Archive for the ‘magazine cover design’ Category

George Newnes and his Millionaires

July 25, 2019

1892_million_1892_3mar26_1000

The valiant attempt by George Newnes to bring colour to the masses, ‘the million’ as they were described in the early 1890s, was the subject of a paper I gave in Liverpool a couple of weeks ago.

The Million, an ambitious penny weekly, is rarely discussed*, but was a rare failure for the man who pretty much invented the modern magazine industry – and became one of the richest men in the country in the process. Magazine publishers such as Cassell and Hodder & Stoughton would soon become, in today’s parlance, legacy brands, and were left to concentrate on book publishing.

But Britain was slow to adopt colour printing. Although the Illustrated London News had started at trend for colour supplements at Christmas in 1855, colour was still reserved for special occasions and papers for children. There were colour weeklies in France and the US, however.

Newnes had launched Tit-Bits, the best-selling weekly, in 1881, and The Strand, the best-selling monthly thanks to Sherlock Holmes, ten years later. The Million started as a tabloid-size magazine in 1892 and lasted for about three years, though it halved its page size during that time and had two redesigns (usually a sign of problems). Its readers were called, of course, ‘Millionaires’ – Newnes was nothing if not aspirational for his audience.

coloured photograph of a lifeboat coxswain in The Million, 1894

Coloured photograph of a lifeboat coxswain in The Million, 1894

The size, quality and number of colour engravings falls sharply in the final year, though there are some surprises; a coloured photograph of a lifeboat coxswain in September 1894 is particularly striking.

The Million was printed on letterpress machines – so did not have to use expensive paper – by the London Colour Printing Company at their works in Exmoor St, Notting Hill. The same printer later produced Puck, a colour cartoon paper launched by Harmsworth in 1904 and seemingly modelled on a US paper with the same format and title. Harmsworth’s Amalgamated had also tried colour for a one-off edition of a comic paper called The Funny Wonder in 1898 (May 28).

In fact, Guy Lawley, a fellow researcher at the conference, told me that the colour presses used by Newnes were bought from Hippolyte Auguste Marinoni, who already used letterpress for a supplement to his French daily tabloid Le Petit Journal. This was the best-selling paper in France – probably the world – claiming a million print run in the early 1890s.

Le Petit Journal appears to have started publishing an eight-page colour illustrated supplement on Fridays in November 1890, judging by adverts on the front page of online digitised copies of the daily edition at the French national library. The price was 5 centimes, the same as the daily edition. Soon after, the supplement itself was claiming print runs of just over a million.

Guy adds that the success of Le Petit Journal and The Million inspired US newspaper publishers to turn to colour. The Chicago Inter Ocean added a free Sunday colour supplement in 1892, three months after The Million; The New York World added colour pages from 1893 and later a colour section. The Inter Ocean referred to the success of both Le Petit Journal‘s Supplément Illustré and the Million in its editorial announcing the coming of colour.

The New York supplements evolved into colour Sunday comics section, a development that was then copied across the country, giving birth to a new form of mass entertainment in the US.

As for the US Puck, that was printed using a different printing technology, lithography, until it was taken over by William Randolph Hearst in 1917, and closed down. However, in 1918, he resurrected the name Puck on his own Sunday comics supplement for the New York Journal, so it was also printed on newspaper-type colour letterpress presses.

Guy is working on a PhD thesis about colour printing and US newspaper comics.

Print Networks and the Centre for Printing History & Culture organised the conference, Dregs, dross and debris: the art of transient print. Discussions are under way about collating the talks as proceedings, or publishing them in Publishing History or Printing History and Culture.

*Kate Jackson’s Newnes and the new journalism in Britain, 1880-1910 has the most to say about it; Dave Reed doesn’t mention it. My British Magazine Design shows one of the smaller format covers. The issues are available in the British Library as bound volumes

General weekly magazines

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


Where did you get those teeth?

April 11, 2019

harmsworth-magazine-1898-white-teeth - 1

Shiny teeth, no skin blemishes and clear white eyes. It’s standard practice nowadays that celebrities on magazine covers such as Vogue look perfect. But when did these little white Photoshop lies start?

