Showing posts with label Brief 3: DC Publication DC. Show all posts
Showing posts with label Brief 3: DC Publication DC. Show all posts

Monday, 23 April 2012


Following your dreams can be daunting, but the creative rewards are priceless, says Bec Brown

We live in an age of information overload, with new magazines launching regularly – and sometimes folding just as quickly. The internet is awash with websites, blogs and millions of pages of information relating to any topic you can think of, while established newspapers and magazines are debating how to adapt to the new world of online publishing where anyone can launch a blog or website. In such an environment, why would anyone choose to launch an independent magazine? And how do you make it a success?

I’m sure many people thought I was crazy when I decided to launch Blanket magazine. But I had a dream and I wanted to follow it. There are lots of challenges involved in independent publishing and it can be daunting if you don’t have a well-thought-out plan. I’d recommend that anyone thinking of launching their own magazine, whether printed or online, should start with some basic questions, such as target audience, your point of difference, how often you will publish, contributors and how you will pay them – with love or money!

There are lots of resources available on how to start a magazine, but the real challenge isn’t the launch, it’s afterwards: how do you keep it going? And not just this month or the next, but indefinitely. I’ve produced Blanket for more than five years and have overcome many obstacles on the way, relying mainly on my instinct. I haven’t found a formula to success; it really boils down to sheer dogged determination, hard work and the sacrifice of your free time – and you need to be prepared to do it for little (or no) monetary reward. As the old joke goes: ‘How do you make a small fortune with a magazine? Start with a large fortune’.

As an independent publisher I don’t have an office of people to bounce ideas off, or help with important decisions or the day-to-day administration. But I do have a trusted support network of friends, family and Blanket contributors who have helped keep me motivated. I’ve surrounded myself with people who I’ve shared my dream with. Even if they don’t always understand it, they respect it and help push me along when I feel overwhelmed and want to quit. There have been many times when the best – and probably smartest – option might have been to fold the magazine. But, with support and determination, I’ve made it through each challenge that I’ve faced.

I launched Blanket as a free publication. However, as the readership grew, so did the demands on my time and finances, and I realised I would have to make some tough decisions to sustain the magazine. So I implemented a small download fee, which was the biggest challenge that I’ve faced in independent publishing. I’d previously surveyed my readers and more than 70 per cent said they wouldn’t pay to download the magazine. While this was disheartening, a glimmer of hope was that at least one-third of my audience would consider paying. At the time, the decision was to fold or charge a fee. It was daunting but I had nothing to lose – except my magazine – so I decided to take the risk.

When I released the first paid issue of Blanket, my readership dropped from thousands of downloads down to a few hundred. And while this could be considered a failure, the surprising result was that my confidence grew. I had an audience who valued what I was doing and thought it was worth paying for. To me, that was a personal success.

My most recent challenge was producing Blanket’s first printed edition. Again, some might have seen this as another crazy decision: I’m swimming against the digital stream – while other print publications are exploring ways to adapt from print to digital, I’m researching printers and paper samples. But this was a direction I wanted to explore, so, once again, I’m testing myself with new challenges.

Independent publishing might seem overwhelming and challenging with little reward. But to me, success isn’t just measured in monetary terms. Independent publishing requires hard work but it’s worth it: you gain the opportunity to work with lots of talented people who you admire, and are creatively challenged and inspired along the way. And in the end, if you have a dream to start your own independent magazine, isn’t the real success in achieving your goal?

ISBN Services for New Publishers
The UK ISBN Agency provides the following services for new publishers:
  • Provision of advice concerning the ISBN system
  • Allocation of ISBN publisher prefixes and numbers to eligible publishers based in the UK or Republic of Ireland
  • Registration of new publishers and their ISBN prefixes for inclusion in the Publishers International ISBN Directory and the Nielsen Book’s Publisher Database.

Completed Application Forms
 
Completed application forms for ISBN prefixes and numbers can be posted, faxed or emailed to the agency. ISBN allocations are issued to you by email unless you request them to be posted.

The standard processing time for an ISBN prefix application is 10 working days from receipt of the application form; this assumes the application form is legible, fully and correctly completed, and is accompanied by the correct fee. Payment can be made via Visa / Mastercard / Maestro (Switch) or cheque.

For an additional fee, applications can be "fast-tracked", in which case the processing time is reduced from 10 working days to 3 working days.

The following services are available to new publishers, i.e. persons or organisations who have not previously been allocated ISBN prefixes in the UK or Republic of Ireland.


self publishing


  1. Research. Don't kid yourself. Creating and self-publishing a magazine can end up being an expensive task, both mentally and financially. Research is required!

