Roger Black (Designer: Rolling Stone, Newsweek, New York, more)

Michele Outland (Designer: Bon Appétit, Gather Journal, Nylon, more): Michele Outland has spent her career at some really beautiful magazines. Beautiful ... because she made them that way. Her resume includes stops at Martha Stewart’s Everyday Food, Domino, Nylon, and Bon Appétit, as well as the magazine she created and launched with her good friend, Fiorella Valdesolo: Gather Journal. Gather, which only published 13 issues, made a powerful impact on the magazine business. In its five-year run, it won a James Beard Award for Visual Storytelling, an Art Director’s Club Award, and 20 medals from the Society of Publication Designers, including being named “Brand of the Year” in 2015. Under her leadership, Bon Appétit won the ASME National Magazine Award for Design along with a slew of SPD awards. We talked to Michele about: the power of internships, her Korean mother’s influence on the way she thinks about food, about how to start a magazine in a post-print world — and when we can ex by Print Is Dead (Long Live Print!)

53 min listen

Robert Newman (Designer: Entertainment Weekly, Details, Fortune, Vibe, more): To call designer Robert Newman “ubiquitous” might be an understatement. The entries on Bob’s resume are a name-droppers dream: The Village Voice, Entertainment Weekly, New York Magazine, Details, Vibe, Fortune, and Real Simple. That’s enough brands for multiple careers, but Bob has worked on all of them — and quite a few others — in one lifetime. And he’s still at it. Despite all of the accolades, Bob is one of the nicest guys around. Those who’ve worked for him — and there are many — use descriptions like, “kind,” “supportive,” “mentor,” “constant,” “spokesman for our industry,” and “unwavering friend.” Need proof? After a devastating injury in 2013 that put him in a coma for more than three weeks, Newman’s friends and fans rallied to raise tens of thousands of dollars to help pay for his mounting medical bills and treatment costs, and to help him support his family. He’s a popular guy. In 1998, alon by Print Is Dead (Long Live Print!)

73 min listen

Kurt Andersen (Author & Editor: Spy Magazine, New York, Studio360, more): We’ve always had a thing for magazine launches. They’re filled with drama and melodrama, people behaving with passion and conviction, and people ... misbehaving. Anything to get that first issue onto the stands and into the hands of readers. Some new ventures seem to sneak in the back door. Who saw Wired or Fast Company coming? Others are to the manner born, and from the most elite print parents. But, even with that pedigree they never gain traction, never display the scrappiness and experimentation that we’ve come to expect from anything new. (You know who you are). But then, one day, along comes The Greatest Startup in the History of Magazine Startups. A magazine that dares to mercilessly, and humorously, vilify high society. The one that big time journalists pretend to ignore but were first to the newsstand each month to grab their copy. The one that created packaging conceits: Separated at Birth, Private L by Print Is Dead (Long Live Print!)

66 min listen

Janet Froelich (Designer: The New York Times Magazine, T, Real Simple): Janet Froelich is one of the most influential and groundbreaking creative directors of all time. For over two decades, she lead the creative teams at The New York Times Magazine and its sister publication, T: The New York Times Style Magazine. In this episode, Froelich recalls her own personal 9/11 story, and what is was like to be in the newsroom on that awful day, as well as how she helped create the magazine cover that inspired and informed the memorial to the Twin Towers and those who lost their lives there. She talks about other Times magazine covers that left a mark, about her early years as an artist living in SoHo and hanging out at Max’s Kansas City, and why you should never be afraid to hire people better than you. by Print Is Dead (Long Live Print!)

57 min listen

Roger Black (Designer: Rolling Stone, Newsweek, New York, more): Roger Black is a pioneer. His art direction of iconic print brands and high-profile redesigns, his early embrace of digital publishing technology, and his typographic innovations are hallmarks of a 50-year, trailblazing career. He’s refined his design mastery at publications ranging from Rolling Stone to Esquire to Newsweek to The New York Times Magazine. He’s written books and started companies. He’s worked for clients on every continent. And now, at 73, Black’s focus has shifted to type. More specifically Type Network, a font platform launched in 2016, where he serves as the company’s chairman. Black’s design legacy not only includes memorable makeovers but also the fundamental need for an underlying reason and purpose behind them, often sophisticated, always functional. Throw in his signature color palette — red, white, and of course, Black — and you’re in business. All that said, Black preaches that the true DNA by Print Is Dead (Long Live Print!)

