Classic news magazines get redesign

NYT magazine and Newsweek redesignsTwo magazines got a facelift in March—Newsweek and The New York Times Magazine. Jack Shafer reported on Slate that Newsweek editor Tina Brown initiated a complete design and content overhaul. At first glance, the cover line above the nameplate contains the usual list (“150 Women Who Shake the World”), with a cover story featuring Hillary Clinton rife with plaudits for the Secretary of State. Shafer opines Newsweek foolishly squanders pages that rave about Melinda Gates and her attempts to eradicate polio. He feels her efforts would have been impossible without clout from her husband, Bill. Tina Brown’s Newsweek draws the wrong lessons from the decline of print and the rise of the Web. In her introductory note, Brown attempts to build a case that Newsweek will “sift out what’s important, [and] pause to learn things that the Web has no time to explain.” Shafer feels the paper magazine failed to add anything apart from the web content, and feels underwhelmed by Newsweek‘s overall redesign, and disappointment by Brown’s efforts.

On the other hand, the first redesigned issue of The New York Times Magazine appears to be a triumph. Design director Arem Duplessis had the difficult task of taking an iconic weekly, already known for its fine design, and elevating it further. Duplessis raided the NYT archives and found inspiration in issues from the 1960s and ’70s—I liken them to Woody Allen’s timeless scrolling film titles. The design team chose a monochromatic color palette, and loaded its pages with typographic detail. My only complaint would be with its cover, which insists on cluttering with cover lines. (Remember, the magazine is distributed with issues of the New York Times, not as a stand-alone on the newsstand.) The cover layout feels tabloid-like, rather than the sharp and sophisticated cover we are accustomed to.

It is no doubt a work in progress and we shall anticipate each new issue with interest.

“I put that $#!+ on everything!”

Frank's RedHot sauce“I put that [splat] on everything!” That’s the message in the latest tv and radio spots for Frank’s RedHot sauce—its delivery is as bold as the product. The juxtaposition of the typical, bespectacled old gran spewing a barely-concealed, vulgar turn of phrase is the thrust behind a recent campaign for the spicy condiment making the rounds on YouTube. Which, of course, is what UK company Reckitt Benckiser—the current marketer of Frank’s—is banking on.

Using bold language in media is certainly not a new concept, but just how many people are complaining? The Oxygen cable television network presents a series called “Dance Your Ass Off.” One of Oxygen’s execs, Jason Klarman, admits: “The title is a little bit controversial… in cable, almost anything that is successful is usually a little polarizing.”

So in an era of media saturation, branding experts have to be “bold” with hopes of creating a memorable message. But certainly boldness employed by a cable tv network aimed at young women is less risky than doing so with a mainstream supermarket product, likely to be purchased by a wide spectrum of consumers. However, hot sauce buyers seem to be smiling at the message and continue to place Frank’s among the top leading hot sauces in the world.

Sanctuary screen printing in Austin

South Side Sanctuary El CaminoIn a warehouse in South Austin, the talented artists of South Side Sanctuary toil away on their computers and at their presses creating fashion that comments on art, music and fashion itself. Leaders Jon Pattillo and Jed Taylor do this for fun, cranking out three to five thousand t-shirts per month of their own design. But their designs are anything but mass-produced. Services also include custom designed screen-printed t-shirts, letter press-printed posters and business cards, banners, murals, and stickers. The duo started out creating merch for a record label and its touring bands. Today the company is housed in a 5,000 square foot location on South Congress Avenue. In addition to the three screen printing presses, SSS operates a 1947 Kluge open-face letterpress.

During this past year’s SXSW festival, the SSS crew could be seen rolling around town in their super-rad 1979 El Camino “delivery vehicle” equipped with a working screenprinting press in the truck bed.