Archive for the ‘design’ Category

How Kitchener inspired the nation for Dunkirk

August 4, 2017
Picture Post for the week of 1 June 1940

Kitchener leads the nation again in the week of Dunkirk from the cover of Picture Post (1 June 1940)

Christopher Nolan’s film Dunkirk has certainly brought the legend of the ‘Little Ships’ armada that rescued so many Allied troops back into the world’s imagination. In 1940, the media that the British will have turned to was BBC radio and Picture Post magazine.

And the image that editor Stefan Lorant chose to put on his magazine’s front cover the week of Dunkirk was Alfred Leete’s Your Country Needs You. It was a cover that will have gone to press before May 29, when the evacuation was announced to the British public. But then Lorant may well have known what was happening to the British Expeditionary Force through his contact with Churchill.

Boat owners certainly responded to the call – making up the bulk in number of the 860 vessels that were involved.  Some 200 of the small craft that epitomised the Dunkirk spirit were sunk. However, by the time the operation ended on June 4, 198,000 British and 140,000 French and Belgian troops had been saved. Another 220,000 troops were rescued  from other French ports.

The presence of this force was undoubtedly a factor in forcing Hitler to rethink his invasion plans, but the war was not going well for Britain – its allies were dropping like nine pins – and Lorant must have been in more fear for his life than most people in Britain. Lorant was a Hungarian Jew who had been imprisoned by Hitler for his work on weekly papers in Germany. In Britain, he promoted the work of many other Continental exiles, including Walter Trier, who drew the Lilliput covers for 20 years, the photographer Bill Brandt and the photomontages of John Heartfield, probably best remembered for his Elephants Might Fly reaction to the Munich agreement (15 October 1938).

Lorant had lambasted the Nazi regime in his book, I Was Hitler’s Prisoner, which was turned into a BBC Radio play; in the pages of Weekly Illustrated, which he had launched for Odhams in 1934; in the delectible Lilliput, which he founded, as well as Picture Post. So he must have been well up on Hitler’s hit list.

Walter Trier's cover for first Lilliput magazine in 1937

Walter Trier’s cover for first Lilliput magazine in 1937

Soon after Lorant went to America in mid-1940, Picture Post‘s two most important cameramen – Felix Man and Kurt Hutton, both German emigres – were interned on the Isle of Man. The magazine set about negotiating for their release, but their fates will not have assuaged Lorant’s fears and he emigrated to the US. As Lorant told his deputy Tom Wilkinson, who went on to become editor of Picture Post:

‘You British citizens will be all right – all you’ll lose is the freedom to say what you think. But we bloody foreigners will be handed over … I’ve been Hitler’s prisoner once in Munich, I’m not waiting for him to catch up with me a second time.’

The Kitchener-covered Picture Post issue was larger than usual and was focused on Britain’s leaders, with 32 pages devoted to government members. Lorant was a big fan of Churchill. The section starts with photographs comparing a ‘grimly determined’ Churchill in 1914 with him ‘grimly determined again’ in 1940.

Back in February 1939, Lorant had sent Wickham Steed, a former editor of The Times, and cameraman Felix Man to Chartwell and interview Winston Churchill at his home. As David Marcou writes in his thesis, ‘All the Best’:

‘Churchill – the man the Tories didn‘t trust – was no more than a backbencher under the Chamberlain administration. He‘d held no office since being Chancellor of the Exchequer under Stanley Baldwin a decade before. Steed concluded his profile: “His abiding care is the safety of Britain, the Empire and the Commonwealth. Should some great emergency arise … his qualities and experience might then be national assets; and the true greatness, which he has often seemed to miss by a hair‘s breadth, might, by common consent, be his.” In its introduction, Picture Post added its own prophetic comment: At 64, the greatest moment of his life has still to come.’

Picture Post covered the German offensive with a dramatic story―’Blitzkrieg’ in the June 8 issue.

‘The lightning war smites Europe. It blisters its way between the Allied Armies, cleaving them in two. It carves out a charred road to the English Channel. It scorches the Belgian Army and stuns the Belgian King into surrender.’

Alongside the words is a full-page photo of a man with a girl lying nearby, which tells the story of what war was doing to innocents. The picture caption reads:

We dedicate this picture to the Fuhrer. We dedicate this picture to the ‘moderate’ Goering. We dedicate this picture to those of our own politicians who promised us that Germany would never be allowed to attain air-parity with Britain; that they had secured peace for our time; that they were abundantly confident of victory … It shows a Dutch father wounded all over, but forgetful of what he is suffering. The dead girl on the corner is his daughter.