66 min listen

Hans Teensma (Designer: Outside, New England Monthly, Disney, more): Dutch-born, California-raised designer Hans Teensma began his magazine career working alongside editor Terry McDonell at Outside magazine, which Rolling Stone founder Jann Wenner launched in San Francisco in 1977. When Wenner sold Outside two years later, Teensma and McDonell headed to Denver to launch a new regional, Rocky Mountain Magazine, which would earn them the first of several ASME National Magazine Awards. On the move again, Teensma’s next stop would be New England Monthly, another launch with another notable editor, Dan Okrent. The magazine was a huge hit, financially and critically, and won back-to-back ASME awards in 1986 and ’87. Ready for a new challenge — and ready to call New England home — Teensma launched his own studio, Impress, in the tiny village of Williamsburg, Massachusetts. The studio has produced a wide range of projects, including startups and redesigns, as well as pursuing Teensma’s pass by Print Is Dead (Long Live Print!)

42 min listen

George Gendron (Editor: Inc., New York Magazine, Boston Magazine, more): In this episode, we talk to George Gendron, the long-time editor [Inc. Magazine] and educator who created one of the first liberal arts-based entrepreneurship programs in America. We talk about his first job working under legendary editor Clay Felker in the early days of New York magazine, how a third-grade book report set him up for a life in publishing, the near-fatal car accident that changed everything, why we should look to TV for the future of magazines, and how to build an economically-sustainable life around doing the work that you love. by Print Is Dead (Long Live Print!)

55 min listen

Metropolitan Home: Dorothy Kalins (Editor) and Don Morris (Designer): For me, the 1980s comes down to two things: The Nakamichi RX-505 Cassette Deck and Metropolitan Home magazine. _____ First, the gear. _____ The Nakamichi RX-505 was an audiophile’s wet dream. It was prominently featured in the steamy 1986 film, 9½ Weeks. In a scene from that movie, Mickey Rourke walks Kim Basinger into his monochrome Hell’s Kitchen penthouse, where she glides through a living room full of furniture by Marcel Breuer, Richard Meier, and Charles Rennie Mackintosh. In the middle of it all, the Nakamichi opens, flips the Brian Eno cassette, and closes, automatically. _____ And now, the magazine. _____ Eighties movies featured a slew of inspirational apartments: Tom Hanks’ Soho loft in Big, Judd Nelson and Ally Sheedy’s Georgetown pad in St. Elmo’s Fire, Billy Crystal’s East Village flat in When Harry Met Sally. So when apartment dwellers from Des Moines to Manhattan asked themselves “How can I make my apa by Print Is Dead (Long Live Print!)

52 min listen

Gael Towey (Designer: Martha Stewart Living, MSLO, House & Garden, more): In 1995, New York magazine declared Martha Stewart “the Definitive American Woman of Our Time.” And, as the saying goes (sort of), behind every Definitive American Woman of Our Time is another Definitive American Woman of Our Time. And that’s today’s guest, designer Gael Towey. _____ But let’s back up. It’s 1982, and Martha Stewart, then known as the “domestic goddess” — or some other dismissive moniker — published her first book, Entertaining. It was a blockbuster success that was soon followed by a torrent of food, decorating, and lifestyle bestsellers. _____ In 1990, after a few years making books with the likes of Jackie Onassis, Irving Penn, Arthur Miller, and, yes, Martha Stewart, Towey and her Clarkson Potter colleague, Isolde Motley, were lured away by Stewart, who had struck a deal with Time Inc. to conceive and launch a new magazine. _____ Towey’s modest assignment? Define and create the Martha Stewart by Print Is Dead (Long Live Print!)

