Lemonni always has such nice things! Designer Annie Chen writes, "I love creating things with my hands. All the paper goods are designed and handmade by me. The whole production – from printing, cutting, folding, assembling, to packaging – happens in my studio. I handmade my textile products as well. The fabrics were printed with eco-friendly, water-based pigment inks. I'm a pattern fanatic. I'm always drawn to bold colours and interesting colour combinations. It's fascinating to me that the same colour can appear quite differently when paired with different colours."
They also offer some letterpress workshops and have prints available on Etsy. I love places like this! Thanks, Bill!
Whether you love cool colours or warm colours, the UPPERCASE everyday notebooks are the perfect companion for jotting down inspiration (as it inevitably arises while you read UPPERCASE!). When you subscribe or renew your subscription (starting with #22) for two years, you can select your favourite notebook set at checkout. I'll send you the notebooks and #22 now, and the fall issue will be mailed at the end of the month.
With issue #23 on press next week, subscriptions starting with the colourful summer issue #22 are only available for a limited time.
This offer is valid until midnight MST September 21. The notebook is only available with subscriptions or renewals starting with 22 and cannot be retroactive applied to past orders. Thank you.
I'm looking forward to Inglewood's Night Market tonight! First on my list is going to my favourite yarn store, Stash. From 6 to 9pm, there will be additional fun such as vintage wares, the jewellery of Jennea Frischke and sewn goods by Leave it to Cleaver.
Stash will be offering a 10% discount off of your total purchase all evening long. Store owner Veronica says, "We will also be releasing some of our newest fall and winter products for you to fondle. And there will be giveaways and door prizes. Be there or be square!"
Athenaeum—my best stockist in the world—has posted a video flip-through of issue #22. What makes them the best stockist? They're a great store in a bustling part of Amsterdam with exciting titles with friendly and knowledgeable staff who care about magazines. They support independent magazines and do excellent marketing, like making videos and hosting events like when I was in Amsterdam two years ago. They consistently sell more copies of UPPERCASE than any other single location!
CollageCollage, a lovely stockist in Vancouver that fosters children's (and parents') creativity, is celebrating a milestone. Five years in retail is a great accomplishment! Erin Boniferro writes, "I really can't believe it's been FIVE years since we set up shop on what was a lonely little street in East Van. And look at us now! A bustling store on a sweet little street. I'm so thankful for our community of small businesses, local families and artists big and small coming together to make this shop what it is."
Join the celebration this Saturday at CollageCollage from 1-4pm.
You can find out more about CollageCollage in issue #14, an UPPERCASE dedicated to play and children's book illustration.
I remember the amazement I felt when UPPERCASE reached issue 10. It seemed like such a milestone! And here we are, a few more years on and I've more than doubled that issue count as #23 begins print production.
The warehouse sale on back issues continues. Issues #9 through #21 are just $10 each.
If you want to school yourself in the history of UPPERCASE magazine and immerse yourself in hundreds of pages of great content and beautiful imagery, then this week's back issues sale is for you. Back issues #9 through #21 are at wholesale prices for everyone: just $10 per issue!
This big sale lasts until Sunday at midnight MST or while inventory lasts on some of the earlier issues. Once they're sold out, that's it—they will not be reprinted.
If you want to preview the issues, each issue has its own web page and offers low res digital flip-throughs as well as the table of contents.
An issue of UPPERCASE begins as a nebulous entity in my mind.
In this ideation phase, distraction is my friend. Making connections between disparate topics, leaving room for serendipity and chance—that’s what makes UPPERCASE good. Early on, an issue is a rough assembly of ideas, imagery and thoughts. It’s a hazy thing in the distance that requires concentration on my part to make it happen.
Each decision—from who writes what article, to whom I decide to profile—takes me closer to it, bringing it slightly into focus with each step forward. By the time an issue of UPPERCASE is at the design phase, I have been thinking about its content for six months or more. At this point, I have concrete items to work with—thousands of words, gigabytes of images and 116 blank pages—but I often feel like this is the most unfocused stage of the entire process.
This is the “unpretty” phase of design when all the words and pictures are splattered onto their designated spreads so that I can take inventory of what I have to work with. It can be overwhelming to sort through everything; and there are moments when my ideas for the overarching theme seem lost in visual clutter. This is the stage that I liken to sculpture: the design is in there somewhere, but I have to hack away all the unnecessary material to reveal what it is supposed to be. I start to live inside the design, getting to know how this particular issue is going to work: the structure, the connecting colours and sympathetic visual motifs.
Designing becomes a series of decisions made to resolve different perspectives:
me / you
What am I trying to accomplish as a designer?
What do my readers want to experience?
What are my intentions?
Will there be an element of surprise?
Do I love it?
