In this installment of Media Matters, Fublis presents an insightful conversation with Randy Dunbar, a distinguished creative force in the publishing industry. With a career that spans journalism, photography, graphic design, and editorial leadership, Dunbar has contributed significantly to some of the most notable publications on both coasts.

Renowned for his ability to merge artistic vision with practical execution, Dunbar shares his thoughts on the evolving media landscape, the future of print, and the role of AI in design and storytelling. His multidisciplinary expertise offers invaluable perspectives on creating impactful and lasting editorial content.

Your career spans journalism, photography, design, and editorial leadership. How do you find the right balance between being creative and making sure everything works practically?

Randy Dunbar: It isn’t work. It is created on the simplest of levels, and if it fits, it works practically and otherwise. I am a workaholic. An empty page is a calling. When I travel, I look at the typography in any given city; the design of their signage, and advertisements. It’s not work, it’s being aware that design, images and type are everywhere. And to be used.

You’ve worked as both an editor-in-chief and a creative director. What are some of the unique challenges you’ve faced in these roles, and how do you think they complement each other?

Randy Dunbar: Ask what a creative director is and does, and you will get many answers. For me, a creative director is an editor with visual fluency. I love words; I love images. I think I know how to put a story together that is visually compelling. Yet, they do have different Rolodexes—the editor is keen on writers and journalists, and the creative director has a much broader brush to play with: photographers, illustrators, designers. If you have that rare opportunity of a great editor and creative director, they usually produce work that is outstanding.

The hardest part of being either of these is the simple fact that you have to say no. No to photographers who want you to publish their work, no to writers who think they have a great angle on a story. Sometimes, no to yourself.

You’ve worked on both coasts and with so many different magazines. How have those experiences influenced your creative vision and the way you tell stories?

Randy Dunbar: Truth be told, not much difference. New York City is the publishing center and the home base for most magazines. Los Angeles has fewer opportunities, but the process of creating a magazine remains the same.

What first drew you to the world of magazines and graphic design, and how has your perspective on the industry changed over the years?

Randy Dunbar: Looking. Looking at magazines had to be the start. Taking notice of the photography, the typography, and the design. If you find you have a talent, you can work in this profession. Graphic Design is an odd profession—don’t expect a lot of notice or glory. There are no residuals. I created the logo for a nightclub that is now a documentary—two seconds of screen time. One would think that the journey of that work might be of interest—but it’s not. Design is something almost everyone takes for granted—it’s there. Designers care about graphic design. Art directors look at mastheads. Once you become familiar with these names: Alexey Brodovitch, Cipe Pineles, George Lois, Herb Lubalin. Tibor Salman and others. Know the past so you may inform the future. Besides, these are designers who created great work.

With all the different roles you’ve taken on in publishing, what do you think makes a magazine truly stand out and stay memorable?

Randy Dunbar: When the elements come together—the photography, the writing, the typography, the design all aspire to tell a story uniquely. And it must be all these elements. From cover to last page, a magazine is a brand—and oddly enough, it may be freedom, freedom from the constraints of a controlling editor or publisher, that the best work may evolve. That doesn’t happen often, but in the hands of the capable freedom can go to unexpected and extraordinary places.

Can you think of a project where your skills in design, photography, and editorial work all came together perfectly? What was that experience like?

Randy Dunbar: Anytime, I am writing, designing, and photographing a story, and that is usually a travel story, I am generally pleased with the result. There have been times when hiring the right photographer and art directing a photoshoot that produces remarkable images that find their way to a design is a high. Collaboration is such a huge thing in magazine design—one must work with editors, proofreaders, photographers, stylists, and illustrators to achieve a great editorial product.

Print magazines have changed so much with the rise of digital media. Where do you see print going in the future, and how have you kept your projects relevant in this new landscape?

Randy Dunbar: AI is, without a doubt, the greatest tool since desktop publishing. More on the editorial, AI can write stories, create graphs and illustrations that are quite remarkable. So far, it doesn’t have a keen sense of design — so we’re safe for the moment. But very much like that period when computers were readily available, and everyone thought they were a designer, this is a time when anyone can write and create a story. Happily, it cannot tell the first-person story, yet. But magazines are no longer as relevant in the media landscape. Content is everywhere, and people are now on their cell phones reading and looking at that content. The package and the design are not as important. There will always be magazines, but they become even more esoteric with time—specialized publications for a select audience who cares. The cost of printing a magazine, the cost of mailing, and the cost of distribution all contributed to the slow demise of the magazine. At some, magazines will be reinvented— or not.

Your work has gained international recognition. What do you think sets your approach apart from others in the industry?

Randy Dunbar: I really come from the school of don’t think about it too much. Don’t compare, don’t seek to know your place—just do what you love, with love. I do think my work has never been fussy or complicated. I let photography take the page, I let good typographical skills inform the words. I try to think of visual solutions that may be different and untried. I have often let the type create the page. Typography is a great solution if you know your type and how to work with it. Fact is, art is simple but a secret.

What advice would you give to young creatives who are just starting out and trying to make a name for themselves in publishing or graphic design?

Randy Dunbar: First, know your stuff—know the names and work of famous designers (there aren’t that many). Know the history of typography. Study, look, learn, play, make mistakes, and do something wild and unexpected. Yes, a magazine is two-dimensional in its physical form, consisting of flat pages made of paper or digital screens. However, through its content—like vivid photography, illustrations, and layout—it can create the illusion of depth and evoke three-dimensional experiences or ideas in the reader’s mind. It can be a movie on a page. Get inspired, find work that speaks to you, trust your instincts.

When you think about the future of magazines and design, what excites you the most? Are there any new ideas or trends you’re especially interested in exploring?

Randy Dunbar: Graphic design and magazines are like Silent screen stars entering the age of sound—we don’t know what to expect. There was a time, in 2010 when Virgin airline owner Richard Branson created a digital magazine called PROJECT. It was specifically created for the iPad, and it was an interactive feast of experiential choices. The cover was a moving picture with sound. Music reviews would have a cassette player where the reader would drop the music into the cassette and hear the review. And sadly, it needed two art departments, and the cost was overwhelming.

We need to get back to that. We need to reshape the reader’s experience of a magazine and somehow get it to fit into the 6-inches of a cell phone. AI, especially as a tool for writers, will change the editorial landscape. I have seen entire websites that are created using AI—and they’re good. This will allow everyone an opportunity to get involved in the process. It is a tool, not an answer—use it wisely.