l e t t e r f r o m t h e e d i t o r

The LeTTer from The ediTor is a column

written by the editor of the magazine that

explains the theme of the issue and any other

pertinent information relevant to that issue.

This assignment need to be 200 words

minimum (based on 9/11 type) and include

a portrait (this can be a drawing, a photo,

a collage, etc). Your document should be

part bio, part mission statement about your

magazine. include some interesting aspect

of your magazine that a reader might find

interesting. LooK AT SAmPLeS iN VArioUS

mAGAZiNeS. Be sure to spellcheck your

document for errors and grammar.

LFTE publication

week

8

assi

gnem

ntPUBLICATION DESIGN

LeanrdoMAEDERO

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m a n i n t h e m i r r o r

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10 Reasons to Fall Love

Sub: do we really need an excuse.

By Kendra Lyon

10. It makes you better-looking.

This is not a joke. Believe it or not, falling in love can really make you look a lot better. If you’re the type of person who doesn’t care about your physical appearance, fall in love and see how you would change. When you’re in love, you will always try to look your very best not just to im-press the one you love but also to feel good about yourself. You feel conscious about your outfit, your hair and your movements.

Even when you don’t exert any effort on improving your appear-ance, love really brings something magical to its victims. When people are in love, they smile a lot. There is a certain glowing aura that people in love emit that radi-ates happiness.

9. It makes you nicer.

How can you be mean to people around you when there is someone who makes every minute of your life wonderful? When people are in love, we tend to focus on our feelings for that lucky person and pay not much attention to other things, much less to the things that make our blood reach the boiling point. And because there is someone who makes us smile every time, it is hard to frown and make other people’s lives miser-able. We tend to forget our bitter past and our plans of revenge in the future because what matters is

the present.

8. It makes you richer.

It doesn’t mean that you should marry Donald Trump or some other billionaire. Even if you fall in love with an average guy, you have more chances of getting

rich. This is be-cause you are more inspired to work and you have another reason to work hard. Intentionally or unintention-ally, you will find yourself doing your job a little less exhausting because the feeling of going home to someone you love keeps you through the day in a way that you don’t realize how much work you

have done. This is true. Studies have shown that individuals in long-term committed relation-ships earn more than those who stay single. So if you want to get rich, fall in love.

7. It makes you healthier.

When you’re in love, you care about yourself. It’s not just physi-cal appearance, it is your overall well-being including your health. If you used to ignore that migraine you’ve been enduring for years, when you’re in love, there is a high chance that you would call your doctor for an appointment and schedule a check-up. You

might even undergo tests that you have been putting off for the longest time like mammogram and PSA. When you’re in love, there is an intense urge to care for your health because you want to live long, because you have a good reason to. You want to live long not just for yourself but also for that special someone.

If suicidal thoughts enter your mind all the time, you will forget about them altogether when you fall in love. You have a reason to live now and you know how your self-destruc-tion makes him or her feel. And you don’t want him/her to be hurt, especially not by you.

6. It makes you mushier.

There’s nothing wrong with being mushy. It only means that you are sentimental and emotional. It only means that you care about how other people feel, especially the person you are in love with. If you have always thought that the lines uttered in those romantic movies are stupid, you will be surprised to find yourself in one, saying

those mushy lines. It is alright. There is nothing unmanly about expressing how you feel and let-ting your significant other know how important he or she is to you. It is not a crime. Being mushy is not a crime.

5. It makes you stronger.

Although it can also make you weaker in certain ways, falling in love makes you stronger. How? First of all, sex is a good workout. Haha.

10 reasons to fall in loveDo we really need an excuse?

anchored numbers......

startwhat a feeliNg

Seriously, people in love want and try to be strong for themselves and those we care for. We will do and endure anything to protect the person we love and give them what he or she wants. When we are sick, we want to get better fast so we can enjoy more time with him or her. We become stronger so we can catch them when they fall and lift them when their down.

Being strong can also be interpreted in another way. Some people can take all the pain that love brings just so they don’t lose them. Even when they are hurt by factors ranging from differences to third party to family, they choose to stay in the relationship because they are strong enough and they know that it will pass. Love is not easy to let go. If we can keep it, we will. Love is like that. It’s pleasure and pain rolled into one and it takes a lot of strength. Love is not for the weak-hearted.