Will you love it?
sharp / blurred
Are the themes evident to the reader?
Do the ideas and design leave room for play and discovery?
Does the issue feel cohesive?
Will it inspire new ideas and connections for the reader?
micro / macro
Is the kerning on this word ok?
Should I hyphenate this paragraph?
Should I have one or two columns of text?
Should the article be four pages or six?
Does the headline on this page look good?
Does this article fit well at this point in the magazine?
Does the issue fit with what readers expect of UPPERCASE?
As I switch between these perspectives, an issue of UPPERCASE begins to emerge. After I’ve answered all of these questions (and many more!), it’s ready to print.
How will a sweater look with a particular yarn? What will a quilt look like when it's done? How will inks layer in a silkscreen? How will a sketch translate to final art? How will the ceramic vase look when glazed and fired?
When you embark on creating something new, it's all about having confidence in your ideas—and the ability to visualize what you want. The same is true in design for print: although you can approximate how something will appear in print, there are plenty of instances when you have to use your imagination, have faith in your idea and just go for it.
I've been imagining the next cover to have a shiny silver foil on the spine and on the number 23. Like this:
In contrast to the summer colour issue, the fall edition is decidedly toned down in hue—but not in inspiration or creative excitement!
Celebrating things monochromatic—and the graphic appeal of black and white—issue #23 contains a special calligraphy and lettering section featuring Seb Lester (the cover artist who created this fun calligraphic grocery list), master penman Jake Weidmann and profiles of Joy Deneen, Maybelle Imasa-Stukuls, Erica McPhee, Barbara Calzolari, Neil Tasker, Pietro Piscitelli and Molly Jacques. The experts offer tips for beginners and our talented pool of readers share their amazing calligraphy work as well.
This issue also has articles about modern-day heraldry and how to use tradition and crests to design your brand; silver spoons painted and collected; the dynamic mother-daughter duo Tag Team Tompkins; a field trip to an in-house sign painter at an old-fashioned department store; a visit with the enigmatic inhabitants of a House of Cardboard; and a trip to a Parisian calligraphy guild.
I've got one week left to get the design finished up and off it goes to the printer!
Want to keep that summer feeling? You can still subscribe starting with issue #22. I'll mail it to you right away and then you'll get the fall issue when it is released in October. Or if already have a copy of #22, subscriptions starting with fall are available here.
Artist Alison Stockmarr pokes fun at Facebook by imagining 'Face Books' of old. She pairs oddly-titled old books, found photographs and cut up lines of text to create curious personalities. She writes:
By matching old photographs with suitably titled books, profiles are constructed, creating a library of invented friends of yesteryear. Apertures are cut into books, with photos and ephemera collaged within their pages. Appropriate, and sometimes inappropriate, narratives are composed to complete the picture! I hope you ‘like’ them.
The fall issue is heading to print just after Labour Day and I look forward to revealing the cover design, featuring the work of Seb Lester, on Tuesday! (Subscribe to my newsletter to see it first.) In the meantime, here's the pattern design I've developed, inspired by the content within the issue. In addition to the special calligraphy and lettering section in the fall issue, we also explore the influence of heraldry on traditional and contemporary art and design.
Starting from the observation that a calligraphy nib is somewhat shield-like and also thinking about the souvenir spoons that are featured in the Collections spread, I did some studies of the nib shape and shield shapes, ultimately going in this simple repeat so that the overlap of the shield vaguely references the split in a nib. It can't be too detailed or illustrative since it will be reproduced quite small (and in silver foil! I hope!) on the magazine's spine.
I can see foxes and bears in the motif as well, can you?
What a gorgeous shot by Malaysian stockist Kasa Suasa for their webstore! Their site's intro photographs are top notch — go take a look and click through — you'll find a series of lovely still life composition featuring UPPERCASE and other magazines like Hearth and Cereal and cards by Rifle Paper Company and Garance Doré.
UPPERCASE reader Bari Zaki makes these gorgeous books using traditional European and Japanese techniques. In addition to blank books, box-making, she also binds photography portfolios and photo albums.
I have been a hand-bookbinder for 25 years and so your recent newsletters had a particular resonance with me. My career began with a simple yet intense curiosity; I saw a blank book that was made by hand and it sent my heart into a pitter-patter of delight… How do you do that, I wondered?! I went in search. Since then I have made literally hundreds of books and have several stacks of them in my home, which have become permanent fixtures.
"Many people say to me that they love my books but they are too special to write in… I hear that a lot in fact. I thought about scribbling on the first page as an ode to making the first mess, so to speak." Whether they are left blank to be admired for their integral beauty of form and construction, or filled with sketches and notes, Bari's books live up to the ultimate goal of any book: to inspire.
Visit Bari's shop to see more.