It’s no wonder that Lorant decided to put the Atlantic ocean between himself and Hitler. However, he had burned his bridges well before. As I point out in A History of British Magazine Design, Tom Hopkinson identifies the seven pages of ‘Back to the Middle Ages’ (26 November 1938) as ‘the finest example of the use of photographs for political effect’. He describes how Lorant drew up the pages to hit back at ‘This bloody Hitler. These bloody pogroms!’

British Library celebrates Russia’s revolution

March 6, 2017
A Russian revolution version of Alfred Leete's Kitchener poster and magazine cover from 1914

Russian revolutionary propaganda based on Alfred Leete’s Kitchener magazine cover

The British Library has chosen one of the many derivatives of Alfred Leete’s Kitchener image to front its latest exhibition, Russian revolution: hopes, tragedies, myths. The exhibition will also show Lenin’s handwritten application for a reader pass to the library.

British Library. Index slip recording the issue of a reader ticket for the Reading Room at the British Museum to Karl Marx

Record of the issue of a pass for the Reading Room at the British Museum to Marx

Anyone fancying seeing more Lenin relics can pop across to the Marx Memorial Library & Workers’ School in nearby Clerkenwell, where you can visit the room where Lenin worked, which has been kept as he left it. Next year marks the bicentenary of Karl Marx’s birth, which both the Marx Library and the British Library are gearing up to celebrate.

London Opinion 1914

The original magazine cover

The Kitchener image was first seen on the cover of  London Opinion magazine.  Don’t pay any attention to the British Library captioning it as a poster in an article by the historian Professor David Welch. It’s an error that people and institutions have spent a century making, from Picture Post in 1940 to the Royal Mint in 2014.

The full story of Alfred Leete’s cover illustration for London Opinion is told in the book, The Amazing Kitchener Poster.

This month in magazines: Oz in 1967

February 17, 2017
The first issue of underground magazine Oz in February 1967

The first issue of underground magazine Oz in February 1967

Oz was an underground magazine launched in London in February 1967 that became a leading part of Britain’s counterculture. Notice the word ‘London’ at the top left of the Oz title above. It’s there because Oz was originally an Australian magazine, founded by Richard Neville, Martin Sharp and Richard Walsh. They were prosecuted in Australia and Neville and Sharp came to London, where they launched another version of the magazine with Jim Anderson.

It was not the only magazine of its type – International Times, Ink and Friends were also influential – but Oz gained mainstream notoriety for the obscenity trial that followed the publication of the Oz School Kids issue (number 28).

The Oz Schoolkids issue

The Oz Schoolkids issue

The three editors (Sharp had left and been replaced by Felix Dennis) selected a group of youngsters aged between 14 and 18 to edit issue 28. The magazine’s offices were raided by the Obscene Publications Squad, the issue was seized and the editors were charged with conspiring to ‘debauch and corrupt the morals of young children’ because of some of the cartoons and discussion of sexual freedom and drug use.

Protest issue at Oz obscenity trial

Protest issue at Oz obscenity trial

For Felix Dennis, the Oz trial was the ‘finest hour’ for John Mortimer, their defence lawyer and later author of the Rumpole of the Bailey TV series and books. Although they were found guilty under the Obscene Publications Act, the verdict was overturned on appeal.

Like Private Eye, Oz might have looked crude, but it was an innovative user of the latest production techniques such as lithographic colour printing. It produced some amazing imagery by people such as Peter Brooke – now the leading political cartoonist on The Times – and Sharp’s iconic imagine of Bob Dylan, the Tambourine Man.

Another Australian who worked on Oz, in Sydney and London, was Marsha Rowe, and Germaine Greer wrote for it, too. Greer wrote The Female Eunuch in 1970 (and was gardening correspondent of Private Eye with the byline Rose Blight!) and Rowe was a co-founder of Spare Rib in 1972. She condemned a plan by Charlotte Raven to relaunch Spare Rib in 2014. The archive of Spare Rib can be found through the British Library’s website.

Felix Dennis went on to found Dennis Publishing, which launched Maxim and The Week. Since Dennis’s death, the profits from the company have been put to creating a massive forest. As well as the people behind Oz becoming mainstream, so have many of the ideas it, and the other undergrounds titles, argued for.  Oz is also one of the most collectable magazines.