It’s well known that the publicity photographs in Hollywood were taken by experts in the art of making anyone look good. And that they were then put into the hands of expert retouchers to take out any real-world blemishes.

harmsworth-magazine-cover-1898-november

But this cover image shows the practice goes back before Hollywood even existed, It’s from a 1898 copy of The Harmsworth, a monthly pictorial magazine that competed with the likes of the Strand. The teeth on the girl have clearly been altered to become perfectly white blocks.

Magazine mastheads and typography

August 6, 2018

Drawing title, June 1915

Hand-drawn title for Drawing magazine, June 1915
Hand-drawn title for Drawing magazine, October 1915
Hand-drawn title for Drawing magazine, October 1915
Hand-drawn title for Drawing magazine, February 1916
Hand-drawn title for Drawing magazine, February 1916

Nowadays, type and magazine title pieces – mastheads – are created by designers on computer screens but right into the 1990s, drawing unique lettering and fonts by hand was the standard way of doing things. It might have been cheaper to rely on Letraset rub-down lettering or manipulating photoset typefaces, but nothing could beat the typographer’s pen and creativity for originality.

Until the 1960s and the dominance of photography for magazine covers, illustrators would often draw the lettering for each issue as part of the overall design. The three titles here scanned from different issues of Drawing date from 1915 and 1916, at the height of the first world war.  At first glance, they may look the same, but take a closer look and you’ll soon start to see the differences. The top one is damaged.

Take a look at theses online videos by typographer Davey Farey – whose work includes designing the Times, the Maxim masthead and Blackadder credits – to get a feel for the way it’s done.

Drawing title, June 1915

Hand-drawn title for Drawing magazine, June 1915

Hand-drawn title for Drawing magazine, October 1915

Hand-drawn title for Drawing magazine, October 1915

Hand-drawn title for Drawing magazine, February 1916

Hand-drawn title for Drawing magazine, February 1916

 

The Economist magazine milks its past covers

May 9, 2018
The Economist: Cover Story postcard collection

The Economist: Cover Story postcard collection

The Economist has been around for a long time, since 1843. For most of that time its cover looked like an academic journal, which in many ways it was. The strategy only changed in 1959 when the weekly magazine’s title was put in a red box with the name reversed out in white. This ‘red top’ approach is today associated with tabloid newspapers such as the Mirror and Sun, but back then it was the brainchild of  Reynolds Stone, one of leading designers of the era, who had been appointed a Royal Designer for Industry in 1956 for his work on lettering.

Out went a text-only approach with a list of contents in favour of a line   illustration of a leading figure in politics or business with selling cover lines. Stone’s title idea survives to this day, although the typography has been tweaked to suit changing printing techniques. The monochrome line drawings were replaced by colour illustrations and photographs in the 1960s.

But Economist covers are never simple. Like New Scientist, they have to work hard to sell the complex ideas the writers discuss inside.

Bill Emmett, the editor in 1991, explained the news magazine’s approach in an editorial introducing a redesign:

‘There are few things more boring than long articles by editors about how their redesigns are going to produce a sharper, more modern, publication, brightening readers’ lives and furthering world peace … Good design, like good writing, should blend into the background; it should be the servant of editors and readers alike, not their master.’

Who can argue with that, from a magazine that continues to sell like the web had never been invented? But so many have forgotten it. All magazines and newspaper – the likes of the Guardian in particular – should take note, no matter how many design awards they win.

The Economist cover T-shirt: the end of Margaret Thatcher

Economist cover T-shirt: the end of Thatcher

And the strength of the Economist as a global brand has led it to launch merchandising. Of particular notes is Cover Story, a set of 100 postcards telling the story of the magazine’s cover designs. There’s a page showing many of the covers and you can order Economist cover T-shirts, totes and mugs.

News magazines profiled


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

 

 


 

Maurice Rickards: ephemera and magazines

October 14, 2017
Maurice Rickards merged two images in the dark room for this image manipulation cover on Man About Town in 1959

Maurice Rickards merged two photographs in the dark room for this image manipulation cover on Man About Town in 1959

Maurice Rickards is one of the unsung heroes of graphic design. Although he wrote several books – and Michael Twyman completed his Encyclopedia of Ephemera – the godfather of modern-day ephemera is rarely written about. Even Wikipedia, that great hoover-upper of everybody else’s research and websites, has yet to acknowledge his existence. Only the Independent gave him an obituary (by Patrick ‘Book of Firsts‘ Robertson, a former chairman of the Ephemera Society who claims to own the largest private collection of vintage magazines in Britain).

