United Artists magazine has a distinct minimalist aesthetic to it. Instead of the flashy pop culture emerging at the time, this magazine contained very little stylistic elements. The minimalist features of the magazine came through the cover of each issue. The nearly identical layout, with varying contributors, consisted of a capitalized title and issue number followed by the authors and their respective writings. Once opened, the same font resides on each work in the magazine adding no differences across the magazine as a whole. United Artists lacked the visual elements, varying letter sizes, or even differing fonts that magazines like C-Comics were prized on. While some restriction were placed on its printing production--the mimeograph--the piece still remains purposefully mundane. The only issue that included any visual element was the 17th issue that features a nearly all black scene of vehicles as shown above. As for the rest, the simplicity ensured that the main focus of the magazine was the content within it.

Another aspect of the United Artists magazine series is that it was hand printed by the publishers. Since a printing company was not responsible for these magazines, Bernadette Mayer and Lewis Warsh would print each page using a mimeograph. This consumer available product allowed much of the New York School to produce their works and share them in the community. In an interview with Mayer she noted that the mimeograph was so important to the New York School because “[you could] decide to start a magazine and collect all the poems… and you could have a magazine that night.”² Mayer admits the advantages of self-printing which is reflecting her printed magazines austere appearance. Letters with different ink consistencies, varying centered lines and unique indentations to show the magazines rugged charisma. Although the print job is not to the caliber of a printing giant, United Artists magazine gets its design from the mimeograph-printed technique to distribute to like-minded New York School poets.