Matador is the most important cultural magazine in Spain. It was created in 1995 as an object of art; an exquisite collector’s item. Matador is all about quality, content and design. Starting with volume K, and for the next ten years, Pablo Rubio, the Director of Erretres, has been the art director of Matador, whose design is completely carried out in the studio.
Matador L Time
Matador L is dedicated to time, a theme that has been a constant for the human race since the beginning of its existence and, of course, in contemporary culture. In this issue, time is analyzed by several experts representing diverse fields: from Nicholas Nixon, who shares the imperceptible passage of time in his series The Brown Sisters, through to Bleda y Rosa, Félix Curto, David Foster Wallace and Slavoj Žižek.
Matador L was designed with the Walbaum typeface, created at the beginning of the 19th century by Erich Walbaum. There was no relationship between typeface design and printing at that time, meaning that Walbaum didn’t appear on paper until the 21th century, an ideal coincidence in terms of space and time for this issue’s theme.
Matador M Barcelona
Barcelona is the muse for volume M of Matador. This Mediterranean city unfurls all of its charm on the magazine’s pages. Important Catalan writers and artists, or those who have made Barcelona their adoptive home, sketch a multidisciplinary vision of this city.
This volume’s texts were created using the Clarendon typeface. Turquoise blue, a symbol of the Mediterranean Sea, “bathes” the pages of the magazine. Highlights include the folding graph that is similar to a “human map” of the city’s main personas, in which the segments represent the different branches of knowledge and the black circle represents the time that each of these people spent in Barcelona.
Matador Ñ Ferran Adrià
The central theme of this issue of the magazine is Ferran Adrià, considered for many years the best chef in the world. This volume was published after two years of intense work with Ferran Adrià and his team, just when the chef enjoyed a period of reflection following the closing of ElBulli restaurant. Matador Ñ includes unpublished documents of Adrià’s working process of. Eminent personalities from various fields including art, music, design, science, architecture, etc., come together to create a multifaceted portrait of the great chef: Johan Cruyff, Antoni Miralda, Bigas Luna, Hannah Collins, Vicente Todolí…
For the magazine’s design we chose a fluoro color for the highlights, headlines and double-pages, overlapping the body of text and trying to transmit the innovations Adrià has made to the world of haute cuisine through design. In this issue the Garamond typeface, French, was used, since the French spirit is always present in international cuisine.
Matador Ñ for iPad
For the first time ever, the magazine developed a version for iPad and Android tablets, providing users with a variety of incredible experiences and content for their devices. The publication features special content in its digital version such as videos, animations, additional images and interactive features. Developed for iPad and Android tablets.
Matador Extra Clubs
Coinciding with the inauguration of Club Matador in Madrid, a meeting place for professionals in the cultural sphere headquartered in an extraordinary space, La Fábrica commissioned Erretres with the art direction, design and layout of this extra issue of Matador magazine, devoted to the world of private clubs.
In its pages, Matador opens the doors to some of the world’s most peculiar private clubs, with a visual and literary look at their characteristics, members, rules, etc. The design of the magazine’s interiors aims to recreate the elegance and distinction of English clubs. To this end, the typography chosen for the texts is Modern (ITC Modern for the titles and Scotch Modern for the body of text), which enjoyed great prestige in the Victorian era, when all refined English gentlemen belonged to private clubs.
Matador R Botany
Volume R of Matador delves into the world of Botany: flowers, trees and vegetables abound in this issue, which brings together never-before-published reproductions from Ruiz and Pavón’s expedition to America; texts and photographs by classic creators, like the images taken by Paul Strand in his garden, or Imogen Cunningham’s flowers; and beautiful documents like the 18th-century color palate by Tadeo Haenke.
The typography Baskerville, used in the texts, reflects the ideal of perfection, simplicity and refinement of its creator John Baskerville, the model of 18th-century enlightenment, a period characterized by the blossoming of the sciences and, in particular, Botany. Other graphic resources, like the line that frames the literary texts, are inspired by the designs of this master of typography and printing.
Matador R for iPad
The iPad version of Matador magazine Volume R, an issue devoted to Botany, offers a thrilling digital journey in time and space through the world of flora, from the first botanical expeditions to the New World in the 18th century, to classical interpretations carried out by the ilk of Arcimboldo, Tadeo Haenke and Linneo; as well as the work of contemporary creators like Helen Schmitz, Stephen Gill and Rodney Graham, to name a few.
The app, which represents a new way of enjoying the magazine, includes additional visual material – not published in the paper edition –, which allows viewers to enlarge the details of the images.
Matador Extra Olympics
In commemoration of the 2016 Olympic Games in Rio, Matador magazine has published a special issue dedicated to the modern Olympics. Heroes of athletics, host cities, Olympic architecture, mascots, records, etc. are the protagonists of this volume.
The interior layouts are inspired by the lanes of the running track. The typography chosen for this volume is Avenir, because the curves of its numbers are reminiscent of the Olympic rings and, despite its geometric character, it is an organic and humanist typography that reflect the athletes’ human nature, in spite of their extraordinary achievements. The cover pays homage to the metal of the victor’s medal (gold) and makes a nod to the stopwatch, present in the majority of Olympic races.