Art director and longtime partner at Pentagram, famed for steering the visual identity of The New York Times Magazine over five influential years, spoke yesterday at Club Pollença about the evolution of magazine work across print and digital domains in Huguet Majorca.
The children are playing with their tiled tables. Was that the idea?
Yes, it was wonderful to watch them explore at Huguet’s gathering. Creating a piece of furniture represented a rare kind of project for a graphic designer, yet it offered a playful avenue to experiment with tile configurations. The process showed how a design can be both creatively generous and practically adaptable. The designer crafted the table so that any tile could be swapped by different designers, not just the original creator.
He also collaborated on a desk with Huguet, a milestone dream turned into reality. Has it opened doors for future professional adventures?
Not a lot. It opened up a fresh area to explore. The designer enjoys tackling projects rooted in prior study and experience, recognizing the value of learning something new.
What is the essence of good design across disciplines?
It varies with the scope, yet a preference for original ideas and simplicity often wins out over needless complexity. Still, some intricate designs can be unexpectedly valid and striking.
Instinct is driven by a simple feeling of taste. Is that a valid basis for work?
Trusting instinct is acceptable, though it rarely stands alone as a justification for a project. In The New York Times Magazine, decisions required clear explanation to a broad audience, and moments of personal confidence in a cover or piece could be tempered by critical scrutiny. The freedom of choosing for the two magazines designed solo felt like a real blessing, free from constant external validation.
You are celebrated for print design. What role do magazines play in the digital era?
They now function in multiple channels at once: print, networks, web, and podcasts. They are living entities, and the designer remains curious about every format. Some titles originate digitally and move to print because readers still crave the tactile experience of turning pages. The challenge remains producing high-quality content with a strong newsroom, a capable photography team, and seasoned editors.
Two girls combine tiles designed by Matt Willey. ANDRES FRAGA
Will print media eventually become a premium, selective product?
That seems likely. Fewer magazines may survive, but at higher quality and with more targeted audiences. Printing on expensive presses requires justification through valuable content. The aim is to serve audiences with specific interests like sewing, literature, or architecture, which allows for a more controlled and meaningful offering.
Magazines and newspapers aim for greater publicity, yet the publication INQUE values editorial independence. How did readers respond?
The project feels unusual, perhaps a little eccentric, but it is progressing. A second issue is out, and there will be ten in total, released yearly. Advertising shortfalls make sustainability difficult because paying journalists and photographers fairly and printing beautifully comes at a price.
Was The Independent redesigned to draw readers back to the newspaper?
Design helps, but the rest must work. Print cannot compete with web updates every thirty seconds. The idea is to craft thoughtful, weekend-friendly newspapers that readers might savor on paper.