68 min listen

Brad Holland (Illustrator: Playboy, The New York Times, Time, more): It’s 1967 and your train from Sandusky, Ohio, just rolled into Grand Central. You’ve got a suitcase in one hand and your portfolio in the other. You exit the station and take a right, uptown, before realizing it’s the wrong way. (It’s ok, you’re not from around here). So you turn around, and head down to 223 East 31st Street, the studio of the celebrated designer Herb Lubalin, who was about to give you your first assignment in the big city. And so begins the career of legendary illustrator Brad Holland — a 50-plus year career that put him on the Mt Rushmore of contemporary American Illustration alongside Milton Glaser, Edward Sorel, Ralph Steadman, Seymour Chwast, and the recently-departed Marshall Arisman. When you begin your career in the Summer of Love, at some point the conversation is gonna turn to sex. After turning in his first piece to Lubalin’s Avant Garde, a magazine with mild sexual themes, Holland’s next by Print Is Dead (Long Live Print!)

75 min listen

Dan Winters (Photographer: The New York Times, Texas Monthly, Wired, more): Photographer Dan Winters is the beneficiary of a series of mentors from the photography hall of fame: Eddie Adams, Jay Maisel, Mary Ellen Mark, and Gregory Heisler, who once dropped this priceless bit of wisdom on him: “If you want to become a better photographer, become a more interesting person.” Winters has most certainly done that. And what makes him an interesting person is the same thing that makes him a generational talent: his thirst for knowledge. About anything. About *everything*. by Print Is Dead (Long Live Print!)

90 min listen

Print Is Dead. (Long Live Print!) Trailer: Print Is Dead. (Long Live Print!) is a podcast about magazines and the people who made — and make them. In this series, we’ll talk to the legendary designers, editors, writers, photographers, illustrators, photo editors and more, who conceived and produced the publications that have covered our desks and coffee tables for decades. And many who still do. We’ll go deep — beyond the heds & deks, captions, sidebars, pull quotes, and factoids — into the lives and careers of this astonishingly talented group of creators. If you’re in the magazine business — if you’re in ANY business focused on content creation, this podcast is for you. We hope you’ll join us. Season 1 premieres April 1, 2022. Follow us at [PrintIsDead.co](http://PrintIsDead.co) and on Instagram @PrintIsDeadPod by Print Is Dead (Long Live Print!)

1 min listen

Albert Watson (Photographer: Vogue, Rolling Stone, Harper's Bazaar, more): Today’s guest, the celebrated photographer Albert Watson, OBE, is a man on the move. ¶ This is not a recent development. Watson’s professional journey began in Scotland in 1959, where he studied mathematics at night. His day job? Working for the Ministry of Defense plotting courses—speed, altitude, distance, payload—for British missiles pointed towards Cold War Russia. ¶ Watson’s affinity for the mathematical gave way to his interest in the arts, when, in school, he dove head-first into ALL of them: drawing, painting, textile design, pottery, silversmithing, and graphic design. ¶ Later, on his 21st birthday his wife bought him a small camera. He became obsessed: ¶ “All I know is that I clicked the shutter, and suddenly, magically, I got negatives back, that I could learn to process myself. And then, even better, I got into a dark room with a piece of white paper under an enlarger, and you put it in some chemistr by Print Is Dead (Long Live Print!)

61 min listen

Joanna Coles (Editor: Cosmo, Marie Claire, more): Hello and welcome to a very special episode of Print Is Dead. (Long Live Print!). _____ For our first “pod-nership,” we’ve teamed up with The Spread, the brainchild of two former Elle magazine editors and “work wives,” Rachel Baker and Maggie Bullock, who, in 2021 found themselves wishing for the perfect women’s magazine—at the exact moment when women’s magazines were irrevocably going down the tubes. _____ Each week, The Spread rounds up juicy stories, big ideas, and deeply personal examinations of women’s lives—from The New York Times and The Atlantic to Vogue and Elle to NplusOne and The Drift. It’s no surprise that The Spread is now a cult favorite of media insiders—as well as the media-curious. _____ We’re excited to follow The Spread into the world of women’s magazines, starting with today’s interview with the ever-quotable former Cosmo editor, Joanna Coles, who Rachel & Maggie call “the last celebrity magazine editor.” by Print Is Dead (Long Live Print!)

