Motion Editorial | Interactive Digital Magazines

Format Showcase

This is a working showcase of the editorial treatments, image formats, advertising units and publishing ideas available through Motion Editorial.

As you scroll, annotations will point out different features and possibilities throughout the experience.

The content is illustrative, so focus on the format itself - and imagine how each idea could be shaped around your publication, stories and advertisers.

Editorial, Reimagined

The following demonstrates some of the ways Motion Editorial can bring a story into the reader’s attention.

Motion, changing imagery and carefully timed reveals create clear moments of visual interest - giving the reader a reason to pause, notice the editorial and continue through it.

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For photographer Wade Hudson, the camera has never simply been a tool. It has been a way of seeing, listening, and understanding the human being in front of him. His introduction to photography came early, through a high school photography class, where he first became fascinated with composition and the idea of designing through a lens. What pulled him in was not just the mechanics of taking a picture, but the possibility of framing something ordinary in a way that could make people stop and feel.

That early fascination quickly became something more serious. Through mentorship and the people around him, Hudson began to see photography not just as an interest, but as a future. “I decided pretty early that it was going to be my career,” he reflects. There was no single breakthrough moment or dramatic turning point. The decision came from instinct, from the quiet knowing that this was the work he wanted to dedicate himself to.

Today, Hudson’s photography is marked by an intimacy that feels both intentional and restrained. His work, largely rooted in portraiture, carries a sense of emotional precision. He is drawn to subtle body language, small moments between directions, and the space where a subject stops performing and simply exists. His visual language is, in his own words, “honest and personal.”

That honesty is what gives his images their power. Whether photographing creatives, public figures, or people with layered personal stories, Hudson approaches portraiture as something close to a wordless conversation. He is interested in what sits behind the eyes, the part of a person that may not be immediately visible to the public. With recognizable figures, that search becomes even more important. People often feel they already know them, but Hudson looks for what lives beneath the surface.

Trust is central to that process. For Hudson, the work does not begin with the camera. It begins with presence, conversation, and attention. He understands that vulnerability cannot be forced, especially in front of a lens. “People can feel when you’re actually paying attention versus when you’re trying to get something from them,” he says. His goal is not to make people perform, but to create enough comfort for them to be themselves.

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Editorial concepts

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There is something quietly powerful about a company that understands the importance of where we work, how we gather, and what it means to feel comfortable in a space built for productivity. For more than 40 years, Keilhauer has been part of that conversation, shaping modern workplaces through furniture that

balances design, function, comfort, and sustainability.

Founded in 1981, Keilhauer is a privately owned, design-focused contract furniture manufacturer based in Toronto. What began with a focus on quality seating has evolved into a globally recognized Canadian design company creating seating, tables, lounge pieces, conference furniture, and collaborative solutions for offices, universities, government buildings, hospitality environments, and public spaces. Their purpose is direct but meaningful: to “make work comfortable for all.”

That statement feels especially relevant now. The modern workplace is no longer just a place to sit at a desk. It has become a reflection of culture, collaboration, wellness, identity, and intention. Companies are rethinking how people move through space, how teams connect, and how furniture can support a better way of working. In that shift, Keilhauer’s role is not simply to manufacture furniture, but to help define the experience of work itself.

Gallery moments

Mid-story moments

Meesh is a creative force in her own right. She has built a name through recycled fashion, art, and miniature design, bringing a free-spirited approach to everything she touches. Her work feels instinctive, playful, resourceful, and deeply intentional. She does not simply reuse materials. She gives them a new story.

That was exactly what I wanted for the BDC Magazine launch step and repeat.

I commissioned Meesh because I trusted her eye, imagination, and ability to take something that already held meaning and extend its life in an unexpected way. In her hands, the three Rs became more than a sustainability slogan. Reduce, reuse, and recycle became a design philosophy. The material was not being discarded. It was being reimagined.

When I returned to see what she had created, I already had full confidence that the work would be strong. Still, I was completely blown away. What had once been a backdrop had become a fashion collection. What had once framed the room had now become wearable art. The material that captured the launch was now carrying the story forward.

There was something powerful about seeing that transformation. The collection felt bold, unexpected, and alive. It held the memory of the launch while becoming something entirely new. It reminded me that sustainability is not only about reducing waste. It is also about seeing value where others may see an ending.