What inspired you to start a magazine? Why a magazine?
I started the magazine in 2012 as a platform for me and my friends to publish our work. The first few issues featured literally only people who lived in my building, which was kind of a communal artist building in Montreal. Also, I was part of Petra Collins’s collective “The Ardorous,” and I was inspired by how she gave a platform to me and so many other unknown artists. I think that’s a big reason why I started Editorial. I didn’t have any special respect for the medium, I just wanted to get our work published. There are so many things I didn’t consider, like the cost of printing and how to design a real-life thing. It’s taken years to learn the actual craft of producing a carefully curated print object. And even now real designers comment on how Editorial’s design is “outsider.” Sometimes it’s good to not know about the field you’re entering into otherwise you’d never do it.
What things did you come to find out you didn’t know?
I didn’t even know that files had to be high resolution and CMYK to print! [Laughs.] Learning the tech stuff was hard. I wanted the immediacy of making art, like “look here it is,” but there were all these hoops to jump like converting files, graphic design, etc. Learning how to work with artists was also a big learning curve. Artists have to be handled with care, they need compliments and cushy deadlines.
When did you realize you needed to bring other people on? And, similarly, what’s it like to be producing a collaborative object as opposed to the more solo process of working in your studio?
I think immediately I needed other people’s help but I’ve managed to maintain a sense of solitude in it. I’m really good at turning meetings into email threads. I don’t go to shoots, or even meet with our editors IRL to discuss things. “Send it to me in an email!”