Tag: magazine

Port Issue 16 – Out Now

Our first biannual edition is out now, featuring Josh Brolin, Withnail and I director Bruce Robinson and a skyscrapers special

A spread from the Skyscrapers feature in issue 16
One World Trade Center shot by Dean Kaufman – taken from the skyscrapers feature in issue 16

The 16th issue of Port is our biggest yet and marks our transformation into a fully fledged biannual magazine. We’ve opted for a larger, weightier format, moved to a thicker and higher quality paper stock and expanded to 242 pages.Our newest cover features Josh Brolin of Inherent Vice and No Country for Old Men, who chats to Los Angeles film writer John Horn about working with the Coen brothers, mountain climbing, and mastering the art of bakery.

Josh Brolin appears in our latest issue and speaks to LJosh Brolin appears in our latest issue and speaks to LA film writer John HornA film writer John Horn
Josh Brolin appears in our latest issue and speaks to LA film writer John Horn

An increased number of pages means that we’ve been able to dedicate more coverage to this season’s menswear collections – as selected by Port‘s fashion director David St. John-James – by labels including Cerutti 1881, Margaret Howell, Dunhill and Stone Island.Longtime readers will be happy to see we’ve continued to develop our regular sections, including The Porter, Commentary and Fiction. For the design enthusiasts there is article on Italian furniture by Molteni&C, an interview with David Rockwell and a still life feature shot by Joakim Blockstrom.

Commentary piece written by top chef Ollie Dabbous
Commentary piece written by top chef Ollie Dabbous

Elsewhere in the issue, we travel to New York, Sydney and Washington D.C to chart the latest innovations in skyscraper construction as part of an architecture special, which sees Alyn Griffiths speak to Wired magazine’s editor-in-chief, Scott Dadich, as Condé Nast moves to its new home at One World Trade Center.Port‘s new deputy editor and online editor Ray Murphy meets ‘body architect’ Lucy McRae, who discusses how she blurs the lines between art and science; Cambridge anatomist and writer David Bainbridge considers the biological history of female curves; and the author and director of Withnail and I, Bruce Robinson, tells us what he loves and loathes.

C.P. Company's creative director, Paul Harvey, with Port's editor-in-chief, Dan Crowe, at the issue 16 launch party
C.P. Company’s creative director, Paul Harvey, with Port’s editor-in-chief, Dan Crowe, at the issue 16 launch party, which was held at C.P. Company’s Marshall Street store in March

We’ve welcomed a number of new team members, created an all-new website, which will launch later this week, and we’ll be investing more time into making beautiful and original short films for our readers to enjoy.

It’s going to be a great year, thanks for being part of it.

Click here to buy a copy of issue 16 or to find out how tosubscribe to Port

Port issue 16, featuring Josh Brolin
Port issue 16, featuring Josh Brolin shot by Andreas Laszlo Konrath

Print isn’t dead: checking the pulse of our beloved medium

People of Print founder Marcroy Eccleston Smith talks to Conor Mahon about the pertinence of the physical magazine
Print is dead

The advent of e-publishing has been described by some as print’s swan song, while others say it’s too early for a post-mortem. Over the summer of 2014, People of Print‘s founder and director, Marcroy Eccleston Smith, crowdfunded and launched Print Isn’t Dead – a quarterly magazine intended to highlight print’s relevance. As the second issue of Print Isn’t Dead hit the shelves, we spoke with Marcroy to see how the publication has developed since its launch issue.

Why do you think print is still an important medium?

Print is always going to be relevant because it’s a strong, tangible medium that works hand-in-hand with today’s digital technology and internet environment – like brother and sister. You can achieve spectacular results that you can only get through print; there are so many options to choose from in terms of substrates and surfaces, that it becomes its own subject of study and expertise.

Print Is Dead by People of Print

Print Is Dead by People of Print

What did you set out to do with Print Isn’t Dead?

Our goal is to showcase the utility and scope of print through the content and form of our magazine. We originally looked into developing a book by ourselves, but it was just incredibly expensive. We approached a publisher and the book got the go-ahead, but we began to find there were limitations to book publishing so we looked for other ways to release material.

How did you go about funding the second issue?

We decided to crowdfund it. Our motivation for using Kickstarter was so we could pay it forward; we also needed to secure the funds to pay for the printing and materials such as high quality paper.

The initial urge when funding goes well is to go for a larger print run, because then there’s more to sell, but we opted for more pages instead to free up the design. We also added two Pantone spot colours and commissioned a screen printed cover for this edition with the extra funds.

Print Is Dead by People of Print
What does the future have in store for Print Isn’t Dead?

The processes behind this magazine – the screen-printed cover, having it delivered and bound, using fluorescent ink, etc. – are layered in much the same way as an actual screen print. In the future, we’ll need a proper publishing model, which we hope to achieve by edition #3.

We’ve gained an audience through quality and for issue three we hope to build on that via HP indigo printing. This digital method would allow us to offer a print-to-order service; people could potentially customise their own front cover with 140 characters, making each magazine unique. Future editions will morph with each iteration having different papers, ink set-ups and stretch goals to continue to demonstrate the versatility of print.

Print Isn’t Dead issue 2 is out now

Print Is Dead by People of Print