The last issue of Oz - November 1973

The last issue of Oz

The University of Woollongong holds an online archive of the Australian issues of Oz, which was first published in Sydney on April Fool’s Day 1963 and continued until December 1969.This was set up with Neville’s co-operation after he returned to Australia and became a writer.

Woollongong also has all the London editions of Oz, from February 1967 to November 1973. The last issue cover carries a photo of the Oz staff naked overlaid on a background of disgraced US president Richard Nixon.

 


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: She’s sunny Februarys

February 15, 2017

Bikini days for She magazine in February 1977

Bikini days for She in February 1977

Bikini days for She magazine in February 1977

… and again in February 1978

Bikini days for She magazine in February 1979

…and in February 1979

In Britain, February is not a time of year normally associated with bikinis, so I was surprised to find these February covers for the monthly She from 1977-79. There was even a January 1975 cover of a bikini-clad model on a ski slope! Why are the models all in bikinis? To attract holiday advertising? No, after a bit of research, it emerged that women in bikinis were the most popular covers for She right through the Seventies. In 1978, no less than eight of the 10 covers I could track down were bikini shots. That’s a feel-good strategy: bringing a ray of sunshine into women’s lives every month!

Punch cartoonist Fougasse regarded magazine covers as repetitive

Punch cartoonist Fougasse regarded magazine covers as repetitive

But this is unusual, or perhaps typical. As long ago as 1920, Punch was jesting about the predictability of women’s magazine covers. Yet, editorially, She was not a typical magazine. For a start, two people shared the editor’s post in the 1970s: Pamela Carmichael and Michael Griffiths. It was more like a weekly in a monthly format, with a particular strength in witty picture captions (Tim Rostron, whom I worked with on weekly trade papers, got himself a job as a sub-editor at She on the strength of his captioning skills). Its cover motto in the late 1970s was ‘There’s nothing quite like She.’

The first issue was March 1955 with Joan Werner Laurie as editor. Its motto then was: ‘young, gay elegant’. She was fond of repeating its logo several times on the cover, either reduced in size as part of its motto (as in two of the February issues above) or full size (there were three down the left side of the launch issue cover design).

Three logos on the cover of the first issue of She in March 1955

Three logos on the cover of the first issue of She in March 1955

Laurie’s partner was Nancy Spain, who was a household name thanks to her appearances on radio and TV shows such as Woman’s HourWhat’s My Line and Juke Box Jury, and her weekly column in the Daily Express. They were a real go-getting pair – but came to a tragic end in a light aeroplane crash on the way to the 1964 Grand National at Aintree in Liverpool. Laurie was learning to fly at the time. The biography, A Trouser-Wearing Character – The Life and Times of Nancy Spain, was written by Rose Collis.

She magazine bit the dust in 2011 after more relaunches than you could shake a stick at from its owner, The National Magazine Company, then known as ‘NatMags’ and now Hearst UK (it is owned by the US-based Hearst Corp).


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: Top Spot in 1958

February 14, 2017
Top Spot magazine with a self referential cover design for 14 February 1959

Top Spot magazine with a self referential cover design for 14 February 1959

The 1950s marked a period when men’s magazines began to differentiate themselves more strongly, a trend that is evident in this copy of Top Spot from 14 February 1960. Note that storyline across the top of the title – The paper with man appeal!

In fact, Top Spot was aimed at teenagers with a mix of fiction, strip cartoons, pin-ups and war and adventure stories.

Amalgamated Press offered ‘Pictures! Punch! and Action!’ from the first issue in October 1958, but January the following year saw pin-ups like that of Michele Manning above dominate the covers. The 14 February is notable for having a self-referential cover, whereby Manning is shown with a copy of Top Spot from the previous month.

Other features in the issue included a centre pin-up page of Mara Corday; several page cartoon strips, such as Slave Girl Tsarina, the St Valentine’s Day massacre and Fabian of the Yard presents Manhunt; and a back page pin-up.

New title design and a cartoon strip cover for Top Spot of 28 November 1959

New title design and a cartoon strip cover for Top Spot in November 1959

Top Spot‘s fortunes can’t have been helped, however, by the printing strike in the summer of 1959 when it would not have come out for six or more issues. It was bad news for magazine publishers, but the printers established the 40-hour week, which would become standard for most British workers over the next decade.