65 min listen

Adam Moss (Editor: New York, The New York Times Magazine, more): Adam Moss is probably painting today. He’s not ready to share it. He may never be ready to share it. You see, this ASME Hall of Famer unabashedly labels himself as “tenth rate” with the brush. And he’s ok with that. As Moss explains, it’s not about the painting. After decades of creating some of the world’s great magazines, he is throttling down. He’s working with canvas, paint, and brush — and reveling in the thrill of making something, finally, for an audience of one. It hasn’t always been this way for Moss. Like most accomplished editors — like most serious creatives — Moss spent the better part of his career obsessed. Obsession is essential, he says, to the making of something great. Growing up on Long Island, Moss became obsessed with Esquire and New York magazines. “My parents were subscribers,” he says. “I was in the suburbs. I’d open them and it was my invitation to New York City. And to cosmopolitan life. A by Print Is Dead (Long Live Print!)

73 min listen

Kathy Ryan (Photo Editor, Author: The New York Times Magazine, more): Kathy Ryan’s career journey began in Bound Brook, New Jersey, at St Joseph’s Catholic School. Her third grade teacher, Sister Mary William, had a thing for great works of art. And, as it turns out, so did Ryan. _____ “I got it. I so got it. Looking at the pictures and just understanding. It was like, ‘Wow, I get it.’” _____ That understanding of the power of the visual led Ryan to a focus on art in college—on lithography and printmaking. But the solemn life of an artist wasn’t for her. She hated being alone all day. She loved working with people. She wanted to be part of a team. _____ Kathy Ryan was made for magazines. _____ After starting her career at Sygma, the renowned French photo agency, Ryan was hired away by The New York Times Magazine in 1985. She had found her team. _____ In her tenure at the Times, she has collaborated with all the bold-face names: Jake Silverstein and Gail Bichler (the current editor-in-c by Print Is Dead (Long Live Print!)

54 min listen

Arem Duplessis (Designer: Apple, The New York Times Magazine, GQ, more): Where do magazine designers go after all the magazines are gone? That’s a question we’ve often pondered in recent years. Well, if you’ve been paying close attention, you’d probably guess, as it turns out, a lot of them go to Cupertino. And much of this migration can be traced to 2014, when today’s guest, AIGA Medalist and Emmy award-winning creative director Arem Duplessis, left his storied job at The New York Times Magazine to go to work at Apple. You might be asking yourself, "Why would one of America’s most high-profile magazine designers leave a coveted job at an iconic publication—one that brought him global recognition, countless awards, and deep creative satisfaction—for a famously secretive company known, well, for locking away its talent in a vault of non-disclosure agreements?" But the better question might be, "Why wouldn’t he?" Duplessis is arguably one of the most influential creative directors of by Print Is Dead (Long Live Print!)

48 min listen

David Granger (Editor: Esquire, more): We’re 18 episodes into this podcast, and while several interesting themes have surfaced, one of the more unexpected threads is this: Nearly all magazine-inclined men dream of one day working at Esquire. (Some women, too). _____ Turns out that’s also true for today’s guest. Which is a good thing because that’s exactly what David Granger did. _____ “But all this time I’d been thinking about Esquire, longing for Esquire. It'd been my first magazine as a man, and I'd kept a very close eye on it.” _____ Unless you’re old enough to remember the days of Harold Hayes and George Lois, for all intents and purposes, David Granger IS Esquire. And in his nearly 20 years atop the masthead, the magazine won an astounding 17 ASME National Magazine Awards. It’s been a 72-time finalist. And, in 2020, Granger became a card-carrying member of the ASME Editors Hall of Fame. _____ When he arrived at Hearst, he took over a magazine that was running on the fumes of past by Print Is Dead (Long Live Print!)

