJS) has some cracking meetings – gonzo journalism being a recent subject – and the next one is about ‘immersion journalism’. It is, they say, what Martha Gellhorn, a US war reporter for the US weekly magazine Collier’s during the Second World War, would have called ‘the view from the ground’.

The concept of the female war correspondent dates back at least to Sarah Wilson and Elizabeth Charlotte Briggs, who reported on the Boer Wars in the 1890s for the Daily Mail and Morning Post newspapers, respectively.

Gellhorn began writing in the 1920s and then went with Ernest Hemingway in 1936 to cover the Spanish Civil War. She married him in 1940, but they split up five years later. The Spanish conflict was the start of a career that saw her flying off to cover just about every war she could find until she developed cancer and later killed herself in 1998. Another American woman famous in the role was Lee Miller. She did so as a photographer, at first as a freelance and then from 1940 for Vogue. She was famously pictured soaping herself in Hitler’s bath. After the war, she married the artist Roland Penrose and settled in Britain.

Parisian glamour for British readers in a wartime Woman magazine

Parisian glamour for British readers in a wartime Woman magazine

These female correspondents were glamorous figures, and were depicted in a short story, ‘No Other Love’ by Leonie Mason (a pseudonym of Winifred Walker), in Woman in February 1945. The illustration, credited to ‘Koolman: Carlton’, shows two women in a Paris café. One is in uniform with the designation ‘Official War Correspondent’ on her shoulder; she is ‘Julie Wilson’ a British reporter for a paper called the Daily Record (there was then, and still is, a Glasgow paper of that name). On the table between them alongside what look like coffees in tall glasses with metal holders is a packet of Lucky Strike cigarettes, a US brand relaunched in 1942 with a white packet designed by Raymond Loewy to appeal to women.

In Leonie Mason's short story, Julie Wilson is an official war correspondent

In Leonie Mason’s short story, Julie Wilson is an official war correspondent

Gellhorn wrote reports and fiction for magazines throughout the war and after, with her short stories being published in both Britain and, the US. As I show in my book, British Magazine Design, ‘The Long Journey’, for example, was published in the June 1952 issue of Good Housekeeping and then Woman’s Own (December 4). Other examples have titles such as ‘Come Ahead, Adolf!’ (Collier’s, Aug 6, 1938); ‘Dachau: Experimental Murder’ (Collier’s, Jun 23 1945); ‘Java journey’ (Saturday Evening Post, Jun 1, 1946); and ‘The Lowest Trees Have Tops’ (Ladies’ Home Journal, Aug 1967). The Fiction Mags Index has a substantial list.

French coffee and Lucky Strike cigarettes would have been luxuries in wartime Britain - rationing would not end until 1952

Coffee and Lucky Strike cigarettes – luxuries in wartime Britain, where rationing would not end until 1952

As the literary journalism academics explain, such work ‘uses in-depth, on-the-scene reporting, research and literary techniques to take readers into worlds that would otherwise be off limits’. They also give a more technical definition:

Immersion attempts to address the limits of conventional reporting by replacing the emphasis on deadlines and objectivity with long-term observation and the building of enduring — and often psychologically and dramatically complex — reporter-source relationships.
Immersion practices link literary journalism to other disciplines, primarily anthropology and sociology, with their emphasis on the role of the participant observer and “thick” description techniques used in ethnographies.
Historically, immersion journalism often imbued reporters with a distinct moral authority to call for social reforms. Current discussions of immersion techniques highlight the ethical dilemmas of being part of the story, the quest for authenticity, and the necessity of finding narrative in the “every day-ness” of immersion. The economics of the news business also factor in. How can journalism now afford the time and resource-intense practice of immersion? How will traditional immersion techniques fare in contrast to new technologies of interactivity and virtual reality that purport to give the reader an “immersive” experience?
Immersion also presents a challenge to the pedagogy of literary journalism. What practices are best for teaching immersion, particularly given that few students will have the schedule and financial support to attempt it?

The IALJS sessions will take place at the annual meeting of the Association for Education in Journalism and Mass Communications in the US city of Chicago on August 9-12. It is titled ‘The View from the Ground: Rethinking Immersion.’ The editors are seeking academic submissions.

Self-referential covers: Queen and Elle

December 7, 2016
Queen magazine cover  from 1963 showing Elle

Queen magazine cover from 1963 showing Elle

Magazines that refer to magazines usually refer to themselves. This is a rare example of a magazine referring to another title. Today, this would not happen.

However, in 1963, there will have been no chance of Queen plugging a competitor, because Elle at this time was not published as an English edition – there was only the French original. So the special Getaway issue of Jocelyn Stevens’ Queen can afford to show a reader brushing up on her vacance in French. The idea adds a certain je ne sais quoit.

