Slanted Magazine #41—Amsterdam

The Slanted team went to Amsterdam to check out the design scene and fell for the charm of the city’s century-old “bruine kroegen” (brown cafes). Seeking refuge after bike rides to design studios, they were quickly won over by the cozy ambiance, dark wood, old-fashioned decor, and the aroma of fried croquettes.

Color and form play an important role in Amsterdam’s design, which is egalitarian and serves the masses. Design is ubiquitous in Amsterdam, from the bike path to the police cars and even the city crest. The maze of canals and the upcoming neighborhoods are characterized by muted tones, dominated by black cobblestones, and dark brick. Behind the facades it rattles. The Dutch have always let it rip. The orange is more intense, the red more luminous, the black more brutal. Design is radical, it crashes, it vibrates.

There are few places where color and form play such an important role. Design is innovative, modern, functional, and spiced with a pinch of humor. Design is about egalitarianism, not reserved for the wealthy elite. Design serves the masses. And so it happens that everything is professionally designed. The bike path, the kebab stand, the tax return form, the police cars, the park benches and trash cans, the vegetables.

In its 41st issue, Slanted gathers a selection of Amsterdam’s most brilliant minds and provides deep insights into their work and values in the magazine and in the numerous video interviews. Illustrations, interviews, essays, and an extensive appendix with many useful tips and an overview with the best Dutch writings complete the issue thematically.

Featured contributors: 75B, Athenaeum Boekhandel & Nieuwscentrum, Maarten Baptist, Blast Foundry, BNO, Irma Boom, Brût Homeware, Building Fictions, Mélanie Corre, Vanessa van Dam, DBXL, De Designpolitie, De Vorm, Javier Rodríguez Fernández, FreelingWaters, fw:books, Graypants, Hansje van Halem, Haller Brun, Olivier Heiligers, Juna Horstmans, Jeremy Jansen, Elisa van Joolen, Annabel Keijzer, KesselsKramer, Elisabeth Klement, Kooij, Lesley Moore, MacGuffin, MainStudio, martens and martens, Mass-Driver, Moniker, Michelangelo Nigra, nouch, Novo Typo, NXS WORLD, Moriz Oberberger, Our Polite Society, Revised, Charlotte Rohde, Rush Hour Music, Vera van de Seyp, Studio Jord Noorbeek, studioHendriksen, Sunne, Jolana Sýkorová, Terry Bleu, The Rodina, thonik, Kai Udema, Underwear, untold-stories, VANTOT, Jasper de Waard, Edgar Walthert, Julian Williams.

Beside the issue two very limited special editions have been published: A black long sleeve designed by graphic designer and creative coder Vera van de Seyp and silkscreen printed with fluorescent green by Everpress in an edition of 100 pieces only + a bundle with a DTF transfer print produced by express-transfer.de with which you can get creative. Check it our 🙂

Limited Special Edition Amsterdam: DTF Transfer Print + Slanted Magazine #41—Amsterdam

What is DTF? DTF is the short form of Direct to Film. In the DTF process, printing is done directly onto a film/foil, over which a hotmelt adhesive is spread. After drying, a fixed and finished transfer is obtained. This DTF transfer can then be pressed onto a variety of materials (cotton, polyester, leather and even solid materials)—a revolution in printing and our limited special edition on occasion of the release of Slanted Magazine #41—Amsterdam!

For the motif, creative coder Vera van de Seyp received a carte blanche from Slanted on the theme of Amsterdam. Her design is based on the reflections of the many bridges in the water of the Amsterdam canals, the coordinates indicate the position of the Dutch capital.

Application

  • Cut off the credits so that you iron on only the design
  • Press or iron for 12 seconds at 150°C, wait briefly and carefully peel off the backing paper—if you notice that it still does not peel off so well, iron/press again
  • The transfer is hotpeeled, which means you can peel off the backing paper hot
  • We recommend a re-pressing of approx. 4 sec. with the backing paper put back on
  • If necessary, pre-press the textile to remove any residual moisture
  • In the case of polyester fabrics, work with an additional cover (e.g. thin cloth) to prevent impressions from the press/iron. Also for polyester fabrics: Test pressing times, pressure and temperature in advance. It may be advisable to press or iron at a maximum of 140°C.

See our video tutorial here! You will receive a long-lasting print with a high wash resistance on textiles!

