Before you pitch or commission, read how we define process stories, studio portraits, typography reviews and the boundaries of our coverage. These notes keep submissions and briefs aligned with the magazine's editorial line.
Client notes from recent identity and print projects
The new visual system for our annual report held up across a 64-page print run and a digital edition. The grid gave the production team a clear path, and the typographic scale meant we could drop in last-minute figures without breaking the layout.
We came to Pascal Melchior with a messy archive of exhibition materials and no consistent voice. The studio built a flexible identity that now carries everything from wall labels to wayfinding. The process notes they shared helped our in-house team apply it without constant hand-holding.
The typeface review and specimen sheets saved us from a costly rebrand mistake. We had almost committed to a display face that would have failed at small sizes in our catalogue. Their annotated comparisons made the trade-offs obvious before we went to print.
What stood out was the documentation. Every iteration, every rejected sketch, every production constraint was logged and explained. That gave our stakeholders confidence in the final direction and made the approval process far shorter than we expected.
The studio portrait session felt less like a photoshoot and more like a working day. They photographed the actual desks, the pinned reference boards, the half-empty coffee cups. The resulting images now anchor our about page and feel honest rather than staged.
Practical answers on how we commission, structure and publish design stories, and what you can expect when working with the magazine.
We look for practitioners whose work shows a clear point of view, not just a polished portfolio. Most features start with a specific project or material experiment we have seen in a portfolio review, an exhibition or a conference talk. We then spend time with the reference boards and production notes before we approach the studio, so the interview is grounded in actual work rather than general career talk.
Yes. We read every submission that includes a short written statement, a link to recent work and at least one example of process documentation, such as sketches, failed iterations or material tests. Submissions without process material are harder to place because our editorial line prioritises the working method over the final image. Send yours to the contact address on the site.
A studio portrait is a documentary piece, not a corporate profile. We visit the workspace, photograph the pinboards, shelves, reference images and half-finished prototypes, and record a long-form conversation about how the environment shapes the work. The final article combines annotated photographs with direct quotes, so the reader sees the messy reality behind the finished identity.
We can, provided the project has enough process material to tell a real story. That means early sketches, rejected directions, client feedback, print tests and production notes. If the project is confidential, we can anonymise the client and focus on the technical and conceptual decisions. The finished piece will read as a case study, not a promotional brochure.
Typically six to ten weeks. The first two weeks are spent reviewing material and agreeing on the angle. The interview and studio visit happen in weeks three and four, followed by transcription and editing. We then share a draft for factual review, and the piece goes live once the studio approves the final text and images. Deadlines depend on the current issue schedule.
We do, but only when the writer has a concrete argument tied to specific work. A typeface review, for example, must reference particular glyphs, spacing decisions and usage contexts rather than general impressions. Critical pieces are labelled as such and are separate from our studio features, so readers can tell the difference between documentation and opinion.
For submission guidelines or to discuss a possible feature, see our contact page.
Formats we offer
Three editorial formats, each built around a different level of access to our studio practice. Pick the one that matches how deep you want to go.
A printed issue delivered to your door, plus the digital edition for reading on the move. Includes the full long-form interviews, annotated portfolios and production notes from that issue's contributors. No recurring commitment, just the one volume.
See what an issue containsFour issues across the year, each with a different thematic focus: typeface reviews, print production, exhibition visits, studio portraits. Subscribers also receive the reference board PDFs and the sketchbook pull-outs that never appear in the printed edition.
Compare subscription detailsThe full subscription plus quarterly studio visits, either in person or recorded. You get the raw interview transcripts, the failed iterations we usually cut, and a direct line to the editors for questions about the work. Limited to twenty passes per season.
Request a passAccess to every issue we have published since the first volume in 2019. Useful for researchers, educators and designers tracing how a particular studio's visual language developed over time. Searchable by contributor, theme or technique.
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