    Online Magazine Software

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    • Is there a magazine currently in circulation that is already providing similar content?
    • What makes it a winner?
    • What makes it a loser?
    • How will your magazine be better?
    • Or, will your magazine be absolutely the only one of its kind reaching your target demographic?
    • What is your target demographic looking for in a magazine?
    • What other magazines are targeting the same demographic?
    • From which can you learn the successes?
    • From which can you learn the failures?
  2. 2
    Consider your options and costs, together. Realistically. We know your circulation will be one million copies by the end of the first year, and your profit margin will be 85%. But, let's pretend, just for fun, that you might have a few hiccups along the way.
    • What are your printing options versus your budget?
    • How many pages need to be color, and how many can be black and white?
    • What is your circulation target?
    • What are your circulation and distribution options?
    • Is sponsorship an option?
    • Is it possible to secure advertisers for your first run before going to press?
  3. 3
    Find your exact audience - not just the general audience. You need to know exactly who your target demographic is. Without knowing this, it will be difficult to properly layout your magazine content, market your magazine, or secure serious advertisers. Assuming you know quite a lot about your magazine's subject, this shouldn't be too difficult. Sign up for discussion groups (such as Yahoo), subscribe to other magazines, join local groups, etc.
  4. 4
    Create a website. Before you get the word out about your new endeavor, you MUSTpublish a website. Work to make the site as professional as possible. Don't advertise the fact that this is a one-person gig.
    • On your site, you should have a page for contributors. This allows you to mark deadlines, point out what sorts of articles you'd like to receive, and let writers know how you'll be using their work. List your pay rates and what rights you intend to purchase.
    • You should also have a way for people to subscribe online, if at all possible. Paypal is a good way to do this, at least when you're just starting out. If you don't want to take subscription orders online, make sure your address is easy to find and note what forms of payment you DO take. If you accept checks or money orders, you'll need to get a DBA (doing business as) so that your bank will accept checks made out to your magazine name.
  5. 5
    Solicit articles. Post a "call for submissions" to your newfound groups. Try to get your notice on a few high traffic blogs. If you're looking for more general articles, try posting your notice at the local library. Consider placing a classified ad in magazines with a cross-over audience. A call for submissions will not only net you articles; it will drum up anticipation for your new publication. Don't forget to point people to your website!
  6. 6
    Search out advertisers. Since your magazine isn't established, you might consider charging a nominal amount for ads ($20-$50). Consider who might want to advertise in your publication, and don't be squeamish about contacting them. You might look for members of your online discussion groups who place business links in their signatures.
  7. 7
    Edit. Once you're armed with a binder full of possible articles, choose the most interesting, best-written pieces of the bunch, and grab your red pen. Try not to be too heavy-handed. Writers will submit more often to an editor who doesn't mangle their work.
  8. 8
    Send the edited articles back to the writers for them to look over. You don't necessarily have to wait for them to approve all changes, but allow them to question or challenge any editorial decisions you've made.
  9. 9
    Serif Design Suite has PagePlus, PhotoPlus, DrawPlus and WebPlus
     Serif Design Suite has PagePlus, PhotoPlus, DrawPlus and WebPlus
    Adobe Creative Suite includes Acrobat, Dreamweaver, Illustrator, Premiere, Photoshop, InDesign and After Effects
     Adobe Creative Suite includes Acrobat, Dreamweaver, Illustrator, Premiere, Photoshop, InDesign and After Effects
    Begin laying out the magazine. Professionals use desktop publishing (DTP) software such as QuarkXPress (the industry standard), Adobe InDesign (or the older version, PageMaker) but Scribus and even word processors (which can handle layout) such as OpenOffice.org Writer are free. Get to know your layout program inside and out. Look at other magazines for design tips. You might also check out books devoted to the subject. Have the authors sent you photos to run with their work? Do you have photos of your own? If not, consider purchasing stock photos (easily found on the Internet). Buying a bundle of cheap stock photos may be the best purchase you ever make.
  10. 10
    Once you've got the layout set - inside cover, outside cover and pages - find yourself a reliable, well-priced print shop. Printers' prices vary greatly, so plan on spending some time asking around and getting samples. Look for one that will do laser, rather than off-set, printing. This will save you TONS of money.
  11. 11
    If you're starting cheap, buy yourself a decent black and white laser printer with duplexing. Duplexing will prove to be the most important feature of the printer. If you put some time into your search, you should be able to find a good printer for a few hundred dollars. This should be sufficient for the inside pages. The cover should still be done at a print shop, if at all possible.
  12. 12
    While you're busy printing, market the heck out of your publication. Online groups, other magazines, blogs (consider starting your own), MySpace, Google's AdWords, etc.
  13. 13
    Send out the magazines! Keeping a database of subscribers might only need a spreadsheet program such as Excel or the free OpenOffice.org Calc but a dedicateddatabase program is better. Make sure to talk with your post office about the best way to send out your new publication. They'll have great, time-tested ideas and may be able to save you quite a bit in postage costs.