The pin-up strategy does not seem to have worked either. In October, it switched to a strip cartoon cover.

There were more changes for the November 28 issue, which had a new title design and a cartoon strip ‘The Day the Seventh Died’ about the US cavalry’s battles with native tribes. The emphasis was on ‘stories, pics and humour’. Unfortunately, this was no more successful and the last issue was in January 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: Private Eye celebrates in 1981

February 13, 2017
Lord Goodman jumps out of a giant birthday cake on Private Eye's 500th issue cover in February 1981

Lord Goodman jumps out of a giant birthday cake on Private Eye’s 500th issue cover of 13 February 1981

Private Eye registered a sales figure last week at just over a quarter of a million copies an issue for the second half of 2016. Under editor Ian Hislop, it claims the high ground as the best-selling news and current affairs magazine.

The circulation per copy breaks down as 105,077 through newsagents, 142,833 subscriptions, 2,214 bulk sales and just 22 copies free. It total, that’s three million copies a year from its fortnightly mix of satire and investigative journalism. While the newspapers keep jacking up their prices – arguing readers will pay for quality reporting – but lose sales, the Eye holds its price at £1.80 and buyers and subscribers keep coming.

The cover above is from 13 February 1981, when the Eye was celebrating its 500th issue with a Willy Rushton cartoon. Out of the giant birthday cake festooned with writs jumps Lord Goodman – an early ally of Private Eye. Rupert Murdoch can be seen waiting on then editor Richard Ingrams in the top left and Gnitty, the magazine’s mascot Crusader, is also seated at a table. Around them are foes, friends and characters from the magazine.

A punning advert from Letraset for Private Eye's celebratory issue

A punning advert from Letraset for Private Eye’s celebratory 1981 issue

Although the magazine had survived many legal battles, such as the 1976 onslaught from James ‘Goldenballs’ Goldsmith who issued 60 writs against the Eye and its distributors in one month, many more were to come, including those with Robert Maxwell and his Not Private Eye. In 1990, Private Eye was threatened with closure when Sonia Sutcliffe was awarded £600,000 in libel damages. Hislop said that if this was justice he was ‘a banana’. The sum was reduced to £60,000 on appeal.

Inside the anniversary issue are many supportive advertisers, including Letraset, the makers of dry transfer lettering, a revolutionary British invention in its day, but now a French-owned brand mainly selling marker pens.

Private Eye‘s title was an early success for Letraset – the typographer Matthew Carter did the design, which saw its first outing on 18 May 1962 and is still in use today.


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: Vogue’s 1977 green jelly

February 9, 2017
Vogue's February 1977 green jelly cover was by Terry Jones

Vogue’s February 1977 green jelly cover was by Terry Jones

I always get something out of interviews with Terry Jones because he always wants to spill the beans about something. The details make life at Vogue come alive behind the oh-so-made-up corporate face of Condé Nast, with stories of cover transparencies being lost in bins, rows with all the ‘suits’ who want to push in and change things, and his attempt to get a nipple onto his last cover as art director.

I wrote a piece last year for the sold-out last issue of Gym Class about cover design rules, and Jones epitomises the final rule – break them all!:

For every rule, there’s a cover that broke it yet was a tearaway success. Black for the cover didn’t work for Talk in the US – yet it was the signature colour for Willy Fleckhaus on Twen. He produced a classic, but who’s done it since? … One day the rules here will be built into InDesign and Photoshop. For now, and probably even then, it’s up to you to test the rules, make mistakes and learn what works for your magazine.

Jones – who was made an MBE in the 2017 honours list for services to fashion and popular culture – founded the punkish, dot-matrixy i-D magazine after he left Vogue, with later help from Tony Elliott to turn it into a  mainstream title.

Jones has identified his favourite Vogue covers in interviews with Ludovic Hunter-Tilney (FT, ‘Happy birthday i-D magazine’, 19 November 2010) and for i-D/Vice. Among his three favourites is the green jelly cover from February 1977 shot by Willie Christie:

The image was originally for an inside editorial that Grace [Coddington, fashion editor, who was previously a model] and I convinced Beatrix [Miller, then editor] to run with. We got approval from Bernie Lazer, the managing director at British Vogue, who had to defend the decision when Daniel Salem, the European company director, demanded to have it stopped on press.