 

 

Great to see Real Review’s a winner

December 3, 2016
Front cover of the first issue of Real Review magazine, summer 2016

Front cover of the first issue of Real Review magazine, summer 2016

I picked up a first issue of Real Review a while back from the Magculture shop. It’s a lovely magazine because it’s so portable and readable. So congratulations to them for winning the launch of the year award from Stack Magazines. There are many great-looking independent magazines around at the moment, but too often the emphasis is on looking good rather than encouraging people to read them.

I was discussing Real Review with Jeremy Leslie, who was saying there is a return to thin, glossy paper and lighter formats, and he mentioned Real Review in his Radio 4 talk last week. I liked it because of the way it folded up and could be put in your pocket for reading on the Tube or bus. It’s slightly wider than A4 to cater for four columns and a similar height.

A magazine that used to be like that is the RSA Journal. Ten times a year it would land on the door mat, I’d put in in my pocket and go off to work. Then, it was relaunched as a quarterly coffee table magazine and redesigned by Esterson/Lackersteen. Nothing wrong with the redesign, but it was no longer fit for my purpose and so it went pretty much unread.

Last week I flew out to Budapest and it was copies of the Economist and the Spectator that slipped into my bag. It’s usually that format for me to dip into on the move.

Getting back to Real Review, it’s architecture focused, but stretches the pitch into other areas: the meaning of home, for example. And it’s designed to be folded, as you can see from the cover above. And my copy has been read – the stain is from a pint of stout at the Jerusalem Tavern in Clerkenwell while I was waiting for a pal!

Real Review, first issue: spread of pages 19 and 22

Real Review, first issue: spread of pages 19 and 22

The foldability offers some intriguing layout possibilities. The spread here is of pages 19 and 22 folded so the text reads across – it’s difficult to explain without a copy, but the intervening pages disappear into the gutter!

Real Review magazine: pages 51 and 54 folded to make a spread of juxtaposed images

Real Review: pages 51 and 54 folded to make a spread of juxtaposed images

This spread shows the potential for some Stefan-Lorant-style juxtapositions by folding the pages. It’s something the Real Review editors have tried to do and on just a single spread, and possible occasions might be rare, but with all the fantastic architectural photography around it’s worth trying in this format. If Stefan Lorant is not a familiar name, take a look at Lilliput and his brilliant book 101 Best Picture Comparisons from Lilliput: Or Chamberlain and the Beautiful Llama – more pages from the juxtapositions book can be seen at Fulltable.

 

It’s That Man Again’s Tommy Handley

July 31, 2016
1948 Strand cover of Liverpool ITMA comedian Tommy Handley

1948 Strand cover of Liverpool ITMA comedian Tommy Handley

There’s a certain poignancy in this 1948 Strand cover of Liverpool comedian Tommy Handley signing autographs outside the BBC’s Broadcasting House.

Handley was one of the most popular voices on the radio throughout the Second World War in It’s That Man Again, a series that took its title from a newspaper nickname for Hitler and was soon shortened, military style, to ITMA (pronounced ‘Itma’). The first pre-war series in 1939 was set in a pirate commercial radio station (what are the chances that this idea sowed a seed in the young minds of the people who would found Radio Caroline 20-odd years later?).

Once war broke out the setting was changed to the Office of Twerps and various changes were made throughout. Itma also introduced Colonel Humphrey Chinstrap and his catchphrase ‘I don’t mind if I do.’

Inside the Strand, a box credit box explains:

Robin Jaques made this study of Britain’s best-loved comedian as Tommy was ambushed by fans when leaving the B.B.C. headquarters of “Itma.” Autograph hunters are not permitted inside the hall of Broadcasting House, so they lie in wait over the road in Portland Place. And Tommy accepts it all with never-failing humour and kindliness. The tie Tommy is wearing is his favourite. The colours are those of the famous writers’ and artists’ club, the Savage.

Liverpool comedian Tommy Handley in a BBC publicity shot from the ITMA series

The similarity with this BBC publicity photograph suggests that Jacques – one of the best illustators of the era, who also did covers for Radio Times, Punch and the Listener – might have used it as a reference for Handley’s face. His sister was actress Hattie Jacques, who appeared in Itma from 1947.

The February 1948 issue of the Strand will have been on sale in January that year, 12 months before the last broadcast of Itma on 6 January 1949. Handley died just three days later of a brain haemorrhage. As a BBC Radio tribute to Handley puts it: ‘and with him died one of the most popular radio shows of the forties’.

