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Editorial

Magazine layouts — covers, spreads, interviews, colophons

17 blocks
( filter blocks )
01MagazineCoverHeroFull-bleed issue-cover hero with masthead, oversized issue number and pinned coverlines over a hero image.
kapustin review( vol. 04 — the slow issue )

inside: the studios rebuilding brand from the inside out

twelve founders on the year everything slowed down

why the best interfaces feel like nothing at all

03PullQuoteSpreadTwo-column magazine spread with a rotated pull-quote, inline footnote markers and a margin-notes column.

( from the essay )

every additional feature, banner and modal is a small vote of no confidence in the thing you already built.1 the studios that endure treat the delete key as a design tool2 — cutting until what remains is unmistakably theirs.3

restraint is not the absence of ideas — it is the discipline to ship only the ones that matter.

— from "the case for slower software"

1

measured across 40 studio engagements between 2019 and 2025.

2

the same logic applies to onboarding, pricing pages and empty states.

3

see: every product that shipped a redesign nobody asked for.

04ArticleCardsBrutalBrutalist bordered article cards with hard offset shadows and a rotated hover stamp badge.
05InterviewQAAlternating interviewer/subject conversation with circular monogram badges and a sticky question rail on desktop.

( the interview )

in conversation

KR

01

You started this studio without a single client. What were you actually betting on?

MS

That taste is a moat. Anyone can ship fast now — nobody can ship fast and make it feel considered. We bet the entire practice on that gap staying open longer than people expected.

KR

02

Your work looks nothing like the last studio you ran. What changed?

MS

I got bored of restraint for its own sake. The old studio was all whisper — this one is willing to shout when the idea earns it. Confidence reads as craft if the fundamentals are right underneath.

KR

03

Is there a project you turned down that still bothers you?

MS

A rebrand for a bank that wanted disruption but meant decoration. We said no in the first call. It bothers me the way a fork in a trail bothers you — not because it was wrong, just because you never see the other version.

KR

04

What does the next five years look like for you personally?

MS

Fewer clients, slower timelines, work that ages instead of trending. I want the studio to be known for the projects we stayed on, not the volume we moved through.

07PhotoEssayStripSlow-scroll photo essay with alternating image-caption alignment, film-style frame numbering and parallax crops.

( photo essay )

the last analog studios

  • A studio built into the side of a hill, north-facing light kept through every season.

    N° 01 / 05

    A studio built into the side of a hill, north-facing light kept through every season.

    porto, portugal

  • The archive room — forty years of samples, none of them digitized, all of them still consulted weekly.

    N° 02 / 05

    The archive room — forty years of samples, none of them digitized, all of them still consulted weekly.

    kyoto, japan

  • A print run drying overnight, ink still finding its true color by morning.

    N° 03 / 05

    A print run drying overnight, ink still finding its true color by morning.

    reykjavik, iceland

  • The last light in the workshop before the coast goes dark for the evening tide.

    N° 04 / 05

    The last light in the workshop before the coast goes dark for the evening tide.

    lisbon, portugal

  • A binder’s hands, mid-fold, on a run of one hundred hand-stitched editions.

    N° 05 / 05

    A binder’s hands, mid-fold, on a run of one hundred hand-stitched editions.

    florence, italy

09ColophonCreditsQuiet end-of-issue colophon listing role-to-name credits in staggered hairline rows with a closing imprint note.

( colophon )

made by

01Editor-in-chiefAda Cole
02Art directionStudio Novak
03DesignIlya Marchenko, Femke Bos
04PhotographyReiko Amano
05IllustrationBram de Wit
06Copy editingHarriet Voss
07TypefaceSet in Söhne and Signifier
08PrintingRobstolk, Amsterdam
10HeadlineDeckBylineClassic feature opener with kicker, display headline, lead deck, byline row and a drop-cap first paragraph.

( features — design )

How a decade of saying no to fast, loud, forgettable work turned a garage-floor practice into the studio every ambitious brand now waits a year to book.

For a decade, the studio operated out of a converted garage on the edge of the industrial district, taking on just enough work to keep the lights on and turning away everything that smelled like compromise. That discipline, more than any single campaign, is what built the reputation that eventually filled the waiting list.

What changed was not ambition but capacity. A second floor, then a third; a handful of hires who understood restraint as a design principle rather than a limitation. The work got bigger without getting louder — a distinction the founders insist on in every interview, every pitch, every internal review.

11EdMenuSpreadRestaurant menu as a magazine spread: serif section headings, two hairline-ruled columns of priced items with dotted leaders, and a centered folio line.

