Essay 1

What is Publishing and Editorial Design?

Publishing, from a broad perspective, is defined as the means of ‘making information available to the public’ (The National Archives). Information is spread to meet the demands of consumers, in an array of formats such as books, newspapers, magazines, ebooks and online articles. These can be distinguished into two categories - periodical and non-periodical; periodical being regularly printed matter such as newspapers (Unwin, Tucker and Unwin, 2019). The physical process of printing has transformed hugely, from its origins within the Ancient Sumerians, the invention of the printing press, to the revolutionary digitised publications of our current day and age. In the parameters of Graphic Design, editorial design is the process of aligning a publications’ content to the interest of readers; Magazine Design (1999) considers that the editors’ job is to ultimately ‘decide what is and what is not of interest to readers’ (Young and Foges, 1999). Akin to this, editorial design is observed as shaping ‘new design vocabularies’, noted by critic Teal Triggs.

At the forefront of the renaissance, the invention of the printing press by German goldsmith Johannes Gutenberg during the mid 15th century was a significant turning-point in the journey towards mass printed matter; prior to its invention in Medieval Europe, publications were hand-written by scribes, an art known as ‘incunabula’ (Unwin, Tucker and Unwin, 2019). Within Stephen Fry : The Machine   That Made Us (2008), the history of the printing press is explored through the analysis of the Gutenberg Bible (Figure1) and its impact. It is argued that Gutenberg kick-started the mass production of texts within Europe by introducing whole new approaches to printing, and this success was aided by the Churches support as it favoured new Christian unity. Despite this, it is considered that the first movable type in fact originates in 11th century China; a process known as ‘block printing’ (Figure 2), used centuries before Western developments in printing (britannica, 2019).

Notwithstanding, through the Bible’s mass production, Stephen Fry highlights the knock-on effect on literacy in 15th century Europe; preliminary to its invention, books were exclusive to limited higher classes, whereas following the Gutenberg Bible, books became available to lower and middle classes, thus increasing literacy within Europe. 

However, publications in Europe during this period were censored massively by the Church; written matter was censored before the invention of the printing press, especially within universities during the late Middle Ages. Censorship was later enforced within the decree in 1543 that ‘no book might be printed or sold without permission from the church’ (Unwin, Tucker and Unwin, 2019). In spite of this, it is considered that books are the most lasting non-periodical genres of publications, due to their role as a ‘storehouse’ for national heritage and culture (Britannica, 2019).

On the contrary, Newspapers are widely recognised as the most mass produced periodical forms of publications; published regularly, functioning to inform people on current happenings. (Benjamin Sawe, 2017) navigates how early newspapers came into circulation swiftly after the introduction of the printing press, and were often sensational, propagandist or heavily censored by governments. The first newspaper ‘Relation’ (Figure 3), a German newspaper published by Johann Carolus (1609), was printed in blackletter type and featured a header hierarchy that exists as a function of newspapers today (Worldatlas.com, 2017). 

(Unwin, Tucker and Unwin, 2019) elaborate on the evolution of newspaper production subsequent to technological developments of the Industrial Revolution in the West (1760-1840). Steam driven double presses (Figure 4) were introduced into the publishing industry; in 1814, this method was adopted by The Times in London, which increased newspaper production to 5,000 copies per hour. This later evolved into automatic typesetting on the linotype machine invented by Ottmar Mergenthaler 70 years later. Consequently, more economically viable methods alongside cheaper wood pulp paper made newspapers more suitable for mass consumption, which further improved literacy within Europe and America. Progressing over a century later, the use of metal type came to an end in the wake of computerised printing, introducing an early method of what we use today; within the documentary (Farewell, Etaoin Shrdlu, D. Weiss, 1980), The New York Times’ last use of metal type in 1978 is depicted, showing the shift from a workforce in linotype operation, to a workforce in offices (Figure 5).

Magazines, initially ‘periodicals of amusement’, also came into circulation not long after the invention of the printing press; surveyed by (Unwin, Tucker and Unwin, 2019), early magazines contained philosophical, political and literary discussions, which were strongly targeted to an upper class audience. Benjamin Sawe discusses this exclusivity in the premise of the first weekly magazine published in France and founded by Theophraste Renaudot in 1631; formerly known as Gazette De France (Figure 6), the magazine was noted as ‘the mouthpiece for the legitimists who were a royalist faction’. Amidst the mid 18th century, magazines began to target specific consumer groups, shaping into the functionality of what magazines are today. Akin to this, Magazine Design (1999) touches upon the idea of the word magazine originating from the Arabic ‘storehouse’; magazines are primarily a collection of diverse elements curated into a functional whole that targets specific consumer interests. (Young and Foges, 1999).

