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Lets hear it for printWELCOME TO SOGO MAGAZINELet’s hear it for the city too. I grew up in a place that was a million miles from the Nessie-and-shortbread-tin country I saw reflected back at me. This Scotland wasn’t a picture postcard, but it wasn’t ugly either. It was a place of hard work, and some of the greatest industrial architecture on the planet.Scottish post-punk tradition, many of which burst from the Art schools from the early 80s onwards.Mark Hamilton has, in one of Glasgow School of Art’s last commissions, documented the interiors, and the words accompanying the images come from David Pratt. Reminiscing about the time that established the GSofA’s reputation as a place that didn’t only produce artists, but musicians, actors, playwrights and war reporters like, David.At first sight it was close, and dirty: but you just had to look up, or look a bit closer to see a city steeped, not just in graft, but in craft – and creativity. The home of Yarrow’s shipyard, or Weir’s engineering, was also the home of ‘Greek’ Thomson and Rennie Macintosh – ‘wally closes’ and stained glass lay inside buildings covered in soot.This most evocative of buildings, a blend of West of Scotland steel and craftsmanship, a place of inspiration which was nonetheless a place of work which underlined the idea that ‘there is no essential difference between the artist and the craftsman’ – a central plank of the Manifesto of Walter Gropius, founder of the Bauhaus.This urban Scotland has been well documented. Kelman, McIlvanney and Welsh wrote about it and the people who made it. Currie, Campbell and Howson painted it – and John Byrne did both. But somehow their efforts never made it onto the shortbread tins, and the dominant narrative remained rural.It’s been a joy editing the first edition into something which gives a platform to these many kenspeckle talents, and is able to bring together so many diverse strands and experiences to make something which is a representation of that lived urban Scottish experience which can be so often overlooked.I want this magazine to be a reflection of that landscape, as much a representation of it as the finished products, vinyl records, canvasses, sculpture, ceramics and novels that we’re so good at making.Neale Smith does it literally, with a beautiful, unpublished project exploring the ‘connective tissue’ of the huge motorway-building projects of the 1960s that bookended the great industrial era in Glasgow: that city of iron and sandstone we see in the paintings of Brian McFie a few pages before. Brian’s front cover evokes the German expressionism of Klee in his Dusseldorf Kunstacademie era.That I am also able to do so in a traditional print medium is another joy, reverting to traditional page layouts reminiscent of letter press formats, going back to my own formative experiences as a time-served hot metal compositor.Glasgow might like to think its cityscape is somehow unique, but it’s an idiom shared with other great cities of that era, particularly in North America. Adrian Barry has given us a showcase of his forthcoming book of New York street reportage – and we have Stuart Cosgrove on Detroit, another city with a heritage of heavy industry and popular protest something which was best expressed in the music of Motown Records. Gus Ironside not only interviews Stuart, but brings us the story of Stereogram, a contemporary Edinburgh label building on the greatRumours of the death of print have been somewhat exaggerated – something which has five hundred years of tradition on the novelty of the digital revolution has nothing to fear. While Sogo has been layed out on a Mac, the typeface that I choose for the body text, Garamond, originates from 15th century woodcuts by Claude Garamont.The sub-headings come from the work of Eric Gill, a typographer whose work you might recognise in from ‘Keep Calm’ posters, Penguin book covers, in signage for British Rail, and other icons of a Britain which has ceased to exist.S O G O M A G A Z I N1 E SU15So, lets hear it for print. Craig Wallace EditorEDITORS VIEW

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