4. It makes you wiser.

Being in a relationship is not all about sunshines and rainbows. There are bad, depressing moments, too. Although it is not a good reason to fall in love, it is not a reason not to, either. In fact, mistakes are essen-tial in love. Each mistake teaches you something important. Every time you make a mistake, you learn. And every time you learn, you become wiser. This enables you not to do the same mistakes again. Being wise means growing up. And it takes grownups to run a relationship.

3. It makes you more responsible.

If your life is in disarray, you will set everything straight when you’re in love. You will find a good job because you think of

your future together. You will take good care of your finances. You will fix your relationship with your family. You will forget about your unfinished business with your exes. You will even clean your room, which you haven’t done since you hit puberty. When you’re in love, your life develops a sense of direction.

2. It makes you more creative.

When you’re in love, you think of new ways to take your loved one’s breath away. You cannot do things over and over again or you will beth get tired. You will be forced to come up with new, refreshing ways of saying “I love you,” of celebrat-ing anniversaries, of letting him or her know how you feel. In some cases, people find themselves learning or trying to do things new to them like writing songs or doing something embar-rassing. The funny part is, you don’t complain be-cause you enjoy doing it. Weird, but you really do.

Another way of being creative is when he or she asks you where you have been last night. Yeah, that will really squeeze out all the creative juices in you.

1. It makes you happier.

When you’re in love, you will never find yourself alone. You already have a partner to do things with and it’s not just sex. Yes, sex makes people happy but it’s more than that. Simple activities can become fantastic when you do it with someone, especially with the one you truly treasure. These things will make you happy and it will show big time. You’ll be surprised that you will see yourself smiling and laughing all the freak-ing damn time. You think about him or her, you

smile. You see him/her walking, you smile. You see him/her trip on her toe, you smile. When you’re in love, you always think positive.

start design

The World and Style of FornasettiHow surreal art became fashion plates.By Dagmar Fiction

“Dear contemporaries, don’t you realise how different we are? Although I depict you as equals and like the ancients you never change.” Piero FornasettiPiero Fornasetti (10 November 1913 - 1988) was an Italian painter, sculptor, interior decorator and en-graver.

Combining whimsy and elegance, Piero Fornasetti (1913–1988) transformed everyday objects like cups, scarves, and screens into works of art featuring his idiosyncratic leitmotifs, such as the hand, the female face, and luminescent fish. Additionally, he created a wide range of works, including idealized architectur-al fantasy drawings, book designs, and provocative nudes, as well as the decor for the luxury liner Andrea Doria. Perhaps most famous for dazzling pieces of trompe l’oeil furniture, Fornasetti was rediscovered in the 1980s and has remained much sought-after by collectors worldwide. Featuring 2,800 illustrations, many never before published, the monograph is designed to be an “artist’s book” that reflects as faithfully as possible Fornasetti’s own approach to design.

The World and Style of FornasettiHow surreal art became fashion plates

By dagmar fiction

Combining whimsy and elegance, Piero Fornasetti (1913–1988) transformed everyday objects like cups, scarves, and screens into works of art featuring his idiosyncratic leitmotifs, such as the hand, the female face, and luminescent fish. Additionally, he created a wide range of works, including idealized architectural

fantasy drawings, book designs, and provocative nudes, as well as the decor for the luxury liner Andrea Doria. Perhaps most famous for daz-zling pieces of trompe l’oeil furniture, Fornasetti was rediscovered in the 1980s and has remained much sought-after by collectors worldwide. Featuring 2,800 illustrations, many never before published, the mono-graph is designed to be an “artist’s book” that reflects as faithfully as possible Fornasetti’s own approach to design.

“Dear contemporaries, don’t you realise how different we are? Although I depict you as equals and like the

ancients you never change.” Piero Fornasetti

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LEMON AID

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e v e r y t h i n g i s e v e r y t h i n g

mesocarp

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endcocarp

s t u f f w e a l l g e t

CHA CHA HEELTapie, a former television presenter and football club owner who also owned Adidas in the 1990s, accused Credit Lyonnais of fraudulently profiting from the 1993 sale of the company by offering loans at special rates to its new owners. The French government was implicated because it wholly owned Credit Lyonnais after a 1995

CHA CHA HEELTapie, a former television presenter and football club owner who also owned Adidas in the 1990s, accused Credit Lyonnais of fraudulently profiting from the 1993 sale of the company by offering loans at special rates to its new owners. The French government was implicated because it wholly owned Credit Lyonnais after a 1995

