Vertex Magazine: Psychedelic 70s Sci-Fi Imagery

by G. Jack Urso

 

Vertex Vol.1, No. 2, June 1973.

Vertex, “The Magazine of Science Fiction,” published between 1973 and 1975, by Mankind Publishing, Los Angles, Calif., is noted in SFE The Encyclopedia of Science Fiction as one of the first glossy or “slick” Sci-Fi publications. Its content featured Science Fiction short stories and science-related news. Guided by Art Director Andrew Furr and his Associate Art Directors Monte Rogers and Bill Wright, the magazine was known for its creative and psychedelic imagery.

Contents for Vertex Vol.1, No. 2, June 1973.

For two years, between April 1973 and 1975, it was published bi-monthly in a glossy, letter-size, saddle-stapled format for $1.50 ($10.91 in 2025). Between June and August 1975, it was published monthly but with newsprint paper in tabloid style, and a drop in price down to a dollar. The change was due in part to a paper shortage, but the magazine also faced issues in terms of costs and advertising revenue. Attracting work from such authors as Forrest J. Ackerman, Alan Brennert, William Carlson, Harlan Ellison, George R. R. Martin, Steven Utley, John Varley, and with over a dozen feature stories in each issue, publication costs must have been significant. 

Vertex Vol. 3, No 2, June 1975, after it switched to newsprint.

Additionally, the amount of advertising seems a bit lacking, at least in this second issue. Of the 100 pages (including both front and back covers, there are only seven advertisements, all full page, all for books or magazines, including one for Vertex itself and one for J&B Scotch. There are no half-page or smaller advertisements, none for audio or electronics, which were common in other Sci-Fi oriented magazines, and not even a Columbia House Record Club offer! This is not too unusual, since at the time Analog, one of the premier Sci-Fi publications, also had a similar ad-to-feature ratio, but it used much cheaper newsprint, not glossy paper, and, as a digest, it was half the size of Vertex; however, to its advantage, it had a longer and stronger literary reputation and a lower cost of only 75 cents in 1975. It is still being published today.

Another consideration is that Vertex did not have a broad color palette. The imagery was black and white except for a couple monochromatic layouts, orange or green for this issue. So, Vertex had some challenges from the beginning that probably sealed its fate. Omni would pick up the torch in 1978 as the premiere glossy Sci-Fi publication with a much better ad-to-feature ratio and a more polished look thanks to publisher Bob Guiccione’s experience with Penthouse, with which Omni shared a similar look — at least in terms of design, if not in content.

Main-in subscription card for Vertex.

Yet, it is art of Vertex which continues to stand out and worth noting. Exemplative of early-mid 1970s publication imagery geared for the Counterculture, the art has a dreamy, fantastic quality to it. It is less explanatory, as far as promoting deeper understanding of the story, and more suggestive or even just for aesthetics, breaking up the long blocks of text and providing a space for the reader to complete the stories ideas.

Below is a selection of images from Vertex Vol.1, No. 2, June 1973.

In an overcrowded world, having children is a threat to both the world and to the parents. Art by Monte Rogers for “Three Tinks on the House,” by F. M. Busby.

 

The art in Vertex could be erotic and viscerally physical, as in this artwork by Monte Rogers for the short story “Three Tinks on the House,” by F. M. Busby.

Reflective the sensory experiences of LSD, a man sees sounds and hears colors and becomes a guru. Art by Kevin Davidson for the short story “All the Sounds of the Rainbow,” by Norman Spinrad.

Art by Kevin Davidson for “All the Sounds of the Rainbow,” by Norman Spinrad.

Expanding one's consciousness. Art by Kevin Davidson for “All the Sounds of the Rainbow,” by Norman Spinrad.

Art by Kevin Davidson for “All the Sounds of the Rainbow,” by Norman Spinrad.

The Commander of U-999 waits to fight again long after the war has ended. Art by Alicia Austin for a short story by Edward Wellen.

Science fact article on the size of the universe. 

Art by Alicia Austin for “Crash Cameron and the Slime Beast” by Steven Utley.

Art by Monte Rogers for “The Alibi Machine” by Larry Niven. 

Artby Monte Rogers for “The Alibi Machine” by Larry Niven. 

A very short story by Forrest Ackerman.

For potential alien visitors, Earth gets a big F. Things have only gotten worse.

Art by Monte Rogers for “The Jewel” by D. William Paul.

Art by Monte Rogers for “The Jewel” by D. William Paul.

A drawing showing the complexity of planetary orbits.

Cat or Kzinti? Only Larry Niven and artist Tim Kirk know for certain!

From a feature on Skylab, Vertex covered Science Fact as well as Science Fiction.

 ●             ●             ●