Wednesday, 7 March 2012

INTERVIEW WITH OK-RM BY Justine Brilmyer


original post:




Justine Brilmyer: First off, when would you say you started designing?
Rory McGrath: From a very young age, I think its something you could trace back to infancy. In terms of graphic design as a profession after I graduated in 2001.
JB: What first drove you to design and what kinds of things did you create? 
RM: I was drawn by the control it gave me, or would give me. I'm not sure I created much until I was first commissioned to make a flyer in the first year of college.
JB: What were the first design objects you made?
RM: Flyers for music events at college.
JB: Do you feel your early projects still reflect who you are now?
RM: Not at all.
JB: Is there a particular project, or time period, where you wish your work could have been better or different in some way? 
RM: Too early to tell.
JB: Where and what did you study?
RM: Bristol UWE, Graphic Design.
JB: Do you think you learned more about design in or outside of the classroom?
RM: Outside, definitely.
JB: Which designers were important to you in school?
RM: I was instantly interested in Josef Muller Brockmann, but I didn’t know much about other designers at that time.
JB: Was music or art also a big influence?
RM: Definitely
JB: What music and which artists or movements?
RM: Reggae, the album covers from the 70's are absolutely amazing, I was looking at art a lot, but more sporadically, I did not start to gain concrete knowledge in this until after college.
JB: Why do you think this music and these artists in particular had such a great influence on you?
RM: The untrained craftsman approach felt very honest.
JB: Can you say a little bit about how they affected you work, or your way of thinking afterwards?
RM: I think it made me want to make design that remained tactile and pure in some way.
JB: Are you still influenced by the same things today?
RM: Yes, but my scope of reference is now much wider.
JB: What designers or artists do you like now?
RM: Many, every day I find another artist or designers work that I find interesting in some way.
JB: Are there works that particularly inspire you?
RM: I would say Sol LeWitts approach is very inspirational, any of his works.
JB: Is there an art/design movement or an artist that you find uninspiring?
RM: I am not that aware of terms for design movements. I would say I am part of one but its not got a name yet!
JB: What don't you enjoy about their work?
RM: Its too abstract to discuss
JB: When you sit down to design something, how do you decide what to make?
RM: We evaluate the commission and try to find clues that will give us a lead to a certain logic or way into a project. Each project has its own process; some are similar but never the same.
JB: Do you usually come up with your ideas at a computer or in a sketchbook?
RM: Over a sketchbook, but lots is worked out through conversation.
JB: How much freedom do you usually have when you design for a client?
RM: At the moment we have quite a lot, we earn trust quite easily because our ideas are always closely linked to the problem, so I guess they make sense to the person we are working with.
JB: Do you ever come up with ideas and designs for clients that are not necessarily what was asked for? If so, how to you present your new idea to the client?
RM: All the time, we make detailed presentations and put forward arguments.
JB: Do you have friends and associates who are designers in London?
RM: Lots, sometimes it feels like too many :-)
JB: Do you think that the design scene in London is different from that in New York? 
RM: Yes, not worlds apart but there are core differences.
JB: If anything, what do you prefer or dislike about each of them?
RM: London is like the capital of graphic design, it is full of most of the best in European designers as well as British so sometimes it feels like creating your own space is harder than it should be in another city. New York is full of opportunity lots of clients that would have connections in London are still unaware of what design can do for them so its like an un-tapped oil well. I guess this means when working with clients in London they are more savvy which makes it easier to communicate with them about the design. In New York it’s often the opposite.
JB: Do you think of yourself as being part of a movement? (like artists have movements: Expressionists, Cubists) 
RM: I am not that aware of terms for design movements. I would say I am part of one but its not got a name yet!
JB: If you do, what is the movement called and what ideas are important in this movement? 
RM: No name and the ideas are still being written.
JB: Do you prefer working alone or with a partner(s)? 
RM: With partners.
JB: Do you teach?
RM: Just started.
JB: Why did you decide to get involved with teaching?
RM: To help pupils gain knowledge and to help me gain knowledge.
JB: What do you most want your students to learn?
RM: How to have one idea.
JB: What advice would you give to a young person that wants to be a designer?
RM: Hmmm, unless you are really sure you are cut out to dedicate your life to it then don’t bother.
JB: What is the best advice you have ever been given about design? 
RM: Always reduce.
JB: In general, what is the best advice you have ever been given?
RM: Same as above.
JB: How important, if at all, do you think it is to do your work on the computer as opposed to doing it by hand?
RM: Computer is a good tool; it would be not be practical for me to work in any other way.

JB: Finally, after viewing your work, what ideas or impressions would you like someone to come away with?

RM: That we understand what we were asked to communicate.