PORT magazine launches
The cover features Port 1 typeface, created by Matt Willey
The self-styled "intelligent magazine for men", new UK quarterly PORT is out today. We spoke to editor Dan Crowe and co-creative director Kuchar Swara about what it takes to bring a new men's title into being and why they still have faith in print...
Swara, who works out of Swara & Co., and fellow creative director Matt Willey of Studio8 Design have been hard at work on the design of the launch edition of PORT magazine, the cover of which features a portrait of Daniel Day-Lewis, whose report from Gaza runs in the issue.
In the flesh, PORT mixes classic and contemporary elements – there's the more traditional magazine illustration of Dan Williams' Secret City pages, alongside great imagery from photographers such as Neil Gavin, Robin Broadbent, Tara Darby, Tobias Harvey and Markus Bühler-Rasom.
An interesting feature of the magazine's design is the use of single page, typographic-heavy openers to larger features. It makes for a more thoughtful and considered approach to the reading experience, something that (unlike the majority of men's titles) actually slows the pace down a little.
Equally, the PORT iPad app, designed by Jeremy Leslie, offers a seamless transition to digital. The pages are elegantly reformatted to fit the tablet; it's devoid of gimmickry and pleasingly reflects the clean design of its printed edition. The launch issue is currently free to download for the iPad, here.
We spoke to Swara and editor Dan Crowe about their thinking behind PORT.
Section openers also employ the Port 1 face
Why launch a new men's magazine now? And why in print?
Dan Crowe: Men's magazines have been getting worse and worse over the years. They used to be strong, publishing great fiction, interesting photo shoots and intelligent commentary, but it got to the point where we were looking at what was out there and couldn't name a single one that we bought or enjoyed. So we thought we'd do one for us to read.
Kuchar Swara: We think there's still a strong appetite for print. It has qualities that digital formats can't really compete with. In terms of men's titles, we don't really feel that there's a magazine in the market which covers the range of topics that the modern male reader will want to buy regularly. Most men's magazines focus too much on either celebrity, style, design, business or sex. It seemed to us that both the consumer and advertisers are ready for a new title.
Dan Crowe: It's as if people assume the world of objects has been obliterated by the digital revolution: this is, of course, not the case. Magazines are still great things to hold and consume. Magazines like PORT are in a really strong position. Our pre-bookings from our distribution company were huge.
How will the design and art direction of PORT reflect these attitudes?
Kuchar Swara: Both myself and Matt [Willey] felt that whatever we designed had to be different. The character of the magazine, through its design and art direction would be vital in setting a tone of voice that establishes our position in the market. The range of topics are quite diverse; we knew that it would be important for the design to tie the sections together calmly and seamlessly, to allow the content to speak for itself, and to be readable, functional and portable (i.e. light and able to fold back on itself).
Port clearly has a belief in the power of bold, stand-alone typography. What's the thinking behind the typographic right-hand page openers to the larger features?
Kuchar Swara: Matt and I both had similar reference points and a shared passion for bold typography. We went through some old type specimen sheets, choosing a few that we thought were interesting and relevant to the aesthetic we were after. Matt has a real passion for bespoke fonts and drew Port 1 which is the stencil typeface that we use on the cover and section openers. The other font – used to open the features – is MFred which Matt also drew.
We were concerned that the traditional makeup of type against pictures to open spreads can sometime be dangerous, as the type can overshadow the imagery or maybe even the content. So the formula is broken; we've separated the big type opener and big bold image so we could have the best of both worlds.
Dan, can you expand on the reference you make on the PORT website to the extended interviews that ran in magazines in the 1960s. Is that period of time an influence on PORT more widely?
Dan Crowe: It's the attitude that magazines had back then: give a feature the space it needs. Nowadays, publishers don't allow features to run longer than a certain amount of pages as money could be made selling to advertisers. There are profiles in the Esquires of the 1960s, essays in Playboy by Hunter S.Thompson, that run to 40 pages. I love that. People say that our attention spans have reduced and that's why we don't have such long features anymore, but the truth is that publishers have lost focus on what they are producing.