About Vera van de Seyp
veravandeseyp.com
@veravandeseyp

Vera van de Seyp is a computational designer and educator. Her work explores design systems, artificial intelligence, languages, and finding systems in chaos. She teaches and gives workshops and lectures to inspire makers to code and make their own design tools. Currently, Vera is part of MIT Media Lab as a research assistant in the Future Sketches group.

About express-transfer
express-transfer.de
@dtf_transfer_deutschland

express-transfer.de is a product of the German company Tonwerte Alex Kühn. After many years in the textile printing industry, including experience in flex and flock printing, screen printing, sublimation, and digital direct printing, the company introduced DTF—Direct to Film in 2022. Express-transfer delivers DTF transfers in the quality that will absolutely convince: brilliant colors, highly opaque white with an ultra-thin feel. You will love it!

Publisher: Slanted Publishers
Design: Vera van de Seyp
Production: express-transfer.de
Release April 2023
Printing: DTF transfer
Format: 14 × 16.4 cm
Edition: 200 pieces

Slanted Magazine #41—Amsterdam
Spring/Summer 2023

The Slanted team went to Amsterdam to check out the design scene and fell for the charm of the city’s century-old “bruine kroegen” (brown cafes). Seeking refuge after bike rides to design studios, they were quickly won over by the cozy ambiance, dark wood, old-fashioned decor, and the aroma of fried croquettes.

Color and form play an important role in Amsterdam’s design, which is egalitarian and serves the masses. Design is ubiquitous in Amsterdam, from the bike path to the police cars and even the city crest. The maze of canals and the upcoming neighborhoods are characterized by muted tones, dominated by black cobblestones, and dark brick. Behind the facades it rattles. The Dutch have always let it rip. The orange is more intense, the red more luminous, the black more brutal. Design is radical, it crashes, it vibrates.

There are few places where color and form play such an important role. Design is innovative, modern, functional, and spiced with a pinch of humor. Design is about egalitarianism, not reserved for the wealthy elite. Design serves the masses. And so it happens that everything is professionally designed. The bike path, the kebab stand, the tax return form, the police cars, the park benches and trash cans, the vegetables.

In its 41st issue, Slanted gathers a selection of Amsterdam’s most brilliant minds and provides deep insights into their work and values in the magazine and in the numerous video interviews. Illustrations, interviews, essays, and an extensive appendix with many useful tips and an overview with the latest Dutch typefaces complete the issue thematically.

Featured contributors: 75B, Athenaeum Boekhandel & Nieuwscentrum, Maarten Baptist, Blast Foundry, BNO, Irma Boom, Brût Homeware, Building Fictions, Mélanie Corre, Vanessa van Dam, DBXL, De Designpolitie, De Vorm, Javier Rodríguez Fernández, FreelingWaters, fw:books, Graypants, Hansje van Halem, Haller Brun, Olivier Heiligers, Juna Horstmans, Jeremy Jansen, Elisa van Joolen, Annabel Keijzer, KesselsKramer, Elisabeth Klement, Kooij, Lesley Moore, MacGuffin, MainStudio, martens and martens, Mass-Driver, Moniker, Michelangelo Nigra, nouch, Novo Typo, NXS WORLD, Moriz Oberberger, Our Polite Society, Revised, Charlotte Rohde, Rush Hour Music, Vera van de Seyp, Studio Jord Noorbeek, studioHendriksen, Sunne, Jolana Sýkorová, Terry Bleu, The Rodina, thonik, Kai Udema, Underwear, untold-stories, VANTOT, Jasper de Waard, Edgar Walthert, Julian Williams.

Limited Edition Long Sleeve Slanted × Everpress × Vera van de Seyp

On occasion of the release of Slanted Magazine #41—Amsterdam, we teamed up with Everpress and creative coder Vera van de Seyp to create a unique high-quality long sleeve with an eye-catching fluorescent silkscreen print. It is limited to only 100 pieces and available exclusively in the Slanted online shop.

For the motif of the limited edition, Vera van de Seyp received a carte blanche from Slanted on the theme of Amsterdam. Her design is based on the reflections of the many bridges in the water of the Amsterdam canals, the coordinates on the chest indicate the position of the Dutch capital.