CHA CHA HEELTapie, a former television presenter and football club owner who also owned Adidas in the 1990s, accused Credit Lyonnais of fraudulently profiting from the 1993 sale of the company by offering loans at special rates to its new owners. The French government was implicated because it wholly owned Credit Lyonnais after a 1995

CHA CHA HEELTapie, a former television presenter and football club owner who also owned Adidas in the 1990s, accused Credit Lyonnais of fraudulently profiting from the 1993 sale of the dArT

Tapie, a former television presenter and football club owner who also owned Adidas in the 1990s, accused Credit Lyonnais of fraudulently profiting from the 1993 sale of the company by offering loans at special rates to its new owners. The French government was implicated because it wholly owned Credit Lyonnais after a 1995

CHA CHA HEELTapie, a former television presenter and football club owner who also owned Adidas in the 1990s, accused Credit Lyonnais of fraudulently profiting from the 1993 sale of the company by offering loans at special rates to its new owners. The French government was implicated because it wholly owned Credit Lyonnais after a 1995

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publication

swag

PUBLICATION DESIGN

week

5

What is swag? Stuff We All Get is generally considered prod-uct that is given to celebrities, or stuff that editors get as a way to be included in a product page.ANGELES Swag is a two page product story. Images will be supplied (you may veer from this if it is essential to your magazine’s theme). There should be five images per page. Create a style sheet, SWAG captions, and use 8 on 9.6 Helvetica Neue Bold (flrr)as the caption copy. Use an Upper Case head describing the product. Each caption should be approximately 30 words.Concepts: product pages are common in brochures, maga-zines, annual reports, advertisements, etc. A magazine prod-uct page CAN be different as inclusion is generally not paid for, and “editorial” means you can have some freedom with it. In a catalog, all images are the same size. Review product pages in magazines to see how dramatic effects are accom-plished through a variety of graphic design experiments with size and shape.

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elements in this exercise

example

due

style sheetscaptions

multiple objects consistency

guttergrid

styles

8 on 9.6 Helvetica Neue bold

(body)12 pt Upper Case caption head

align left, rag right

work on SWAG in class and be prepared to show single 11x17 tabloid size spread next week.

FRANK GEHRYDisney Architect

s buildings, including his private residence, have become tourist attrac-tions. His works are often cited as be-ing among the most important works of contemporary architecture in the 2010 World Architecture Survey, which led Vanity Fair to label him as “the most important architect of our age”.

Gehry’s best-known works include the titanium-covered Guggenheim Museum in Bilbao, Spain; MIT Stata Center in Cambridge, Massachusetts; Walt Disney Concert Hall in downtown Los Angeles; Experience Music Project in Seattle; Weisman Art Museum in Minneapolis; Dancing House in Prague; the Vitra Design Museum and MARTa Museum in Germany; the Art Gallery of Ontario in Toronto; the Cinémathèque française in Paris; and 8 Spruce Street in New York City. But it was his private residence in Santa Monica, California, which jump-started his career, lifting it from the status of “paper architec-ture” – a phenomenon that many famous architects have experienced in their formative decades through experimentation almost exclusively on paper before receiving their first major commission in later years. Gehry is also the designer of the future Dwight D. Eisenhower Memorial.

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publication

feat

ure s

tory

PUBLICATION DESIGN

week

8

he feature story, “Building with a Twist”

is a six-page story with numerous images and text. There will

be a sidebar, map, byline, photo captions and pull quotes used to

illustrate the story.

Opener: should have the headline, deck and byline, with at least

one paragraph of type. Remember: initial caps, different weights

and type sizes for opening, create interest.

Body copy should flow. Link paragraphs and be aware of guides,

trim and where copy sits on the page.

elements in this exercise

due

art directionstyle sheets

captionsmultiple objects

sidebars maps

pullquotes

styles

BODY:9/12

serif or sans serif body copy

CAPTIONS:8/11 bold

to be completed in final magazine.

The strikingly beautiful Walt Disney Con-cert Hall isn’t just the new home of the Los Angeles Philharmonic; it’s a key element in an urban revitalization effort now under-way Downtown. The Walt Disney family insisted on the best and, with an initial gift of $50 million to build a world-class per-formance venue, that’s what they got: A masterpiece of design by world-renowned architect Frank Gehry, and an acoustical quality that equals or surpasses those of the best concert halls in the world. Similar to Gehry’s most famous architectural master-piece, the Guggenheim Museum in Bilbao, the concert hall’s dramatic stainless-steel exterior consists of a series of undulating curved surfaces that partially envelop the entire building, presenting multiple glim-mering facades to the surrounding neigh-borhood. Within is a dazzling 2,273-seat auditorium replete with curved woods and a dazzling array of organ pipes (also designed by Gehry), as well as Joachim Splichal’s Patina restaurant, the hip Concert Hall Cafe, a bookstore, and a gift shop.