Profit has become the key focus and so the quality of content has dropped. We wanted to respect what was happening back then, get back to proper, large scale, superbly reported and photographed stories.
PORT is available now, priced £6. The PORT iPad app and full website has also just launched. More at port-magazine.com.
Think I'll stick to Monocle
a mens rather than a boys magazine would be good...
I love the typeface, some great photography and layouts.
Simple slick, with some old school twists. I really like it.
It reminds me of a classic car. Beautifully designed and a pleasure to drive,
This looks like the kind of magazine that I could subscribe to. However, the editors need to re-consider whether a digital edition would complement the print edition.
Interesting design, I can see some techniques from national newspaper magazines coming through.
I got a real shock when I saw Joel's link! The essence of man in 2011. Heaven forbid.
Love the layouts though guys.
Like the minimalistic cover, short (serif) title with gold foil blocking. Helps to have someone like Daniel Day Lewis...wonder who they will use on the next issue?
However, that 3 column solid grid on the left page looks too text heavy and not inviting enough to read? Do like the slowed down approach with not to much shouting out with a subtle colour palette.
May look out for it in the newsagents...how much does it retail at?
Love, Love, Love
LONG LIVE PRINT.
Really cool to still see new print publications emerging and I really love that bespoke font and confident use of space. The majority of our work is also for print. However, one of my first thoughts was, would I actually buy it? This surprised me, but I have noticed recently that I read more on screen than I do from print. Even with CR which I actually subscribe to in printed format. I am guessing it is now a common trend.
Therefore, are printed magazines are reaching the end of the line? Or will it just be a case that only those with the strongest backing survive and therefore make the actual quality of design and content less relevant to success?
I hope this is not the case, however I do now feel it is essential for any potential magazine launch to embrace digital. Creating and developing an iPad/iPod & Android version is both time consuming and costly, which again may reduce the number of potential print magazines reaching the market. PORT have wisely created an iPad version. However, once the reader has downloaded the first edition, if he enjoyed it will he now buy the next edition in print or for the iPad? He is now familiar with the digital format, it is probably cheaper and certainly less effort to buy.
Just downloaded the FREE ipad edition - I was going to go out a look for the print version but I dont need to now! - read the x2 articles I was interested in. I like the simplicity of the design, but the cover concept makes me feel like I know what every cover will look like from now on. A little more design would have helped the pace - layout feels a bit repetitive, some nice photography but you need more. The overall feel is too retro for me.
I wont be subscribing just yet, will be interesting to see how this evolves in the second issue - I think there is alot of room to improve. Editorial is fair, but the main sections need more definition. I'd like to see more variation on the page designs in general, feels like a novel. Also, how will this publication survive if there is no advertising? change the design into something more unique and the advertisers will come. Good luck.
BTW I love print, so I will certainly lookout for this on the shelf, but judging by the ipad app, you may have lost me already.
Nice typography, and beautiful layout.
The concept is great, but it misses completely. The style conent is either hackneyed and obvious or depressingly conservative. The literary content varies in appeal but overall has the feeling of last years Sunday colour supplement. There is, unfortunately, very little to excite content wise.
The overall use of the medium in visual terms is pleasing - just like the other magazines in the genre alluded to by Joel above. The iPad version, however, will not be doing the circulation of the magazine any favours - if you want to have any authority on 'style' that is one thing you must get right.
Overall, very last February but grat that DDL was able to give the Palestine issue a bit more airing.
|Eley Kishimoto graffiti at Brixton tube station (2)|
|What would a UK flag look like without Scotland? (43)|
|Intense new Jonathan Glazer ad for Canon (6)|
|New Jeanette Winterson covers from Vintage (7)|
|The House of Vans opens in London's Old Vic Tunnels (13)|
|What would a UK flag look like without Scotland?|
|A2 & New North Press’ 3D-printed letterpress font|
|If illustrators designed football shirts...|
|What makes a great image? CR's Photo Annual judge Gemma Fletcher shares her favourite work|