73 min listen

Will Hopkins (Designer: Twen, Look, American Photographer, more): If Marianna, Arkansas looks like the kind of place that Walker Evans would’ve photographed, that’s because it is. And it was in that cotton belt town in 1936 that William Paschal Hopkins came to be. _____ Born to Charles, a cotton merchant, and Martha, young Will Hopkins was on a path to follow his father into the cotton business. But thanks to the intervention of a distant aunt, a fashion illustrator in New York City, Hopkins’ parents were persuaded into shipping their creatively-inclined boy off to the celebrated Cranbrook Academy of Art in Detroit. _____ Hopkins became the “Arkansas Traveler.” After school, he took a job at Chess Records in Chicago, designing for the likes of Muddy Waters, Willie Dixon, and Bo Diddley. But soon the road was calling again. _____ “One Sunday afternoon, I’m walking down the street in Chicago. I said to this friend of mine that I was walking with, I said, you know, ‘I’m gonna go to German by Print Is Dead (Long Live Print!)

42 min listen

Dan Okrent (Editor & Author: Life, Time, New England Monthly, more): Back in April, 1966, Time magazine famously asked America the big question: “Is God Dead?” _____ Thirty years later, as Time Inc.’s Corporate Editor at Large, Dan Okrent posed an equally existential question: Is Print Dead? His answer: An unequivocal “yes.” _____ “Finished. Over. Full stop,” he declared in a 1999 lecture at the Columbia School of Journalism. _____ Despite that, it’d be unfair to call Okrent the Grim Reaper. (Just don’t ask what he said about Detroit in the early 2000s). A lifelong realist, Okrent simply viewed digital delivery as the most sustainable path forward for magazines, thanks to the skyrocketing cost of paper, printing, and postage. Publishers, however, ignored Okrent’s prophecy, and continued to feast on their circulation revenues while treating their digital efforts purely as supplemental to print. _____ “How do you say goodbye to that cash? You don't. And then you end up seeing what happen by Print Is Dead (Long Live Print!)

53 min listen

Alex Hunting (Designer: Kinfolk, Mondial, Sabato, more): For the past ten or so years, indie magazines have been booming. As digital media platforms relentlessly chase clicks and smartphones paralyze our focus, a host of fresh print publications are taking a slower and more measured approach. _____ Guided by the tenets of the “slow media” movement, this new breed of publishers focuses on correcting the pace of media creation and consumption in the digital age. They advocate for alternative ways of making and using media that are more intentional, longer lasting, better written and designed, more ethical—all delivered in a tactile, bespoke package. _____ In this episode, you’re going to encounter magazine brands you’ve never heard of: Avaunt, Flaneur, Mondial, Monocle, and Port—and, one of the great success stories of the indie boom, Kinfolk. Born in Portland, Oregon, in the early 20-teens with the tagline, “A Guide for Small Gatherings,” the magazine was often referred to, dismissively by Print Is Dead (Long Live Print!)

46 min listen

Barry Blitt (Illustrator: The New Yorker, Entertainment Weekly, more): Barry Blitt wants you to laugh at him, not with him. Because laughing with him means you’d have to be where he is. And, “thanks very much,” but he’d rather not. He’s happy enough just drawing for himself. _____ “I’m trying to make myself laugh,” he says. “That’s the point, that’s part of the process, it’s as un-self-conscious as possible.” _____ Blitt is a Pulitzer Prize-winning cartoonist, and an Art Directors Club Hall of Famer. He’s been called one of the “pre-eminent American satirists.” And in a recent interview – he was asked what makes him laugh. His answer? “Awkwardness. When people are uncomfortable.” _____ Which… as it turns out… is right in Blitt’s, uh, dis-comfort zone. In the introduction to his 2017 book, Blitt sums up the effect of all that attention and all those accolades: “I’ve never felt more naked,” he wrote. _____ Artists are especially prone to self-doubt. They pour their hearts and souls into by Print Is Dead (Long Live Print!)