The 3 1/2-acre Concert Hall is open to the public for viewing, but to witness it in its full glory, do whatever it takes to attend a concert by the world-class Los Angeles Philharmonic. Also highly recommended are the $12 audio tours, which lead visitors through the Concert Hall’s history from conception to creation. The 45-minute self-guided tour is narrated by actor John Lith-gow and includes interviews with Frank Gehry, Los Angeles Philharmonic music di-rector Esa-Pekka Salonen, and acoustician Yasuhisa Toyota, among others. One big caveat is that you see just about everything except the auditorium: There’s almost al-ways a rehearsal in progress and the acous-tics are so good that there’s no discreet way to sneak a peek. The audio tours are avail-able on most non-matinee days from 10am to 2pm (be sure to check their website for the monthly tour schedule).

T

publication

TOC

tabl

e of c

onte

nts

PUBLICATION DESIGN

week

9

THE TOC (table of contents) is a navigational page for readers. Each story is listed with a folio and usually a short paragraph about the story and a byline. The masthead also appears at the top with the month.TOC’s are highly creative pages in that they reflect the magazine and yet are graphically independent. Choose fonts, colors and design elements that we have seen elsewhere in your magazine to create a look and identity to your page.

elements in this exercise

due

INCLuDE IN FINAL MAgAzINE

style sheetscaptions

multiple objects

styles

9/12serif or sans serif body copy

publication

the L

ast P

age

PUBLICATION DESIGN

week

10

elements in this exercise

dueinlcude in final magazine + PDF

art direction

styles

9/12serif or sans serif body copy

the

page

The LAST PAGE is exactly that: the last page of the magazine. It is always on the left and is editorially open to ideas. It can be a picture, a doodle, an illustration, an icon—anything you like so far as it implies the last of something.It should have a slug and be clear to the reader that this is a page, albeit, the last page of your magazine.

publication

TOC

tabl

e of c

onte

nts

PUBLICATION DESIGN

week

9

THE TOC (table of contents) is a navigational page for readers. Each story is listed with a folio and usually a short paragraph about the story and a byline. The masthead also appears at the top with the month.TOC’s are highly creative pages in that they reflect the magazine and yet are graphically independent. Choose fonts, colors and design elements that we have seen elsewhere in your magazine to create a look and identity to your page.

elements in this exercise

due

INCLuDE IN FINAL MAgAzINE

style sheetscaptions

multiple objects

styles

9/12serif or sans serif body copy

publication

wel

l

PUBLICATION DESIGN

week

10

Pages 25-26 are in the well. You have a choice between two stories, “Toxic Beauty” or “Darien”. These are both big picture stories and the challenge is to create a readable, creative spread with the copy and images supplied.Both stories are on the server in the shared folder. There is copy for each. “Darien” requires some photo editing as there are many images. “Toxic Beauty” is a single image. As these are stories in the well, they can be presented independently of your front-of-book style. The only constant would be use of body copy, although it can be modified to you liking.

TOXIC BEAuTY or Darien

due

art directiondesign

typography

to be included in your final presentation

?

twist and shout

The Los Angeles Philharmonic continues its reinvention of the concept of a 21st-century orchestra under the vibrant leadership of Gus-tavo Dudamel. Embarking on its 92nd season in 2010/11, the Philharmonic is recognized as one of the world’s outstanding orchestras and is received enthusiastically by audiences and critics alike. Both at home and abroad, the Philharmonic is leading the way in in-novative programming and redefining the musical experience.

This view is shared by more than one million listeners who experience live performances by the Los Angeles Phil-harmonic each year. The Philharmonic demonstrates a breadth and depth of pro-gramming unrivaled by other orchestras and cultural institutions, performing or presenting nearly 300 concerts through-out the year at its two iconic venues: Walt Disney Concert Hall and the Hollywood Bowl, a popular summer tradition since

1922. The orchestra’s involvement with Los Angeles also extends far beyond regular

symphonic performances in a concert hall, embracing the schools, churches, and neighbor-

hood centers of a vastly diverse community.

