New print-only creative industries publication, The Static, launches this week.
Published and designed in Glasgow, with the bulk of its editorial team in London, The Static promises to “bring freshness, creativity, originality and quality journalism to the creative and media sectors.” It also promises something readers and advertisers have been missing for too long: high-quality, regular print media.
The Static’s stand-out colour tabloid look, and partnerships with the best designers, cartoonists and illustrators will be a visual representation of the best of the commercial creative world it represents.
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Its launch illustration – a play on the infamous VW ‘Lemon’ ad – was created by Thea Bryant, an illustrator who has created for Adidas, Team GB, Amnesty International and more.
The Static says it will not just be “print-first,” but almost “print-only,” with copies delivered to subscribers. You won’t be able to follow The Static on Instagram, or get all of its stories on its website or Substack, although an “infrequent” email newsletter will keep the community informed about what’s happening in the coming issues.
The paper will have a limited rack circulation in key creative industry offices and hubs, putting it directly into the hands of readers, and the team say they will be working hard to get the stories that matter out to the world – although pitches are welcome, the paper will not run press releases.
Omar Oakes, founder and formerly editor in chief at The Media Leader, and media and technology editor at Campaign heads up The Static’s media and broadcast coverage. Tom Banks, a former editor at Design Week and creative editor at The Drum, will run The Static’s design and advertising coverage. Emily Gosling, formerly senior writer at Creative Review, acting editor at Design Week, and deputy editor at It’s Nice That will head up The Static’s Life section.
The founder and publisher of The Static is Claire Foss, a communications strategist who has worked in the creative industries in both journalism and PR for two decades. She has founded and run businesses in the creative sector, and as a journalist, has worked at or written for Haymarket, William Reed, the BBC, Channel 4 and more.
Behind the stand-out design of The Static is Phoebe Willison, specialist in publication design, and the designer of Scottish print events tabloid The Skinny.
Publisher Foss said: “We want to tell a different story about our industry, and as systems seem to accelerate away from us, we know that now is the time to try something new.
“Everyone’s LinkedIn is different, everyone’s Reddit, everyone’s Substack – at a time when we desperately need to be having the same conversations. The platforms that once felt so hopeful are making us depressed, harming the industry, and killing the journalism we need. Media plurality is vital, and we will play our part in that.
“The creative industries are one of the most visible, valuable industries in the world and we take up a lot of space in people’s lives. So we owe it to ourselves, and to everyone else, to understand what’s really going on – and have some fun along the way.
“The Static still believes that what this industry does and what it creates matters. We aren’t here for slop, volume and algorithm tweaking for addicted consumers. We are here to make something great, and support those who make great things.
“We hope that people will support that by subscribing and advertising to bring The Static to life.”
Omar Oakes, The Static’s contributing editor, media, says:
“Only two industries refer to the people they serve as ‘users’: tech platforms and drug dealers. Journalism should know better but too many publications have played this game (badly) for too long.
“The Static is doing something I didn’t think anyone would actually attempt: building a serious, independent editorial product for this industry that defiantly sits outside the platform economy.
“Print-only, subscription-led, no press-release churn: it’s a genuine alternative model and I’m convinced the industry is ready for it.”
