Issue Three of Brick magazine launches for pre-order today having undergone a redesign by Catalogue Studio. The magazine is being released with three covers featuring Lil Yachty (shot by Samuel Bradley), Kehlani and Giggs. Inside, there are features on photographer Jonathan Mannion’s New York archive, a road trip with Denzel Curry in New Zealand, a lesson in self confidence with Jay Boogie and a chat with RZA about his veganism. Repackaged with a punkier, more zine-y feel, we caught up with Hayley and Catalogue’s Oliver Shaw (both featured in It’s Nice That’s Ones To Watch 2016) to find out more.
How has the editorial and creative direction changed in the new issue?
Oliver Shaw: We’re fans of the direction from the previous two issues, the team at POST did a superb job in bringing the magazine to life, but for this issue we set ourselves the task of flipping it on its head. We are trying to create an aesthetic that is in-tune with the music, lifestyle and feel of the shoots. We want the design to relate to the language of the articles and the overall direction we feel the magazine should head in. Less design lead and more musically driven. Taking over the direction of a magazine is a difficult job in any circumstance, but when you’re taking it over in a capacity in which you admire the previous direction, it makes it extra hard.
Hayley Louisa Brown: To echo Ollie, we were so happy with the identity that POST created for Brick, especially the masthead which we’re carrying through to this new issue. I’ve always been a big fan of zine aesthetics so it’s great to see that more raw edge come into play with this new issue. We’ve been friends with the guys at Catalogue for a long time, and we collaborated on a zine for the New York book fair last year too, so we feel super lucky to be working with people whose work we’re big fans of.
Can you talk us through the major changes?
Oliver Shaw: We initially made the decisions to pick two page styles and only set a few simple rules in terms of layout, grid and type usage. When we took on the magazine, we wanted to portray a high-end music zine aesthetic. Zines are something we’re comfortable and (dare I say it) fluent in by now, as are high-end fashion publications, for us pairing the two aesthetics works hand in hand. We want to make each opening spread as unique as the last.
We’re using the same methods we apply before we make zines; if it looks good and relates to the content we can, and will, use it. We’re using rips, scans, handwriting and custom type (shout out to Kia Tasbihgou) that pairs well with the simplistic monochrome type and image solutions we try to apply to most of our work. Luckily for us Brick has been completely accommodating in our decisions, so it’s exciting to put it into a large scale – 244 pages. As well as design we have consulted on stock and process for the overall product – seeing a dramatic change from the previous issues.
What have you learned as the magazine has become more established?
Hayley Louisa Brown: So many things! It’s hard to know where to start with this, as it genuinely feels like every day is a school day. It sounds cliché but the importance of working to deadlines and keeping a schedule together has been vital. Also, making sure we do the right thing instead of the easy thing is something I try to live by when putting the magazine together. I always want the publication to be as strong and original as it can be, and that often means saying no to things and working extra hard to secure the things we feel strongly about. And even though it takes longer, it’s always worth it.
What else do you have planned for Brick?
Hayley Louisa Brown: This time around we created the Uniqlo advert that features on the back cover from scratch, from concept to creative team and layout, and we’re starting to collaborate with brands a lot more to work on special projects such as this, which is great. We’ll have some advance copies of the new issue in Uniqlo’s 311 Oxford St store next week, as well as some super cool patches we’ve made with our artist friend Sam Bailey. We’re also developing some merch and launching our full website in the spring. And working on Edition 4 for September!
- Hold Me Closer Tiny Dancer: the Stein sisters’ heart-warming film on child ballroom stars
- Three female art directors on collaboration, competition and confidence
- Pooneh Ghana’s ambient crowd and artist portraits from Pitchfork Music Festival make you wish you were there
- Julian Glander explains what a blockchain system is for MIT Technology Review
- “It’s a process of baby-making”: designing the horrific and hilarious multiverse of Rick and Morty
- Pouya Ahmadi uses typography to “bridge the gap between poetry, performance and space"
- The Sky Sports rebrand features bespoke type and refined logos across nine channels
- Rick and Morty’s Exquisite Corpse trailer features 22 animators including Simon Landrein and Bendik Kaltenborn
- Larry Hallegua captures sun worshippers on Pattaya Beach in Thailand
- Applicants to UK arts and design university courses declines by over 14,000 this year
- Michael Bierut designs new brand identity for the Poetry Foundation
- Design, Revolt, Rainbow: the pioneering work of graphic designer Willy Fleckhaus