This is a kind of a response to Nancy Reagan’s Just Say No campaign, which was an nuanced, unambiguous say no to drugs thing. “This is another one where they have messed with the time out logo – you always have to ask for permission from Tony to do that. Cover by Jeremy Leslie, photography by Richard Dean This is way ahead of its time created two years before anyone used the words ‘pixel art’.” Time Out London: The highs and lows of drugs (1994). Pearce said this kind of thing would take you two seconds in Photoshop now but back then it was an incredibly difficult process.īack then when he only had two days, I think it is amazing the level of detail with the little lines and pixels, it looks exactly like the original Space Invaders using cut-out bits of paper.
He was one of the first people to have a process camera. It was cut-out bits of paper stuck on to a wooden board the size of a bed, photographed and turned into a cover.
Pearce Marchbank and his assistant did it manually, which I think is insane – it was done by printing lots of little prints that replicated the look and feel of digital graphics. There wasn’t a lot of coverage on computer games – the first dedicated UK magazine looking at computer games didn’t launch until 1981 – and I think the fact that Time Out did a cover on it is quite astounding. It was still a relatively new phenomenon and became a huge craze. “Space Invaders launched in Japan in 1978 and soon after in the UK. This cover was shortlisted for the PPA (Professional Publishers Association) best magazine covers for the past 100 years.” Time Out London: The new video games (1980). You do something like this it is going to stand out. Working with photographer Roger Perry, they enlisted the cleaner of their studio to be Churchill’s hands.
Pierce said to me he wanted all the other magazine covers to be like a background for this one, he wanted people to see the cover from over the street. That goes for the design as well.Ī lot of the memorial magazines had a picture of Churchill’s face on it. When everyone else was doing one thing we would do the opposite. It would take on mainstream opinion, campaigned for LGBT rights, squatters’ rights and ethnic minorities’ rights. Time Out did not do that.įrom the 1970s onwards, Time Out started to become quite radical politically. It was 100th anniversary of Churchill’s birth so most of the press were going into overdrive to celebrate this great icon of Britain. What I like about this cover is it is literally two fingers to the mainstream. He had about two days from talking with editors to solidifying the artwork. Quite quickly, he left the staff but still designed most of the best covers for the next 13 years or so, working from his studio. He joined as art director and introduced Franklin Gothic which we still use today and the original Time Out logo you see here. Cover by Pearce Marchbank, photographed by Roger Perry It started as a publication that folded down to A5 and was printed entirely black and white in the first few years.” Time Out London: Winston Churchill (1974). He had to literally go around town with a sack of these things selling them so the design was important. Tony cut out the shape from a publicity photo for the exhibition and put it on the black background. It was chosen by our founder Tony Elliott. Time Out had strong links to the underground press but also covered the best of the mainstream, which is why this cover works so well – it doesn’t pigeonhole the magazine as a groovy music or fashion mag of the era, but something much more timeless. To me it looks a bit like an acrobat in fishnet stockings or something, but actually it is a piece of computer art form the Institute of Contemporary Art (ICA) from an exhibition called Cybernetic Serendipity. No-one I know has looked at it and said: “Oh yeah, I know what that is.” It is a symbol of where Time Out came from and it attained this status despite being really weird. “This is issue one, which gained iconic status within the company and to an extent outside it.
0 kommentar(er)