(The Newsstand, 2016) explores subcultures of magazine production, and individuals behind counter-culture zines; following the invention of the printing press, pamphlets and zines have obtained the role of representing marginalised voices and political opinions. During 1960’s totalitarian South America and Eastern Europe, AA Bronson navigates how artists utilised pamphlet/zine formats to communicate ideas which were otherwise deemed illegal or dangerous. Platforms for independent voices later became popularised with the outburst of punk self-publishing circa 1977, mostly consisting of vinyl and zines (Figure 7). Bronson touches on how this inspired minorities to speak out during the 80’s, in a new generation of ‘queer zines’ such as ‘J.D.s’ (Figure 8); a queer punk zine from Toronto co-published by Bruce LaBruce and G.B Jones which allowed ‘aesthetically, sexually and geographically marginalised voices to be heard’ (Bronson A. 2016).

Throughout the evolution of printed matter, editorial design has played a massive role regarding its impact on stylistic developments in design, conversed within (Magazine Design, 1999); Critic Teal Triggs recognises magazines as ‘laboratories of experiment’. A defining moment within editorial design is highlighted as the revolutionary Modernist design in post-war magazines; a prime example discussed is ‘Twen Magazine’, published in 1960’s Germany and edited by Willy Flekhaus (Figure 9). An article on the legacy of Twen (magazinedesigning.com, 2013), discusses how the publication encapsulated attitudes of their post-war youth audience with graphic sans serifs, rigid grid layouts and images considered ‘erotic’. This Modernist approach shaped todays’ editorial design; Flekhaus’ techniques of hanging text to create rigid footers is seen in contemporary magazines.   

On the other hand, 90’s Postmodern design explored in an interview with David Carson (Adam Butler, 2014) sheds light on how editorial design can serve as a platform for emotional connections with audiences. Carsons’ ‘Ray Gun’ magazine (Figure 10) was recognised for its’ postmodern attentiveness to following no grids, formula or format; describing his work as ‘experimental, intuitive and personal’. This personal aspect is what defines a key function of editorial design, hence Carson wanting his work to ‘connect with people on an emotional level’ which he feels is ‘most effective and lasting’. (designbloom.com, 2014)

In the era of the internet, many local UK newspapers closed printing entirely; a report by Tim Adams (Theguardian, 2019) discusses how ‘from 2005 to the end of 2018, there was a net loss of 245 local news titles’. However, this has not been the case for some; according to (theguardian, 2018) the news title planned to create a coexistence with their tabloid print format, alongside a digital redesign. It may be argued that the internet is an exciting time for publications due to an evolution in the ease of creation. (Magazine Design, 1999) navigates how ‘technology has made magazine production a geographically flexible business’, as with desktop publishing, anyone can create a publication. Despite this fact, the book argues that although publication design is more accessible, a successful magazine still requires specialists for each component, identifying that creativity and skill sets are still needed in the era of the internet.

Bibliography 

Young, X. and Foges, C. (1999). Magazine design. Crans-Près-Céligny: Rotovision., pp.06-15

Bronson, A., Saveri, L., Miller, K. and Wawrzyniak, M. (2016). The newsstand. New York: Skira Rizzoli Publications, Inc., pp.49-50.

The National Archives. (2019). What is publishing? - The National Archives. [online] Available at: https://www.nationalarchives.gov.uk/information-management/producing-official-publications/publishing-guidance/publishing. 

Unwin, G., Tucker, D. and Unwin, P. (2019). history of publishing | Forms, Development, & Facts. [online] Encyclopedia Britannica. Available at: https://www.britannica.com/topic/publishing.  

Sawe, B. (2017). The Oldest Newspapers Published In Europe. [online] WorldAtlas. Available at: https://www.worldatlas.com/articles/the-oldest-newspapers-published-in-europe.html.

Nikola (2013). Twen – The Most Influential Magazine of All Times?. [online] Magazine Designing. Available at: http://www.magazinedesigning.com/twen-the-most-influential-magazine-of-all-times.

Butler, A. and Carson, D. (2014). interview with graphic designer david carson. [online] designboom | architecture & design magazine. Available at: https://www.designboom.com/design/interview-with-graphic-designer-david-carson-09-22-2013. 

office, G. (2018). Guardian and Observer launch new tabloid format and digital redesign. [online] the Guardian. Available at: https://www.theguardian.com/gnm-press-office/2018/jan/14/guardian-and-observer-launch-new-tabloid-format-and-digital-redesign. 

Adams, T. (2019). Final editions: why no local news is bad news. [online] the Guardian. Available at: https://www.theguardian.com/media/2019/sep/29/local-newspapers-closing-down-communities-withering. 

Stephen Fry : The Machine That Made Us. (2008). [video] Directed by P. McGrady. UK: BBC.

Farewell, Etaoin Shrdlu. (1980). [film] Directed by D. Weiss. New York.