The theory that Jacques used the BBC publicity photograph as a reference is given added weight by the Tit-Bits cover below from 13 June, 1947 – a year before the Strand illustration. Two artists using the same source suggests there weren’t a lot of options – but then this was post-war Britain, with rationing heavily enforced and that will have affected photographic paper. It would be another five years before rationing ended.

tit_bits_1947_6jun13_.jpg

This cover was definitely based on the BBC’s publicity photo of Tommy Handley

>>More on the Strand magazine

To see almost 500 magazine covers and pages, look out for my book, A History of British Magazine Design, from the Victoria & Albert Museum, the world’s leading museum of art and design

Tremulous author frustrated in finding Poyner’s verdict

July 22, 2016
Seafoxes band

The Seafoxes playing at Jamboree tonight – musical distraction from my worries

Aaaarrrggghhh. As I wrote last night, I went out to find a copy of August’s Creative Review to read Rick Poyner’s view on A History of British Magazine Design after a restless night. But the world is against me. No copies in yet at the newsagents in Borough High Street or WH Smith and around London Bridge.

So on I go past Tower Bridge to the Design Museum. Oh Woe. The museum has finally moved. You’d think Kensington needed another museum like a hole in the head. It’ll be sorely missed by me.

History of British Magazine Design in Creative Review

First heavyweight criticism of A History of British Magazine Design in Creative Review

So, on to Tate Modern. Guaranteed to find Creative Review there. But no. All the July copies are sold out too – as they were every else (you get the impression that Creative Review might have pulled back on its newsstand distribution too far).

But is wasn’t all bad, I ended up signing copies of British Magazine Design on sale at the Tate Modern bookshop with Amy and Richard, who were very helpful in trying to track down a copy of Creative Review. Rush down there now!

So my panic over Prof Poyner’s criticism continues … but a night at Jamboree to see the Seafoxes launch their new EP should at least take my mind off things!

To see almost 500 magazine covers and pages, look out for my book, A History of British Magazine Design, from the Victoria & Albert Museum, the world’s leading museum of art and design

Tremulous author awaits verdict on his book

July 22, 2016
History of British Magazine Design in Creative Review

First heavyweight criticism of A History of British Magazine Design in Creative Review

Having started writing A History of British Magazine Design seven years ago and seen it published in May, you want people to tell you what they think of it (ie, how good it is!). And many friends and acquaintances have.

Then you wait to see if it will be reviewed. And wait… because it takes a couple of months before anything appears, apart from some newsy online items. Since then, there’s just been the Amazon ranking to watch – it bounces between about 25,000 and 350,000 (from the look of it, depending on a single copy being sold!). Now, a neighbour tells me, the first considered review has arrived, in August’s Creative Review, a special issue on starting out in the creative industry.

The review, ‘Britain in print’, is by critic and writer Rick Poynor, who made his name on Blueprint, was founding editor of Eye and is now visiting professor at the Royal College of Art. A true heavyweight in design commentary.

I look at an image of the review on the website. It’s a spread – that has to be good news? Gulp. Will he delve into the holes I know exist, or bombard me with others? Will he focus on the virtues or the vices? I’ve got butterflies. I knew I should have done more on the RCA and its Ark journal! And there are no Eye pages, but there are some from Blueprint, honest Rick!

But the JPEG text is too small to read and the article continues on to a third page. Now I’ve descended into panic … I’ll have to get a copy in the morning.

Photojournalism and photomontage in the 1930s

December 2, 2015
Weekly Illustrated magazine pioneered photojournalism (3 March 1936)

Weekly Illustrated magazine pioneered photojournalism (3 March 1936)

The 1930s saw a revolution in photojournalism in British weekly magazines with German pioneers using Leica 35mm cameras. The leader of the trend was Weekly Illustrated, under the editorship of Stefan  Lorant, who had worked on Münchner Illustrierte Presse before being forced to flee Germany. In London, he confirmed his place as one of the most influential editors of the 20th century.

Lorant relaunched Clarion magazine for Odhams as the large format Weekly Illustrated in 1934, and went on to launch both Lilliput (1937) and Picture Post (1938). He turned to his old colleagues who had also left Nazi Germany, including  Felix Man and Kurt Hutton. They had rejected bulky plate cameras and flash guns in favour of Leicas and available light, a technique that produced much more natural-looking images. The techniques were taken up in the US, by Life two years later.

The cover of Weekly Illustrated above from 3 March 1936 is also notable for its use of photomontage, which was also developed in Germany, particularly through the work of the Dadaist John Heartfield. The magazine cover uses at least three photographs: Edward VIII, the liner and the shipyard workers. Behind the liner is the gigantic Titan crane at the Clydebank shipyard, which can still be seen at the site. Spot red has been used to colour the Queen Mary’s funnels and a tint of this for the faces and the hair on two of the men.

As with so many magazines at the time, Weekly Illustrated was printed using photogravure by Sun printers in Watford. It took over Passing Show in 1939, to become Illustrated and was the main competitor for Lorant’s Picture Post, which it outlived, closing in 1958.

>>Weekly magazines

>>The Secrets of Magazine Cover Design

To see almost 500 magazine covers and pages, look out for my book, A History of British Magazine Design, from the Victoria & Albert Museum, the world’s leading museum of art and design