The Recorder issue 2
Delivered to Stack subscribers in Jun 2015
What is The Recorder?
A twice-yearly magazine that uncovers the world of type and graphic design, and the role it plays in culture and our everyday lives.
What makes it different to the rest?
Hopefully it makes a subject that can be perceived as intimidating more accessible for a broader audience, as well as uncovering the hidden influence of type. It’s not just a tool used by graphic designers, it’s something that affects our lives on a daily basis; everything from the way we find our way around airports to influencing how we read, and how we respond emotionally. Rather than describing type as an ‘extra’, the magazine puts it, and the people working with it, in the spotlight.
Who makes The Recorder?
The Recorder is published by the Monotype London studio, and designed and art directed by Luke Tonge. Monotype is an international type house that publishes and designs new typefaces, as well as working on bespoke type projects.
Who reads it?
People who love type, people who work with type, and maybe even people that are curious about type.
Why do you work in magazines?
I love the written word in pretty much any form, and making a magazine is like crafting a very self-contained, singular world – which works particularly well for niche subjects. There’s also something about the smell and tactile quality of fresh print that’s really hard to resist. And unlike books, magazines can be dipped in and out of without any guilt.
Aside from the print magazine, what else are you involved in?
I’m a freelance writer and editor, mainly writing about design and creativity for the likes of YCN, Grafik, Eye on Design, We Heart, Four & Sons and some others. In my spare time I like to daydream about becoming a carpenter, or opening an east London dog shelter.
What would you change about The Recorder if you could?
I’d like to find a way to somehow replicate the very print-y feeling of the magazine online.
Where do you see The Recorder in five years?
I think the world of type is changing very rapidly, but I hope the magazine will still be covering people that are working with type in unusual and unexpected ways, as well as discovering entirely new uses and ways to create it. It would be great to give the magazine a moving image or digital element as well, somehow.