The long sleeve with cuffs is cut to a regular fit, and is made from heavyweight 100% combed organic cotton. It is fair-wear, vegan and GOTS accredited as well as climate neutral, with 90% reduced CO2 achieved by better manufacturing. It is available in a unisex size of S–XL. To find the right size, please check the size chart in the images, the return is excluded for this product. To enjoy it for a long time, please wash your garment inside out on a cold cycle and do not tumble dry. Enjoy!

About Vera van de Seyp
veravandeseyp.com
@veravandeseyp

Vera van de Seyp is a computational designer and educator. Her work explores design systems, artificial intelligence, languages, and finding systems in chaos. She teaches and gives workshops and lectures to inspire makers to code and make their own design tools. Currently, Vera is part of MIT Media Lab as a research assistant in the Future Sketches group.

Slanted × Everpress—A perfect fit!
everpress.com
@everpresshq

Everpress is a global platform that allows artists to create t-shirts and other products in ways not possible before; and a destination where consumers can shop unique, sustainable apparel from independent artists and designers. But more deeply, it has become a platform for expression; one that goes beyond products — providing a vehicle for a vast community of artists around the world to communicate ideas, champion causes, and invest in themselves.

Since its launch in 2016, Everpress’ mission to support independent creatives and artists has seen over £7 million paid out to creators. As a B-Corp certified business, Everpress puts people and the planet on an equal par with profit, with a zero waste collection, ethically sourced garment materials, and SEDEX vetted production facilities and factory working conditions.

My Dreamhouse is not a House

My Dreamhouse is not a House is a long-term project by Julia Gaisbacher that focuses on the Austrian architect Eilfried Huth and one of the first, publicly funded participatory social housing projects in Austria from the 1970s. Huth developed a working method that allowed architects and future residents to collaborate on equal terms, resulting in single, occupant-designed houses within residential blocks. His projects were unique because no participatory approach was available outside the privately financed market in Austria at that time.
About 50 years later, Julia Gaisbacher started an artistic research project observing the results of Eilfried Huth’s architectural experiment. In interviews, she asked residents how they had experienced the participatory planning process and its impacts on the long-term living quality in these built environments and combined them with archive material. On a visual level she documented the unique facades of the houses each representing the owners.

Grafikmagazin 02.23—Digital Branding

As the name indicates, Grafikmagazin is a print magazine focusing on all things graphic design. Primarily it’s aimed at professional creatives and design students from Germany, Austria, Switzerland, and beyond. Grafikmagazin presents outstanding work from graphic design, typography, illustration, photography, design theory, research, paper, and printing every two months.
The editorial team of Grafikmagazin created a variety of sections and categories but selected focus themes for each issue, like Digital Branding. The topics portray how imaginative, eclectic, and playful graphic design can be while featuring successful branding concepts and niche ideas.
The extensive Showroom section lets readers know other creatives and the stories behind design studios worldwide.
The Design & Research category presents interdisciplinary projects that show how science and research can benefit from creative solutions and play an active role in graphic design.
In the Production & Publishing section, everything revolves around print. You will find exquisite books, sophisticated annual reports, and high-quality embossed greeting cards. Also, the cover artists of each issue are interviewed or get to highlight their ideas.
Each cover is printed on a different paper, and the design interprets the particular Grafik+ theme more broadly or shares a fresh perspective on a unique design technique. The Grafikmagazin team, its correspondents, and freelancers are bound and driven by the firm belief that print is not dead. With the will to prove just how alive it is, and the motivation to start something fresh yet deeply traditional, they strive for nothing less than to create another print magazine that makes history.

Das gewöhnliche Design

Das gewöhnliche Design (The ordinary Design) is a hidden classic of German design history, something the vinyl era would have called a B-side hit.

As early as 1976 a group of students and young professors at the Faculty of Design at the University of Applied Sciences in Darmstadt questioned the way design objects were generally perceived, talked and written about. Frustrated by the contrast of their self-perception as comprehensive designers and the prospect to have future careers as mere product stylists, they were looking for an alternative understanding of what constitutes good design. The group led by Friedrich Friedl and Gerd Ohlhauser started to collect ordinary things such as bottle openers, air pumps or bus timetables. In an ad-hoc approach these objects, all from anonymous authors, where exhibited at the faculty under the title The ordinary Design. This show, which presented only “boring” everyday commodities, surprisingly received national attention and discussions flared up in the design press. In a comical manner the young designers had used means of traditional exhibition design like velvet covered pedestals, usually reserved for “high art.”

