Today’s Sunday. Tomorrow this third issue of Sugo goes to print. It’s 6.00 pm, and I’ve got just over two hours to describe everything in it, everything that’s happened in the last six months. Minutes, really, to communicate the emotions, joys, surprises, hopes and fears experienced in creating this issue. Not long enough. I find it a difficult task, impossible in fact. I give up. Writing the editorial has never been easy; it’s always a great responsibility. Every time, I’m exhausted when the moment comes, I find another excuse, invent something else to do, and put it off until the day before we go to print. So what do I have to say today, right now, at 6.15 pm? Nothing more than what’s already in the magazine, nothing more than what those who have contributed to the magazine have already said, nothing more than what you would like to say. If you will, the purpose of the editorial is simply to show the reader who is to blame for the magazine. The guilty parties are listed in the colophon. In actual fact, I’m all in favour of abolishing editorials. A good editorial should limit itself to saying “turn the pages, look, emulate, be inspired, relax and enjoy it”. I would like readers not just to be content with reading the magazine, but to experience it and share with the authors all the feelings, motivations, and pleasure deriving from this profession. I just want to give you the following news. Worthy fans of Sugo will notice immediately that this issue is a little different from the others. We’ve tried, in fact, to make it more of a “magazine” by giving it continuity but also adding new features and more information, and lowering the price. We have tried – successfully I hope – to have our magazine take a step forward, without distorting it; indeed, by making sure that its development springs from its identity. This in order to reach an ever-larger and diverse readership, so that Sugo will be the magazine that as many people as possible, all different, turn to for creativity. This third issue, in particular, contains a lot of written material, because we’re convinced that there is no difference between writing and drawing, between design and art. They are different skills, of course; but the main thing is to have something to say. Giorgio Camuffo Back to Issue 03