ThE gRANDEuR OF gRAND AvENuE’S DISNEY hALL

The Los Angeles Philharmonic was founded by William Andrews Clark Jr., a multi-millionaire and amateur musician, who established the city’s first permanent symphony orchestra in 1919. The 94 musi-cians of the new ensemble met for their first rehearsal Monday morning, October 13 of that year, under the direction of Walter Henry Rothwell, whom Clark had brought from the St. Paul (Minnesota) Symphony Orchestra. Eleven days later, Rothwell conducted the orchestra’s premiere perfor-mance before a capacity audience of 2,400 at Trinity Auditorium in downtown Los Angeles. The audience heard Dvořák’s New World Symphony, Liszt’s Les Préludes, the Overture to Weber’s Oberon, and Chabrier’s España.

Rothwell remained the orchestra’s Music Director until his death in 1927. Since then, ten renowned conductors have served in that capacity: Georg Schnéevoigt (1927-1929); Artur Rodzinski (1929-1933); Otto Klemperer (1933-1939); Alfred Wallenstein (1943-1956); Eduard van Beinum (1956-1959); Zubin Mehta (1962-1978); Carlo Maria Giulini (1978-1984); André Previn (1985-1989); Esa-Pekka Salonen (1992-2009); and Gustavo Dudamel (2009-pres-ent).

Following its opening season in 1919/1920, the orchestra made Philhar-monic Auditorium, on the northeast corner of Fifth and Olive, its home for the next 44 years. In 1964, the orchestra moved to the Dorothy Chandler Pavilion of the Los Angeles Music Center, which was its winter home until its final performances there in May 2003.

In October 2003, the doors to one of the world’s most celebrated venues — the Frank Gehry-designed Walt Disney Concert Hall — were opened and the Los Angeles Philharmonic took the stage in its new home, which has become known not only as a local cultural landmark, but also as “…a sensational place to hear music... In richness of sound, it has few rivals on the international scene, and in terms of visual drama it may have no rival at all.” (The New Yorker) Praise for both the design and the acoustics of the Hall has been effusive, and the glistening curved steel exterior of the 293,000-square-foot Walt Disney Concert Hall embodies the energy, imagination, and creative spirit of the city of Los Angeles and its orchestra.

Inspired to consider new directions, Gustavo Dudamel and the Philharmonic aim to find programming that remains faithful to tradition, yet also seeks new ground, new audiences, and new ways to enhance the sym-phonic music experience. During its 30-week winter subscription season of 110 performances at Walt Disney Concert Hall, the Philharmonic creates festivals, artist residencies, and other thematic programs designed to delve further into certain artists’ or composers’ work.

The Los Angeles Philharmonic’s commitment to the presentation of music of our time is evident in its sub-scription concerts, the exhilarating Green Umbrella se-ries, and its extensive commissioning initiatives. Now in its 29th year, the Los Angeles Philharmonic New Music Group, devoted exclusively to performing compositions on the cutting edge of the repertoire, attracts leading composers and performers of contemporary music.

The Los Angeles Philharmonic Association expands its cultural offerings by producing concerts featuring distinguished artists in recital, jazz, world music, song-book, and visiting orchestra performances, in addition to special holiday concerts and series of organ recitals, chamber music, and baroque music.

The Philharmonic has led the way into the digital age, with groundbreaking web and mobile device applica-tions. Through an ongoing partnership with Deutsche Grammophon, the orchestra has a substantial catalog of concerts available online, including the first classical music video released on iTunes.

Otto Klemperer, Zubin Mehta, Carlo Maria Giulini, André PrevinOtto Klemperer, Zubin Mehta, Carlo Maria Giulini, André Previn

* Georg Schnéevoigt (1927-1929) * Artur Rodzinski (1929-1933) * Otto Klemperer (1933-1939) * Alfred Wallenstein (1943-1956) * Eduard van Beinum (1956-1959) * Zubin Mehta (1962 -1978) * Carlo Maria Giulini (1978-1984) * André Previn (1985 -1989) * Esa-Pekka Salonen (1992 - 2009) * Gustavo Dudamel (2009 - Present)

Click here for KCRW’s four-part radio documentary on Walt Disney Concert Hall

Click here for information about the history of the Hol-lywood Bowl!

Photo Credits:

* Trinity Auditorium: Cambria Archives * Philharmonic Auditorium exterior: California His-

torical Society/Ticor * Alicia de Larrocha with Los Angeles Philharmonic:

Otto Rothschild Collection. Music Center of Los Angeles County Archives

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the maN BehiNd the hall