Magazine layout workshop

Today’s workshop consisted on researching and observing different magazines and get layout inspiration from it for our zines. We had to work in couples, and me and my couple Finn, chose the magazine FRAME to describe and analyse and then share it with the studio. The second task of the day was to design our own cover for the magazine in an hour, altering the hierarchy of the elements found on an magazine issue, and improving a thematically magazine, suck as fashion, architecture, design, photography…

We came out with a bright yellow cover, a architecture magazine. Black and yellow are a combination of colour which people are drawn to. The issue number on the left top corner, no margins. Barcode as a centre piece, framed with a square, since we decided to call it Block. It was a very quick and successful outcome. A helpful workshop that made me realise that designing it’s not always about following rules and stereotypes, but to be more playful with the design and chanting things for a purpose.


Studio culture week – Fedrigoni

Our third studio week visit was to Fedrigoni, a paper supplier company. A place where we got learned that there are infinite kinds of papers.

The staff was really kind to show us around the studio, talked about how the paper is produce and what different projects and magazines they’ve worked for.

Studio presentation wise was the best one out of our the visits in my personal opinion. They had a selection of different books, magazines, 3d paper figures and boxes placed in shelves. And several drawers with booklets that contained different paper types, different colours, grains, transparencies…

They were so kind to let us take as many pictures as we wanted to and even gave us some postcards and books for us to have individually and on the studio.

Studio culture week- Magculture

On our visit to Magculture we got to experience more than 300 magazines, in a small shop, all different in style and theme.

img_1349It’s a place for people interest in editorial design to visit and buy and build their own archive or just go and have a look to what’s out there right now in contemporary design.

Their blog features a different magazines or book everyday, writing and article or
review about it. And it’s a really good site to spot new book and magazines out there that are not so easy to find in normal shops.

A great experience and staff that talked to us about the shop and site and showed us around.

Publishing Unbound brief

As a studio, we have to create a snapshot of contemporary design publishing from our perspective in London. Using research and visits we will write and article and create a posterzine with it as a respond to it.

Our outcome is:

– To create a posterzine that contains:

  • A double page article on contemporary design publishing
  • Cover and back cover for the zine
  • A3 typographic poster related to our article of choice

-25 a5 printed edition copies. A3 folded, printed one colour only and with printing method of choice.

-Impression identity proposal ( presentation and pdf)

-Publishing unbound binding system of our choice

Accompanied by sketchbook research and development, blog post about process and research and final outcomes.



Studio culture week- Hato press

First studio we visited during our studio culture week was Hato press, a risograph printing press based in Hoxton, London.

It was a very small place where they had some of their work laid out on the walls and others for sale. After explaining a few things about their studio and work , they took us to a smaller room where the risk printer was, and where we were shown how the printer worked. The studio was really colourful – complimented only by the chemistry between the people that worked; which was amazing in itself – they even told us how they had lunch together everyday and one of them was meant to cook each day!

Melancholic simplicity

Simplicity and sensuality, two factors always present in her work; Maria Klimko talks about her journey into editorial design as an illustrator and Graphic designer.

How have you developed your illustrative style during the past few years? (how has it changed?/ Do you think it has changed?)

I love sensual things. I found it sad that it is not that much of them out there nowadays. The evening is so fast and striking. Sometimes it is really nice to take a little break and soak all of these wonderful things around. That’s exactly the reason that my drawing skills never stop developing. These are the perfect moments of falling into everything that happening with yourself or the outside world. And as a hopeless dreamer I have plenty of those moments, which gives me lots of practise. Illustration is all about practise the use of your hands to reflect on what you feel and think, practise to see things around and practice to filter unnecessary details. My style is developing with all of the mentioned points. I learn to choose more important themes to discuss and research a lot of contemporary illustrators to see the direction where the industry goes.

I find studying graphic design very useful for developing my illustration skills. I learn how to reduce the amount of unnecessary distracting details and replace them with my creative voice. The last few years have helped me to approach the beloved ‘less is more’ concept.


Why did you decide to focus on publishing, choosing the press pass studio? Is your work mainly illustrative?

Publishing industry defines the best collaboration of many creative elements together to summarise the contemporary culture.

It is a rich cocktail bringing together photography, illustration, writing ,typography and other creative ingredients into one perfect outcome. I was always fascinated by all of them. I think for a designer or illustrator it is really important to know all of them. Every skill is like another language you use to express yourself better, depending on your location, or in terms of graphic design, helping the practitioner involve relevance to the issue at hand.

What was your favourite project during your year at the press pass studio? Can you briefly talk about it?

My favourite was the Grafik Takeover brief, led by Angharad Lewis. We had to crate a publication featuring a selection of articles from Grafik magazine. My magazine, ‘no 5’, about logo designs particularly explored the way in which shapes can be manipulated in positive and negative space. The manipulation of such shapes often portray variations of unique beauty, depending on each other. Its intent is to break down logo designs to create a story behind its creation.

I have always had a fascination with logo design as it portrays context of its use with compact meaning and depiction, with a complicated process of branding, and yet delivers its message with minimalistic appearance. The logo is what truly expresses the concept of ‘less is more’.

img_8299From a simple accident of inverting an image of a wall paper, I received an entirely new creation of a recreation of our universe. This issue has 5 double-page spreads, one for each logo, which portrays incredible investigations, with separate and unique potentials. As we receive individual complications of textures, patterns and use of space, these logos therefore create dependant stories, driving a progressing journey across the universe and further.

How do you incorporate your illustrative style into your publishing studio work making it your own?

Illustration doesn’t necessarily involve drawing skills. It is the way of approaching the technique of approach to the subject. In my case it is always hidden in details as a choice of textured backgrounds, ‘speaking’ typefaces and little changes I bring to letterforms used in a particular project. The Illustrative approach brings more depth into designs.


As for every other project, research is key. How do you research and develop initial ideas into your final pieces? what are the stages you go through? Do you enjoy the process? is it collaborative?

The research aspect can be difficult for me. I am the one who is definitely learning from my own mistakes. However, the creating process is something really intimate and passionate for me. Quite often I find myself having an endless amount of ideas in my head, usually they develop even too quickly to catch them. So research is a great tool to learn patience and reach a calmer approach to my work.

The first stage of research for me is always collaborative. Good conversation is probably the best way to start any project, sometimes I’ll find my reflection in another person and sometimes our opinions will be completely opposite, but it’s always something to learn from.

In the work process itself I am a loner. I always treat my projects as a plot for a film. Creating a story behind of what’s shown in a final play, choose the right background music and set up imaginary stage lights to reach a perfection for every character involved.

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