It’s a Scream


All three n by Norwegian covers to date have been excellent, but the clever, clever photo illustration that graces issue 4 is the wittiest yet. The story, by excellent foreign correspondent-cum-rock critic Andrew Mueller, concerns the theft of Edward Munch’s The Scream from Oslo’s Munch Museum. Following a particularly cunning plan, the thieves walked in, took the painting off the wall, walked out again with it, got in a car and drove away. It was then hidden for a time in the Batmobile-themed tour bus of a well-known drag racer. Seriously. When the painting was recovered two years later it was in a sorry state, as if its captors placed no value on it, and n by Norwegian goes on to tell the story of its restoration, hence the cover. The concept was art director Rickard Westin’s (top right, below), the photography by Liz McBurney. (posted by AndrewH)


A piece of cake

Previous covers on easyJet Traveller have been created on a 3D printer, hand knitted and sculpted out of ice. For the forthcoming April issue the cover was baked. The cover story celebrates the best of Britishness, so the team commissioned a great big celebratory two-tier, 20kg chocolate sponge cake filled with dark chocolate truffle and festooned with national stereotypes including a teapot, fish and chips, a beer tankard, big red bus, Nessie and Union Jack bunting.


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It was made by Choccywoccydoodah, a Brighton-based specialist in one-off chocolate sculpted fantasies and bespoke cakes, who’ve just opened a branch in Soho. What’s more, not only did the cake look good, it tasted excellent too, as just about the whole of Ink’s London office can attest. (Posted by AndrewH)

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A little bit Bowie

As magazine racks sag under the weight of David Bowie coverage, the question is how to bring something fresh to the table. (It’s not so much the new single and album, rather the exhibition that opens at the V&A this month, which is expected to be massively popular with Londoners and visitors alike.) The easyJet Traveller team managed to track down Masayoshi Sukita, responsible for one of the most iconic images of Bowie, used on the cover of Heroes, and ran a story on the background to the shoot (“He was particular about his leather jackets”).


For Germanwings, with one of its three hubs being Berlin, the editorial team opted for an essay on Bowie’s creatively brilliant Berlin years. The piece, written by Dave Rimmer (Berlin-based former music journalist: The Face, Smash Hits), is 1,200 of the most informative and insightful words on Bowie you’re likely to read anywhere. (“Some distance from the 1970s mainstream, divided Berlin offered Bowie the refuge of relative anonymity and a kind of de-tox from celebrity – though Iggy would describe it as ‘like trying to give up heroin in the heroin capital of the world’.”) The main image was created from a stencil drawn and cut by art director Steve Ranson.


Eurostar are one of the sponsors of the V&A exhibition so they wanted Metropolitan to go big on Bowie. The team decided to focus on what Bowie meant to the fans who would be travelling to the show. They interviewed a cross-section of people in London and Paris, and shot them interacting with projected images of their hero (Phil Fisk was the photographer, Christos Hannides the art director). The issue also features an interview with comedian Eddie Izzard, in which at one point he talks about Bowie (both, after all, have been gleeful dabblers in transvestitism), so the cover combines the two – with only the slightest Photoshoppery. It’s a clever take on a classic image, as well as being a great fit with the Bowie feature inside, which runs under the headline ‘We’re all a little bit Bowie’ – or it would have done if the art director hadn’t decided that was too many words and shortened it to ‘We’re all a little Bowie’.






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