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news
ride-journal-flyer-NEW.pngThe Ride Journal's artwork gets its own exhibition
With its unique combination of cycling writing and art, The Ride Journal has won a big following in its nine-issue run. Issue 10 will be the last before editor Philip Diprose and art director Andrew Diprose put the magazine on hold indefinitely but first the art that has been such a central part of The Ride Journal gets its own exhibition.
Starting with a launch showing on Thursday April 9, the exhibition will be hosted by the DreambagsJaguarshoes bar/cafe/gallery in Shoreditch.
The Ride Journal first appeared in 2008 with an editorial in which the Diprose brothers admitted "Our love of bikes is unquestionable, our track record of producing magazines is somewhat less proven."
But despite — or perhaps because of — their lack of relevant experience the Diproses managed to create a magazine that won the hearts of cyclists of all types. Defying the conventional wisdom that bike magazines have to focus on just one niche, The Ride Journal has featured stories about road cycling, mountain biking, BMX, and just about every aspect of cycling culture.
What really sets The Ride Journal apart is the mix of illustrations and carefully-chosen photography that accompanies its stories. A regular bike magazine with a rigid four-weekly production schedule doesn't have the luxury of commissioning artwork on this scale, and it's an advantage the Diproses have used to great effect.
The exhibition of that artwork kicks off at 7pm on April 9 at DreambagsJaguarshoes 32-36 Kingsland Road, London, E2 8AA.
John has been writing about bikes and cycling for over 30 years since discovering that people were mug enough to pay him for it rather than expecting him to do an honest day's work.
He was heavily involved in the mountain bike boom of the late 1980s as a racer, team manager and race promoter, and that led to writing for Mountain Biking UK magazine shortly after its inception. He got the gig by phoning up the editor and telling him the magazine was rubbish and he could do better. Rather than telling him to get lost, MBUK editor Tym Manley called John’s bluff and the rest is history.
Since then he has worked on MTB Pro magazine and was editor of Maximum Mountain Bike and Australian Mountain Bike magazines, before switching to the web in 2000 to work for CyclingNews.com. Along with road.cc founder Tony Farrelly, John was on the launch team for BikeRadar.com and subsequently became editor in chief of Future Publishing’s group of cycling magazines and websites, including Cycling Plus, MBUK, What Mountain Bike and Procycling.
John has also written for Cyclist magazine, edited the BikeMagic website and was founding editor of TotalWomensCycling.com before handing over to someone far more representative of the site's main audience.
He joined road.cc in 2013. He lives in Cambridge where the lack of hills is more than made up for by the headwinds.
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4 comments
In the current scenario, when the environmentalists have warned about the disastrous effects of pollution and global warming, the common people have become too anxious about the environmental safety. Therefore, most of the businesses have started using ‘Green Exhibiting’ ideas for making business promotions, which means that they use the biodegradable product exhibits, so that it helps in stopping the excessive use of non-degradable products.
It's making the point that time is the issue quite distinctly.
"Four week deadline". There it is. Right there.
Might not be relevant to you, but I can't help that.
I think you're missing the point nowasps.
The journal carries 50 odd illustrations in each issue.
There's pretty much no monthly magazine that carries that many.
It's not suggesting people can't meet a deadline at all
And what publishers are paying / cost saving is an irrelevant comment.
"A regular bike magazine with a rigid four-weekly production schedule doesn't have the luxury of commissioning artwork on this scale"
You're suggesting designers and illustrators can no longer complete commissions in time? Utter bollocks. It's due to magazine owners driving down costs, and the majority of buyers not knowing or caring about the difference between good and bad design.