Vogue itself described the issue so:

The cover is entitled ‘first taste of spring’ and features ‘Rowntree’s jelly… full of gelatine, a valuable source of protein and good for strengthening nails.’ Green is the colour of the fashion moment inside, modelled by Jerry Hall, while Maria Schiaparelli Berenson’s wedding to James H Randal is featured, wth Anjelica Huston, Jack Nicholson, Liza Minelli, Halston and Andy Warhol all there to see it. ‘If there was ever such a thing as a groovy wedding, that was it,’ said Nicholson.

So un-Vogue: the full-length January 1974 cover shot by David Bailey for Terry Jones

So un-Vogue: January 1974 cover shot by David Bailey for Terry Jones

Jones was given space to experiment on covers, but he was also aware that ‘there were rules you were meant to abide by’.

Another cover he’s amazed that he and Coddington managed to ‘smuggle’ through was a full-length portrait by David Bailey of Anjelica Huston and Manolo Blahnik drinking champagne on a beach at sunset (Jan 1974).

As he says, ‘It was so un-Vogue. I don’t think Vogue have done a full-length since.’ Sometimes, it’s by breaking the rules that you set them.

 

So grainy: Vogue 1974 cover of Bianca Jagger blown up from a 35mm transparency

So grainy: Vogue 1974 cover of Bianca Jagger blown up from 35mm

The third cover he rejoices in is ‘the accidental cover’ of Bianca Jagger photographed by Eric Boman (March 1974). Boman took a 35mm shot of Jagger at the Paris Opera that Jones liked, but the model was very small in the photo.

So Jones had a 10×8 transparency made up that was cropped to the head and then blown up to the cover area. This blow-up made the image very grainy, a feature that Jones wanted but that would have been regarded as unusable by the normal production standards at Condé Nast.

‘The print production manager still complained,’ said Jones, ‘but it remains one of my favourite covers alongside the the green jelly cover from February 1977.’

 


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

 

 

 


This month in magazines: holographic cover

February 6, 2017
Newton hologram on the cover of New Scientist in 1988

Newton hologram on the cover of New Scientist in 1988

Front covers don’t come much rarer than this one from 4 February 1988. A bust of Newton is looking at itself in a hologram that is embossed on the front cover of IPC’s New Scientist.

The hologram discs were originated by Advanced Holographics and Markem Systems. The covers were then printed as usual with a space left for the disc. At Malvern Press, the covers were then stamped with the holographic foil disc using a ‘hologram registration unit’.

There was a lot of interest in the technology at the time. A couple of years earlier, Venture, a magazine run by Redwood Publishing had stuck a hologram on its cover. Later in 1988, National Geographic did a whole cover hologram (December issue) and it had done a smaller hologram cover in March 1984 and November 1985.

Last year, Another magazine did a Karl Lagerfeld hologram for its 150th issue. Like lenticular covers, the concept is expensive and gimmicky.

The Jonathan Ross Collection lists 12 magazine covers with holograms.


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: Sunday Times supplement 1962

February 5, 2017
First issue cover of the Sunday Times Colour Section on 4 February 1962

First issue cover of the Sunday Times Colour Section, 4 February 1962

The first Sunday of February 1962 saw the advent of the Sunday Times Colour Section. It could not call itself a magazine then because the law prohibited magazines being published on a Sunday.

However, the colour supplement was a big factor in changing the nature of the magazine industry. The advent of commercial television in the mid-1950s had brought down general weekly magazines such as Picture Post, Everybody’s and Illustrated. And monthlies too, such as Lilliput. From 1962, the Sunday papers became another nail in the coffin of weekly magazines. John Bull had relaunched itself as Today but would last just another two years;  Tit-Bits, Reveille and Weekend would soldier on before eating each other up and closing in the 1980s. It was a story of slowly falling sales for women’s weeklies too, with their circulations having peaked in 1960.

Yet it was not all plain sailing for the first 1960s colour section. Mark Boxer had been tempted across from the upmarket monthly Queen as launch editor. He said he had only seven weeks to produce the first issue and would later say he was ‘amazed by its success’. He wanted to change the name to Sunday Times Colour Magazine but aside from the legal question, he was told that this might be interpreted as a sign of losing confidence. A few weeks after the launch, he said: ‘The supplement is still not being taken seriously. It is like the toy in the cornflake packet.’