( la carte — summer )

Small plates

Burrata & charred peach14

basil oil, toasted hazelnut, sea salt

Beef tartare17

smoked yolk, pickled shallot, rye crisp

Grilled leeks12

romesco, almond, lemon ash

Oysters — half dozen21

green apple mignonette

Sourdough & cultured butter6

baked at seven each morning

Mains

Dry-aged duck breast34

cherry, red endive, spiced jus

Handmade tagliatelle26

brown butter, sage, aged parmesan

Whole roasted trout29

fennel, capers, charred lemon

Braised short rib32

celeriac purée, gremolata

Wood-fired cauliflower22

tahini, pomegranate, herbs

— 12 —
12EdLocalPaperNewspaper front page with a serif masthead wordmark, dateline rule, ruled text columns opening on a drop cap, and one captioned photo.

The Fernhill Gazette

Thirty-four seats, one market menu, and a queue that starts before the bread does.

the dining room at opening hour
The dining room at opening hour. Photograph by the neighbours.

When the shutters went up on the corner of Elm and Third this spring, few expected the queue that now forms before eight. The room seats thirty-four; the waiting list, on a good Saturday, runs closer to eighty. Regulars have learned to arrive with the bread, which leaves the oven at seven sharp.

The proprietors — two sisters who spent a decade cooking in other people’s kitchens — keep the operation deliberately small. One menu, changed with the market. No reservations for parties under six. A chalkboard that lists the farms by name, updated in a looping hand every Tuesday.

Neighbours have taken note. The hardware store next door now stocks the house hot sauce; the florist trades stems for day-old loaves. "We wanted a place that felt like it had always been here," the elder sister says, wiping flour from the counter. "Turns out the street wanted one too."

The kitchen closes at three. By four the tables are stacked, the floor swept, and the sourdough for tomorrow is already proving in the back — a quiet promise that the corner will smell the same again in the morning.

13EdSeasonIssueSeasonal issue cover: mono issue line, giant serif title, full-bleed cover image and a contents mini-list in hairline rows.
issue 04 — autumn( a quarterly from the kitchen )

autumn issue cover

( in this issue )

01the last of the tomatoes
02a field guide to the cellar
03the makers: three hands, one loaf
04what the cold months are for
14EdMakersInterviewInterview spread with a sticky portrait column, mono questions against serif answers, and an oversized serif pull-quote mid-conversation.

( the makers — nº 03 )

portrait of the head baker
Vera Lindqvisthead baker & co-owner

The bakery opens at seven, but your day starts at three. What happens in those four hours?

Everything that matters. The starter gets fed, the ovens come up to temperature, and the first loaves are shaped in near silence. By the time the door opens, the hardest work of the day is already cooling on the racks.

You refuse to write the recipes down. Why?

Because flour changes with the weather, and a recipe can’t feel humidity. We teach hands, not documents. Anyone who has stood at this bench for a season carries the recipe with them — it just doesn’t fit on paper.

“We teach hands, not documents. The recipe lives in whoever stands at this bench.”

The neighbourhood has changed around you. Has the bread?

The bread is stubborn, like us. We added a seeded loaf when the café next door asked nicely, and we retired nothing. If you grew up on the Saturday rye, it will taste the same the day you bring your own children in.

What does success look like from behind the counter?

A short queue at closing, an empty shelf, and someone’s regular order started before they reach the till. We never wanted to be everywhere. We wanted to be essential to one street.

15EdDishAnatomyExploded dish diagram: central media cutout flanked by mono ingredient callouts tied to the dish with hairline connectors and accent dots.

( anatomy of — nº 01 )

house baguette

baked twice daily, rice-flour crust

chicken-liver pâté

spread edge to edge, no exceptions

pickled daikon & carrot

forty-eight hours in the brine

the signature dish, photographed from above
lemongrass pork

grilled over charcoal to order

cucumber, coriander, chilli

cut long, stacked cold

maggi & mayo

the quiet non-negotiables

assembled to order ✦ serves one
16EdgeIndexedEditorialLong-form editorial sheet with a rotated margin index, line-masked headline, two-column drop-cap prose and a hairline-ruled pull-quote — a drawing sheet for words.

( notes from the studio )

Every project we take on begins the same way: a site visit, a notebook, and a long silence. We measure twice before we say anything at all, because the first sketch always lies — it flatters the idea and hides the constraints. The real drawing only appears once the constraints are allowed to speak.

What follows is less like invention and more like excavation. The grid is already there, buried in the brief; our job is to brush the dirt off it. We number every sheet, date every revision, and keep the margins wide enough for doubt.

By the time a project ships, the folder holds more rejected drawings than accepted ones. We consider that ratio the honest price of work that looks inevitable — nothing on the final sheet is decorative, and nothing is missing.

We measure twice before we say anything at all.
Studio field manual, rev. 12
SHEET 04 — FIELD NOTESP—04
17WedgeHeaderSplitSection header with a diagonal gradient wedge tucked behind the corner, two-tone word-masked headline, right-aligned lead and two photo cards that tilt on hover.

( inside the studio )

Every space we keep is a working argument — part library, part machine shop. Nothing here is staged; the sawdust is real and so are the deadlines.