Together with the unspectacular exhibits this provoked or at least irritated the audience. At the same time the absence of any heroic, iconic or aesthetically refined qualities among the things shown seemed to mock the whole design education. The approach was original enough so that the Rhenish Open-Air and Regional Museum Kommern bought the extraordinary ordinary exhibits, repeated the show and printed an exhibition catalog. The catalog (104 pages) contained among others contributions by Bazon Brock, Peter von Kornatzki and Adelhart Zippelius. The 110 black-and-white photographs provide a specific snapshot of what unspectacular product normality meant in the mid-70s.

Although this must be considered one of the earliest attempts to anchor appreciation of mundane qualities in design discourse, the catalog became a rarity and is now available in only a few libraries. Newly edited by Frank Philippin and Florian Walzel, the facsimile Das gewöhnliche Design presented by Slanted returns the work to a wider audience. More than just making a design classic available again this renews the question: How much of design is owed to the ordinary? In a time that dedicates its cultural attention almost exclusively to novelty and exceptionalism the every day utility is the silent opponent of “design.”

Queer Exhibition Histories

Queer Exhibition Histories comprises case studies highlighting the countless efforts, both large and small, of LGBTQIA+ artists and curators, centring on queer art exhibitions and their modes of documentation and archiving. Often, the legacy of these projects largely depends on personal archives, memories, and paraphernalia, with the overriding notion, or need, for public display. In these contexts, “public” is relative in events that were either short-lived, held under the veil of domestic spaces, or kept exclusive for those “in the know.” Therefore, they were not exclusively artistic, but could equally be discursive, activist, educational, or serve as a tool for community building. At the intersection of queerness and contemporary art, this volume considers how the efforts of LGBTQIA+ artists have advanced their public presence in museums and society alike.

Contributors: Tawanda Appiah, Aaron Betsky, Övül Durmusoglu, Cédric Fauq, Aleksandra Gajowy, Jessica Gysel, Bas Hendrikx, Valentina Iancu, Katrin Kivimaa, Ryan Kearney, Léon Kruijswijk, Elisabeth Lebovici, Joci Márton, Edwin Nasr, Katarina Pirak Sikku, Francois Piron, Karol Radziszewski, Sylvia Sadzinski, Sara Salminen, Liang-Kai Yu

Valiz with support from Mondriaan Fonds

Dream Big Cat, A4 hand printed woodcut print

The little cat is a superhero! A great children’s room motif for brave boys and girls with big dreams. The hand-made woodcut print is a wonderful wall decoration in the baby and children’s room.

3-color woodcut, DIN A4, printed area: approx. 15 cm x 21 cm, hand-printed original graphics, limited edition of 15 pieces, numbered and signed. Every copy is hand-printed by the designer Pia Kolle.

Productive Archiving—Artistic Strategies, Future Memories, and Fluid Identities

Productive Archiving discusses a variety of problems archival organizations. It mainly focuses on the following three issues with archival organizations that are usually overlooked: first, the question of inclusion in or exclusion from the archive; second, the loss of individuality and specificity in the archive, the danger of homogenization; and third, that archiving may become a form of pigeonholing, boxing specific identities into a confined space. Avoiding the archive because of these problems is not an option, because archival organization is a basic symbolic mode on the basis of which we organize our lives, the past, the present, and the future.

What this book suggests is that it is best to explore constructive and creative solutions for these problems. Especially artistic archives seem to be able to develop these possible solutions, because they offer speculative, unexpected ways to order, select, and narrate specific information, and bring about new connections and archival organizations.

Supported by Prins Bernhard Cultuurfonds.

Sola

Sola begins with the narration of a dream in luminous shapes and colors: a house in which light shines in every corner, surrounded by a flowering garden—a utopian place of refuge, communal togetherness, and a life in harmony with nature. But like in a moment of awakening, the harmonious ideal breaks against a reality that offers neither security nor confidence. It is a reality in which crises like climate change threaten the fragile balance of the environment and call the certainties of our everyday lives into question.

In her new book, Malwine Stauss uses radiant watercolors to create a deeply personal insight into an emotional world shaped by the tensions, fears, and hopes of our present time. With multi-layered graphic compositions that are abstract and accessible at the same time, Sola offers an expressive visual language that invites us to pause for thought.