The art director was John Donegan, who had worked in advertising and later became a cartoonist for Punch and the Sunday Express. The  cover for the first issue shows 11 photographs taken by David Bailey of Jean Shrimpton wearing a Mary Quant dress. They encircle a colour shot by photojournalist John Bulmer of Burnley’s legendary striker Jimmy McIlroy. The issue also published the Ian Fleming short story ‘The Living Daylights’, but was described ‘a crashing bore’ in the news weekly Topic.

At the start of its second year, the Colour Section began calling itself a Colour Magazine. That word ‘colour’ was the magic ingredient, enabling the Sunday Times to offer a colour national advertising vehicle to big advertisers.It finally became the Sunday Times Magazine in 1964.

The idea of supplements is not new, of course. The Times launched a women’s supplement in 1910, and a colour version a decade later, though bother were short lived. And the Times Literary Supplement and the paper’s Education and Higher Education supplements are still published. But these are exceptions to the rule that supplements cannot make it as magazines. The last one to try – the Mail on Sunday‘s You, was an embarrassing failure when it tried.

Roy Thomson starting the presses at Sun Engraving for the Sunday Times Colour Supplement in January 1962

Roy Thomson starting the presses at Sun Engraving for the first Sunday Times Colour Supplement in January 1962

‘Bore’ it might have been, but it pulled in the advertising revenue for Sunday Times owner Lord Thomson (a tycoon often remembered for saying that television was ‘a licence to print money’). Other papers took notice, with The Observer following suit on 6 September 1964 with a cover portrait of Lord Mountbatten by John Hedgecoe, who established the photography department at the Royal College of Art the next year. It took its inspiration from magazines such as Life and Paris Match as well as the Sunday Times supplement. A Daily Telegraph supplement was launched the same month. Late in the decade, the Mirror had a ago, but this did not last long. Nowadays, however, most of the national papers have several magazine supplements, as do many local and regional papers.

Mini painted by Alan Aldridge for the Sunday Times 1965

Painted Mini by Alan Aldridge for the Sunday Times 1965 Automania special

Under editors such as Godfrey Smith, Hunter Davies, Ron Hall, Philip Clarke and Robin Morgan, the Sunday Times Magazine was a breeding ground for photographers, editors and designers, with people such as Peter Crookston, the future Nova editor; David Hillman, the Nova designer and later Guardian redesigner; and Peter Fluck and Roger Law (Spitting Image puppet makers); and art editor and Soviet archive owner David King all going through its doors.

Michael Rand ran the art side of the supplement between 1963 and 1993. In a commemorative issue (5 February 2012) he said:

I never attempted a style for the magazine. I just wanted it busy but simply laid out, and there had to be tension there: grit and glamour. I realise now my unconscious influence was Picture Post. It had those great covers and was unashamedly a picture magazine. And I used a lot of illustration — David Hockney, Peter Blake and Ian Dury did front covers. There was a feeling that, creatively, you could do anything.

And the supplements could do pretty much anything. The October 1965 front cover above – an Automania special issue – is an example. It is a real Mini painted in his psychedelic style by Alan Aldridge. The car was white-washed and painted with 100 tubes of designer’s gouache, six cans of silver spray from Woolworths and checkered tape. It took five days. And then Denis Rolfe took the photo.

To encourage advertisers to prepare better artwork, the Telegraph group produced the Daily Telegraph Magazine Guide to Gravure Printing, a book written by its technical adviser, Otto M Lilien, in 1968. The expensive, 100-page guide was printed by Eric Bemrose, Aintree, the company that printed the magazine, with acetate pages produced by Harrison & Sons (High Wycombe) and binding by Tinlings of Liverpool.

The process and its technical differences from Letterpress and offset [lithography] are fully set out and illustrated In the following pages. Explanations are given to assist the achievement of the best possible results from the use of gravure through suitable basic design, typography, Artwork, photography and layout

The cost of printing the Mirror Magazine lost IPC millions of pounds in 1970

The cost of printing the Mirror Magazine lost IPC millions of pounds in 1970

Supplements had massive print runs on the country’s biggest gravure presses, and budgets to match because their economics were not the economics of a paid-for magazine.

However, get it wrong on a supplement and the printing costs could kill you – as it did the Mirror Magazine. IPC launched the supplement but the massive 5 million print run was too long for the  copper cylinders on the gravure presses at Odhams Press in Watford. That meant two sets of very expensive cylinders – and the Mirror Magazine closed within a year having lost £7 million.

 

What’s a copy of the Sunday Times Magazine worth?

 


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