Michael Burke, Mark Holt, Simon Johnson, Hamish Muir [Editors 1 – 6]: OCTAVO. JOURNAL OF TYPOGRAPHY 86.1 - 92.8. London: Eight Five Zero, 1986 - 1992. Eight issues [all published]: 7 journals and 1 CD-ROM. Complete run of the experimental typographic journal published in an edition of 3,000 copies between 1986 and 1992. The final issue [92.8] consists of a CD-ROM and folded poster. Printed saddle-stitched vellum wrappers. 16 pp. Folded poster [as issued]. A lovely, nearly fine set from an original subscriber. Rare.
 8.25 x 11.75 journals,  Macintosh compatible CD-ROM, and  poster. Each journal is 16 pages with expected elaborate design and production.
OCTAVO 86.1 [August 1986]: 16 pp text, 4 pp cover, 8 pp trace jacket. 5 colours: black, red, grey, grey, grey varnish. Contents:
OCTAVO 86.2 [January 1987]: 16 pp text, 4 pp cover, 8 pp trace jacket. 5 colours: black, blue, grey, varnish, varnish. Contents:
OCTAVO 87.3 [August 1987]: 16 pp text, 4 pp cover, 8 pp trace jacket. 7 colours: black, green, blue, red, yellow, grey, varnish. Contents:
OCTAVO 87.4 Weingart Issue [January 1988]: 16 pp text, 4 pp cover, 8 pp trace jacket. 6 colours: 2 blacks, agrees, 2 varnishes! Contents:
OCTAVO 88.5 lower case issue [August 1988]: 16 pp text, 4 pp cover, 8 pp trace jacket. 8 colours: black, blue-grey, blue, red, red, yellow, green and varnish. Contents:
OCTAVO 88.6 Environment issue [ January 1989]: 16 pp text, 4 pp cover, 8 pp trace jacket. 4-colour process, 2 varnishes. 36,000 die-stamped impressions: four weeks to print and 16 to finish! Contents:
OCTAVO 90.7 The New Synthesis [July 1990]: 16 pp text, 4 pp cover, 8 pp trace jacket. 4-colour process, matt + gloss varnish. Contents:
OCTAVO 92.8 Multi-media Issue [November 1992]: Macintosh compatible CD-ROM. [No paper edition]. 23.25” x 33” poster foled into eighths, as issued.
Simplicity of form is never a poverty, it is a great virtue. -- Jan Tschichold, quoted by the editors in issue 1.
“This independent journal of typography was started with the intended aim of raising the level of awareness and discussion of typography in graphic design, poetry, the environment and art, to an international audience of fellow designers and typographers. The first issue was published in 1986 and the projected frequency was one issue every six months, with an emphasis upon the quality of printing and production. The magazine was scheduled to run to only 8 issues, as the name would suggest. That goal was met, but the time frame wasn't.
"If such a schedule suggested seriousness of purpose and a precise agenda of ideas, this was more than confirmed by the early issues. Two members of the team had studied with Wolfgang Weingart in Basel, and Octavo had a high-mindedness and purity that set it apart intellectually and aesthetically from both the commercial and 'style' wings of contemporary British graphics. Octavo was sternly opposed to typographic mediocrity, nostalgia, fashion, decoration, symmetry, centered type and the hated serif. It was for a semantically determined use of structure and the infinite possibilities of typographic experimentation. 'We take an international, modernist stance,' the first editorial concluded. 'This is necessary in England.'" -- Rick Poynor