Hexen

Do witches exist? Of course, maybe they even have their studio next door.

In her book debut for Rotopol, Malwine Stauss investigates the borderlands between art and alchemy, between the abstract and concrete. Inspired by the spiritual art of the 19th and 20th centuries, the author plays with radiant colors and shapes to outline decisive questions: how does one draw the invisible? Does magic exist? What is inspiration? The gaze into the past becomes a door to the future: the falsely neglected female artists of today have a lot in common with the witches of the past. Both cross borders to find their personal freedom, both are highly in tune with their environment and have a sensibility for the openings in the seemingly consistent order of society.

Fürchtetal

“Like a spotlight, one decision leaves an entire life in shadow. The darkness swallows the memories. Even if someone asks about him. Then, like a hammer, the ending shatters any words about travel, friends, family and happiness.”

After the sudden suicide of their father, two siblings begin a silent correspondence: she writes to him, he sends drawings back. Each filled page makes visible what words often lack. The dialog opens a world full of enchanted memories, riddles, and feelings that, as intimate as they may be, bring to light something universal: that nothing is as one expects, fears, or hopes. Sister and brother let themselves be accompanied a short way through their present and their past. In the forest of their childhood, on the way through the valley, in multi-layered image-word compositions and allegorical and occasionally ironic drawings they show that in the end a place is often surprisingly more than just a catastrophe.

To Be A Brave Scout

Ready for a trip into the wilderness? With her new book, Julia Kluge invites you to wondrous adventures in nature. In a tongue-in-cheek style, she presents all sorts of impressions from the lives of brave scouts—from hiking at sunrise and picking delicious berries to camping under the stars. The dreamy and expressive illustrations make familiar flora and fauna seem excitingly alien. No wonder, because after all, a practiced look at nature brings all kinds of amazing things to light. And should life in the wilderness ever get dicey, you can always rely on your fellows.

In To Be a Brave Scout the seriousness of the Scout movement, founded at the beginning of the last century, gives way to a timeless fascination for the forms of animals and plants, for a life in and with nature. The atmospheric colors of the book exude a longing for freedom and tempt you to lose yourself while reading.

Happy Place

In times of insecurity and turmoil, it’s good to have your happy place, especially if you encounter incomprehension as an artist, or when the internet jumps at you in an unguarded moment.

Happy Place by Max Baitinger collects stories about the search for balance in everyday life full of absurdities. In which doctors instruct machines to diagnose patients, and at the same time, you are asked by your computer whether you are a robot. Where you go to the sports studio to accept bruises for your health and where the grouchy tax system observes you through the window. In order not to lose your balance, it helps to start the day with yoga exercises and to take a deep breath. After all, you want to be ready to visit inspiration and intrusive people. And what if everything still ends up becoming too much? It’s simple: dream of your happy place and pet the animals.

Wie lange noch

Loosely and yet meaningfully, Alice Socal describes the experiences of her pregnancies in an interplay of irony and perplexity. Combining text and image, she organizes her doubts, fears, expectations and wonders of this special time. In the leading roles: a cat as alter ego, a dog as boyfriend and a seal as the pregnancy itself.

Wie lange noch is documentary and reflection at the same time. The narrative in comic form proves to be the perfect medium, both for the humorous contemplation of personal insights and for the analysis of identity issues between desire and reality—as woman, partner, artist, and mother-to-be.

BookBindingKit

The BookBindingKit offers an overview of the elements of haptic book design. When different techniques are combined playfully, new ideas for unconventional books and book objects emerge.
The poster can be used in many ways—as teaching material for students and apprentices or as inspiration for designers and artists. It can also be helpful when meeting customers in print shops, bookbinderies, and publishing houses.

Jan-Holger Mauss – For Adults Only

Jan-Holger Mauss erases the models featured in vintage gay magazines. Meticulously he goes through an entire publication, page by page, using an ‘analog’ eraser to render these figures invisible and clear out everything but a few words or some parts of the background. This results in landscapes, interiors, and abstractions, leaving only what he wants us to see: the charm of editing, the art of two-dimensional sculpting, the merits of rubbing away.
Referring to “whole train” graffitis, Jan-Holger Mauss describes his editions as “whole books.”