Rickards trained as a photographer but collecting the fleeting printed objects of everyday life – particularly posters – was his joy and he appears to have made a living from his Fitzrovia basement studio as an illustrator, photographer and magazine designer. It was his enthusiasm that led to the creation of the Ephemera Society, its offshoot in the US and the Centre for Ephemera Studies at Reading University under the direction of Professor Twyman.

Maurice Rickards poster-style cover design for Man About Town (spring 1956)

Maurice Rickards poster-style cover design for Man About Town (spring 1956)

I never met the man, but came to some idea of his approach to design through the pages of Man About Town under the editorship of John Taylor in the 1950s (before it was bought up by Michael Heseltine’s Cornmarket). Later, when researching books about British magazine design and Alfred Leete’s Kitchener poster, I discovered his books on posters.

The spring 1956 poster-like cover of Man About Town is credited to Rickards, as is autumn 1958, so he was probably working as a freelance designer on the magazine in those years. I particularly like the latter example, which is described as being inspired by the squiggle shape that he came across.

Maurice Rickards ephemera-inspired cover design for Man About Town (autumn 1958)

Maurice Rickards ephemera-inspired cover design for Man About Town (autumn 1958)

The autumn/winter i959 issue at the top of this post was the last Man About Town under Taylor and perhaps that is why it gives a big showing to Rickards’ work. He had done several earlier covers designs but this one gives an opportunity for his ‘crackpotography’ ideas, along with a five-page article.  The text reproduces some of his ‘eccentricities’ in ‘Rickards’s howdoneit’, an article based on his book, Off-Beat Photography (The Studio, 1959), about image manipulation. In Man About Town‘s inimitable style, the magazine  describes that the woman sitting on Rickards’s head cover is easily explained:

It is not that we used a particularly small girl; it is merely that Rickards himself has such a big head.

Offbeat Photography by Maurice Richards

Offbeat Photography by Maurice Richards shows Rickards with an axe in his head on the dust jacket

In the article, the captions explain how each photograph was composed and how shadows were added using an airbrush or avoided. A man shown balancing on a glass using just one finger needed 50 or 60 exposures before Rickards got it right. A skull and Luger photo was for a book, named as Skeleton Island. In fact, this looks to have become A Twist of Sand (1960) by Geoffrey Jenkins and was made into a film eight years later starring Richard Johnson and Honor Blackman. The cover used a variant of the photo, without the gun.

Another photograph of what looks like the aftermath of a massive road accident  harks back to a poster campaign he did right at the start of his career in 1953 – Lives Matter. Three posters were commissioned by the Royal Society for the Prevention of Accidents, showing a woman collapsed over a telephone, a one-legged boy on crutches, and a little girl in the arms of a policeman. According to Patrick Robertson’s obituary, such was the horror they generated that they were banned by various local authorities, were defaced on hoardings and prompted ‘harsh letters’ to editors and MPs.

 

 

Punch magazine’s horn of plenty

September 28, 2017
Morten Morland cartoon from The Times newspaper showing Labour shadow chancellor John McDonnell with his mouth depicted as a Punch-style horn of plenty

Morten Morland cartoon from The Times newspaper showing Labour shadow chancellor John McDonnell with his mouth depicted as a Punch-style horn of plenty

The Times this week ran a Morten Morland cartoon showing Labour shadow chancellor John McDonnell with his mouth depicted as a horn of plenty – a cornucopia. This is a reference to an idea that goes back a couple of thousand years to Greek mythology. But it is a classical allusion that was very much kept alive by Richard ‘Dicky’ Doyle with his famous Punch magazine cover design that developed from 1844.

The horn of plenty from the left side of an 1847 Punch cover

The horn of plenty from the left side of an 1847 Punch cover

Buyers of Punch – just 6,000 of them each week in the satirical magazine’s early days – are the sort of people who will have had a classical education and so would be aware of the idea of a goat’s horn or horn-shaped basket overflowing with produce. It’s associated with Zeus, Hades, Hercules and Gaia.

