the proposal for a colourful teenage pop monthly which was test-marketed in the north-east of England in the autumn of 1978 as Smash Hits. "My interest was in featuring excellent photography with song lyrics as ballast and bringing good acts like the Jam to a young audience," Logan said later. Encouraged by the test-marketing exercise Emap put the first issue into national circulation; over the next couple of months sales increased to above 100,000 and the publisher reached agreement with Logan to switch to fortnightly publication. Smash Hits circulation rapidly rose to 166,000 copies, just 35,000 fewer than the NME and 10,000 more than Melody Maker, but by the autumn of 1979 Logan was ready to move on. Journalist Ian Cranna became editor and Logan, in his role as editorial director, proposed a new magazine – "a well-produced, well-designed and well-written monthly with music at its core but with expanding coverage of the subjects that informed it, from fashion and film to nightclubbing and social issues". When Emap's directors passed on the proposal, Logan and his wife decided to go it alone and invest £3,500 savings into the new title, which he named The Face. The Face Initially working out of the Smash Hits offices in Carnaby Street, central London, and using the off-the-shelf corporate entity Wagadon, which he had formed for his business relationship with Emap, Logan published the first issue of The Face on 1 May 1980. Featuring a logo designed by Steve Bush, with whom Logan had worked on Smash Hits, and a portrait by photographer Chalkie Davies of Jerry Dammers of the Specials on the front cover, this issue sold 56,000 copies. Sales levelled over the next six months, but a fillip was provided by alliance with what would become London's New Romantic scene via articles written by young journalist Robert Elms with photographs by Derek Ridgers, Virginia Turbett and others. The publication of lookalike rivals such as New Sounds, New Styles and Blitz, and the launch of i-D magazine, confirmed Logan had established a new publishing sector. He moved into the first of a series of offices of his own in central London. Subsequently, Logan recruited young designer Neville Brody as art director in 1981, placing the magazine ahead of the pack visually. Brody drew on such early 20th century art and design movements as Constructivism to create a stark new visual language which would