Tina Haber – Schlossbesuch

Experimenting with the drawing possibilities of a tablet screen, Tina Haber finds a different approach to the painterly process of creating an image. The arrangement and layering of transparent markings or text fields brings forth abstract structures that may evoke architectures, landscapes, or even figures. Some areas appear shadowed; others seem superimposed. A vague spatiality emerges.
In Schlossbesuch Haber shows a selection of vector graphics from the years 2020–2022; the abstract spaces and objects depicted appear permeable and almost weightless. During this period, the artist visited her father’s birthplace for the first time, a village near the Czech-German border, and its castle, Zámek Cervený Hrádek (Rothenhaus Castle), where her grandfather worked before being drafted to serve in the Second World War. The artist could easily recognize some parts of the building that were known to her from old family photos. Thus, a foreign place reveals its fragmentary connection to her personal history. The titles of the drawings are a list of components for a building—Ramp 1, Walls 14, Relief 3, Passage 2—and the changing color saturation of the risoprints reinforces the impression of a fictitious architecture, or one from a memory or dream.

Jan-Holger Mauss – Buddy

Jan-Holger Mauss erases the models featured in vintage gay magazines. Meticulously he goes through an entire publication, page by page, using an ‘alog’ eraser to render these figures invisible and clear out everything but a few words or some parts of the background. This results in landscapes, interiors, and abstractions, leaving only what he wants us to see: the charm of editing, the art of two-dimensional sculpting, the merits of rubbing away.
Referring to “whole train” graffitis, Jan-Holger Mauss describes his editions as “whole books.”

Jan-Holger Mauss – Wild Thing Nr. 1

Jan-Holger Mauss erases the models featured in vintage gay magazines. Meticulously he goes through an entire publication, page by page, using an ‘analog’ eraser to render these figures invisible and clear out everything but a few words or some parts of the background. This results in landscapes, interiors, and abstractions, leaving only what he wants us to see: the charm of editing, the art of two-dimensional sculpting, the merits of rubbing away.
Referring to “whole train” graffitis, Jan-Holger Mauss describes his editions as “whole books.”

Collision

Collision by Lars Harmsen is the collision of intuition and the human experience. A visual journey of photographs, design, and ideas.

With this publication, the author mercilessly settles accounts with the last 10 years of his creative work. Numerous pieces and creations, from Slanted, PosterRex and 100for10 to freelance works and other projects have been destroyed, cut up and reassembled. A maximum of carnage. With a minimum of diplomacy.

Raban Ruddigkeit wrote about the work: “A year ago Lars bought a boat. He has actually been sailing all his life. He sails as a designer over the trends and hypes, over the egos and the shooters. In his work he connects drops to water and waves to a sea. Now and then he expresses himself in his own graphic language. Especially when, as today, the sea becomes rougher and more uncomfortable. Then Lars brings out his unwavering compass—a true sailor only proves himself in the storm.”

 

Longlist Die Schönsten Deutschen Bücher 2024, Stiftung Buchkunst
Awarded by Art Directors Club, ADC Award Germany 2024 (Silver)

Grafikmagazin 01.23 Bars & Drinks

As the name indicates, Grafikmagazin is a print magazine focusing on all things graphic design. Primarily it’s aimed at professional creatives and design students from Germany, Austria, Switzerland, and beyond. Grafikmagazin presents outstanding work from graphic design, typography, illustration, photography, design theory, research, paper, and printing every two months.

The editorial team of Grafikmagazin created a variety of sections and categories but selected focus themes for each issue, like Bars and Drinks. The topics portray how imaginative, eclectic, and playful graphic design can be while featuring successful branding concepts and niche ideas.

The extensive Showroom section lets readers know other creatives and the stories behind design studios worldwide.

The Design & Research category presents interdisciplinary projects that show how science and research can benefit from creative solutions and play an active role in graphic design.

In the Production & Publishing section, everything revolves around print. You will find exquisite books, sophisticated annual reports, and high-quality embossed greeting cards. Also, the cover artists of each issue are interviewed or get to highlight their ideas.

Each cover is printed on a different paper, and the design interprets the particular Grafik+ theme more broadly or shares a fresh perspective on a unique design technique.

The Grafikmagazin team, its correspondents, and freelancers are bound and driven by the firm belief that print is not dead. With the will to prove just how alive it is, and the motivation to start something fresh yet deeply traditional, they strive for nothing less than to create another print magazine that makes history.