In the case of McDonnell, he’s spouting forth a stream of policies at the Labour party conference; for Dicky Doyle in 1842, it was a cornucopia of fun, wit and entertainment.

The Punch cover is often described as never-changing, but that it not the case. The earliest issues from July 1841 showed a Punch and Judy stall. That idea stayed in place until the 20-year-old Doyle’s Mr Punch and his dog design took hold in April 1844. And there were several versions of that, though the main elements, full of classical references, stayed constant.

RGG Price’s History of Punch (Collins, 1957) states the frieze at the bottom was based on Titian’s Bacchus and Ariadne.  What appear to be the words ‘Exhaustive wit’ exude from the horn on the right, and ‘fun’ on the left. It is ‘satire’ that is raised up towards the heavens on the right among a multitude of mischievous imps, fairies and cherubs.

The cover of Punch magazine's almanac of 1842 by Halbot K Browne ('Phiz')

The cover of Punch magazine’s almanac of 1842 by Halbot K Browne (‘Phiz’)

This 1842 almanac cover is initialled HKB – Halbot K Browne – ‘Phiz’. He was one of five artists who did early covers for Punch (the others being Archibald Henning, William Harvey, John Gilbert and Kenny Meadows).

The engraver is also credited, Ebenezer Landells. He was one of the founders in 1841 of Punch, and acted as art editor, along with the journalist Henry Mayhew and William Last as printer.  This almanac sold very well and may have saved the magazine from closure, because sales had been running at 6,000 a week whereas they needed to sell 10,000.

However, the financial problems led Last to pull out in favour of working with Herbert Ingram on Illustrated London News. Landells had to sell his share to Bradbury & Evans, the publishers. Bradbury & Evans replaced Landells with Joseph Swain and gained complete control in December 1842. Swain was not credited on the covers.

Although Doyle’s design won out in 1844, it took five years to settle down into the image that lasted until 1956, when one-off colour covers by the likes of Ronald Searle became the norm. In particular, the detail of Mr Punch in the bottom frieze was altered in response to criticism that it was crude, a drawing of a British lion replaces the Punch stall on the easel and the circus typeface for the title was turned to wood, in a mockery of  the German illustration style of artists such as Alfred Rethel.

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!’

£1,750 for a copy of Oz magazine

May 13, 2017
This issue of Oz fetched £1,750 on eBay

This issue of Oz fetched £1,750 on eBay

Prices for copies of Oz just go up and up. February was the magazine’s 50th anniversary and the buyers came out for several issues. Pick of the bunch was a copy of the first Oz that sold for £1,750, with 23 bids. A first issue of Oz went in 2012 for just over £1,000. The starting price this time was £400 and five bidders fought it out. A nice thing about it was the provenance. As the seller, sarahnegotiator, explained:

Published in 48 issues between 1967 and 1973, Oz Magazine was a revolutionary anti-establishment underground publishing phenomenon that triggered outrage, numerous police raids and the longest obscenity trial in British legal history. Now, on the fiftieth anniversary of its publication, here is a unique opportunity to purchase an extremely rare copy of the very first issue of London Oz.
Owned by the current seller since it was bought at King’s Cross Station in 1967, the magazine is complete, and apart from some minor creasing and light wear on the cover corners, is in good condition throughout.

Another first issue of Oz sold for £1,000. The starting price was £500 and the seller gave a very limited description. One potential bidder, quite rightly, wanted to know more:

Q: Would you be so kind as to tell me a bit more about the condition? Are there any pen marks or rips? Has anything been cut out? Are there any creases or dog ears? How would you rate it: Mint, VGC, Good, Fair? I’m a collector so quality is very important.
A: I would say that the condition of the magazine is between Mint and Very Good Condition. There are no dog eared corners or creases to any of the pages, no pen marks, no tears, the staples and the fold-out calendar of Feb ’67 are still attached. There are a couple of very small stains on the front cover and overall the pages are very slightly yellowed with age. Thanks for your interest and please get in touch again if you need more information. Best regards and happy bidding,

I’m always wary of terms such as ‘mint’ – but the fact that the seller fills in the details shows that it clearly is not mint in any sense that a collector would understand (stains on the  cover?!).