68 min listen

Walter Bernard (Design: New York, Time, Esquire, more): When your business partner is Milton Glaser, the most celebrated designer in the world, what does that mean for you? If you’re Walter Bernard, today’s guest, you accept it as the gift it is, and then you go out and make yourself an extraordinary career. _____ Here’s three things you need to know about Walter Bernard: 1) He was the founding art director of New York magazine, 2) he once produced a top-secret overhaul of Time magazine, and later became its art director, and 3), along with Glaser, he’s designed or redesigned over 100 publications around the world. _____ And Bernard is happy to talk about working in Glaser’s shadow: _____ “Milton was extraordinary in his capacity to work, and work quickly, and work brilliantly. And, there was no competition there. I was just kind of a student. And even though we worked together at New York, and I was the art director and he was design director, there was no question that he was the men by Print Is Dead (Long Live Print!)

61 min listen

Rochelle Udell (Designer & Editor: Self, Vogue, Epicurious, more): A conversation with editor and designer Rochelle Udell (Self, Vogue, CondeNet, Epicurious, more) by Print Is Dead (Long Live Print!)

48 min listen

Anita Kunz (Illustrator: The New Yorker, Rolling Stone, more): In this episode, we delve into the universality of self-doubt with acclaimed illustrator Anita Kunz. We’ll talk about her recent turn as an author, her favorite art directors, and that time she collaborated with an artistic monkey named “Pockets Warhol.” Kunz also shares a dark moment when she was embroiled in a nightmarish copyright lawsuit. And, because it’s 2023, we also talk about what Artificial Intelligence means for her profession. by Print Is Dead (Long Live Print!)

56 min listen

Gloria Steinem (Founder & Editor, Ms. Magazine, more): Today’s episode is about a girl from East Toledo, Ohio. _____ A girl who taught herself to read, by devouring comic books, horse stories and Louisa May Alcott. A girl who didn’t set foot in a school until she was 14. _____ A young woman who went to India for two years to avoid getting married—to anyone. A young woman who was described by one Esquire editor as the only writer he knew who could make sex boring. _____ A woman who has never, ever, worked for a paycheck. Who made up and launched her own idea for a column in New York magazine. (It kind of still exists). _____ A woman who, while on assignment, was kicked out of the lobby of the Plaza Hotel because “she must have been a hooker.” (Weren’t all single women who hung out in hotel lobbies?). _____ A woman who describes herself as a “hope-aholic.” _____ Today’s episode is about Gloria Steinem, the woman who created Ms. Magazine, and started a revolution. by Print Is Dead (Long Live Print!)

49 min listen

Bob Ciano (Designer: LIFE, Esquire, Wired, more) by Print Is Dead (Long Live Print!)

54 min listen

Mark Seliger (Photographer: Rolling Stone, Vanity Fair, GQ, more): A conversation with photographer Mark Seliger (Rolling Stone, Vanity Fair, GQ, more) by Print Is Dead (Long Live Print!)

57 min listen

Tyler Brûlé (Editor & Founder: Monocle, Wallpaper*, Konfekt, more): A conversation with editor and founder Tyler Brûlé (Monocle, Konfekt, Wallpaper*, more). — This episode is a special collaboration with our friends at Commercial Type. by Print Is Dead (Long Live Print!)

52 min listen

Robert Priest (Designer: 8x8, GQ, Esquire, InStyle, more): If you can count yourself among the lucky ones who’ve met Robert Priest in person, any chance you remember what you were wearing? _____ Well, fear not: He does. According to his business partner, the designer Grace Lee, Priest possesses a near-photographic memory of how people present themselves. And those first impressions last a lifetime. _____ To hear him talk, though, it’s not at all about being judgy. Priest is just naturally consumed with all things visual. He has been since childhood. (He gets it from his mother). To him, design is everything. _____ Priest has dedicated his 50-plus-year career to the relentless pursuit of taste, style, and fashion. And it shows. He has led design teams at all of the big magazines: GQ, House & Garden, InStyle, Newsweek, and Esquire. Twice. _____ But there’s another side to Robert Priest. He’s a huge sports fan. And designing magazines is his sport. Indeed, like a head coach, he’s hired to by Print Is Dead (Long Live Print!)

62 min listen

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Roger Black (Designer: Rolling Stone, Newsweek, New York, more)

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