Another issue, Oz No.11 from April 1968, The Sticker Issue, fetched £363. The seller here, silvantage925, also sold seven other issues of Oz. The description was very good , with photographs to back it up:

The magazine is complete, with no missing pages. There are some minor rips to pages, towards the back of the magazine, including the back page. Stickers are in good shape though. Please see photos.
Magazine does not display any major signs of discolouration or distress other than what has previously been mentioned.
Please check photographs and keep the condition in mind when bidding. I always try and be as honest and descriptive as I can, any flaws etc will always be photographed and added to description.

Four other issues have sold this year fetching prices of £200-£276 on eBay.

 

The week in magazines: in and outs at Vogue

April 16, 2017
Arabic language cover of Vogue. Abdulaziz lost her job as editor on Thursday

Arabic language cover of Vogue Saudi Arabia. Princess Abdulaziz lost her job as editor on Thursday

Well, what a week in magazines. It’s difficult to have missed Edward Enninful as the the new editor at the century-old British Vogue, but did you hear what happened at the title in Saudi Arabia? They lost an editor princess, no less. And back in the UK, Relx has sold its iconic title, New Scientist.

The arrival of Edward Enninful at British Vogue is seen as marking a switch to a more digital focus, with Alexander Schulman having wrung as much from print as there is to find. It is also the start of the change of the old guard, with Albert Read – Enninful’s boss in New York – set to take over from Nicholas Coleridge as MD of Condé Nast UK  on August 1st.

But Read does not inherit the whole of Coleridge’s brief. Wolfgang Blau, digital chief of Condé Nast International, will take over as president of the international side. The fallout from the shenanigans in Saudi Arabia will no doubt still be reverberating then.

Princess Deena Aljuhani Abdulaziz was sacked on Thursday as editor of Vogue Arabia after just two issues. Abdulaziz – described last year as ‘a beacon of fashion in the region’ was appointed for the launch in July 2016. At the time, she said:

Don’t forget that we understand luxury almost better than anyone else on earth. Middle Eastern women have been serious couture clients since the late 1960s. We’ve been around long before the Russians and the Chinese ever came into the picture

Abdulaziz put Gigi Hadid, a Palestinian-American model, on her second Vogue cover

Abdulaziz put Gigi Hadid on her Vogue cover

However, putting Palestinian-American model Gigi Hadid wearing a veil on the cover for the first issue in March proved controversial. Cries of ‘cultural appropriation’ and accusations of plagiarism have bounced around social media.

Abdulaziz has since been quoted as saying:

I refused to compromise when I felt the publisher’s approach conflicted with the values which underpin our readers and the role of the editor-in-chief in meeting those values in a truly authentic way

Manuel Arnaut, a Condé Nast veteran and editor of Architectural Digest in the Middle East, has been parachuted in to calm things down. He has worked  as a writer and editor at both Vogue and GQ in Portugal.

So, that’s three editions of Vogue with men at the helm.

Madonna on Vogue covers

Vogue profile


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: Today and John Bull in 1960 feb 27

February 28, 2017
Today, the first issue of the cover new John Bull magazine, 27 February 1960

Today, the first issue of the cover new John Bull magazine, 27 February 1960

The year 1960 was a watershed in the history of weekly magazines. The sales of women’s weeklies peaked and the general interest weeklies were already well on the slide, with Picture Post, Illustrated and Everybody’s having already folded. They needed to maintain sales of a million copies a week  to be able to offer national coverage to advertisers, but the world was changing, with magazine readers turning into television viewers.

This first issue of Today is part of that change. The 27 February 1960 issue of the ‘new John Bull, incorporating Everybody’s Weekly‘ marked the end of one of the most famous – and at times notorious – magazine titles in publishing history.

The bizarre cover photograph promoted a colour centre-spread on skiing.

Marketing was vital to keeping up magazines sales, so this issue included:

  • A win a car competition – promoted on the cover as the £1,000 competition.
  • Free insurance offer for registered readers – a technique that went right back to the 1880s with railway insurance from Tit-Bits and, in the First World War, insurance against being killed or injured in a bombing raid in Britain.

Note the plug on the cover for that other vital ingredient of magazines, fiction, with the ‘Trustee from the Toolroom’ by Neville Shute being serialised.

Today was printed by Odhams in Watford, Herts, and published by Odhams Press, Long Acre. The editorial office was at 189 High Holborn. It came out every Wednesday.


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