#helvet is a new magazine about luxury in the Swiss moutains. The publications use Suisse Works as part of their branding.

Suisse Works is part of Suisse typeface, available from Swiss Typefaces.

Asphalt is a collaborative project, started by graphic designer Artem Strizhkov and editor-in-chief and photographer Alexey Lapin, and is also the first independent skateboard culture magazine in Russia. Asphalt’s layout, photos, stories, and aesthetic take no influences from the most popular skate magazines, but are inspired by the current crop of culture magazines. Asphalt represents a new kind of magazines about skateboarding and skateboarding itself as an art and a new look at the cities of the Post-Soviet space with their architecture and monuments.

Epokhé is a fictional magazine about culture and critical thinking.

Each issue talks about one concept. The idea is to discover different ways how to approach this concrete concept and to feed ourselves with different points of view and comprehension.

The name was chosen as reference to an ancient Greek term which, in its philosophical usage, describes the state where all judgments about non-evident matters are suspended.

Project done by Gerard Sierra in 2016.

Alpine Modern’s quarterly magazine explores architecture and design in mountain regions around the world. The stories and photography express the emerging design ethos of a minimal, refined life entwined with the outdoors.

CAN is the commemorative object of 250 years of EnsAD, Paris. It was designed by the studio Dach&Zephir and Eddy Terki.

Terki:

The graphic conception arises from the object CAN, and begins with an editorial object highlighting their researches, in the course of a discussion. The editorial object is itself witness of their vision of the design as well as their working process, as studio. Afterward, I developed the graphic communication within the framework of the D’day Festival, to the Musée des Arts Décoratifs de Paris to design the identity of the exhibition. Finally, all photography of the commemorative object was realized by Rimasuu Studio.

The cover for the September 2017 edition of Fortune magazine features Idler, a type system consisting of 6 styles that can be combined in layers in order to create a colorful, 3-dimensional look. The secondary type is Geogrotesque.

Idler Pro, released in May of 2017, is a refined and expanded version of the 2011 layered type family Idler.

In their July/August 2017 issue, étapes: portrays the young guard of the French graphic design scene. In addition to the typefaces Maax and Maax Mono which are part of the magazine’s standard typographic identity, the designers have chosen Beretta Sans for this special book. All three typefaces were designed by Damien Gautier and are available from 205.tf.

Pentagram partner Eddie Opara and his team invite you all to the typefest that is the late 2016 redesign of American magazine The Baffler. A modified Graphik serves as entrée and logotype, enveloping a complex system of types and moods.

Pentagram:

The designers worked with the editorial team to reorganize and rename the departments, including Salvos for essays and non-fiction reporting, Outbursts for opinion pieces, and the self-explanatory Poems, Art and Stories. These content types are shuffled throughout the publication, rather than grouped in specific sections. Instead, typography is the organizing element, with a diversity of typefaces used to signal different kinds of content. The various fonts are used in combination to provide a distinct voice for each category, an approach that reflects the magazine’s wide-ranging viewpoints and borderline-unruly personality.

The myriad typefaces include Stanley for essays and non-fiction reporting related to the issue theme, Domaine Sans for opinion, and Euclid for art pieces like poetry and stories. Graphik is employed for elements of the Baffler identity, such as the editor’s letter, page numbers and other identifying information. Text appears in Lyon, Euclid or Domaine Sans, depending on the content. Other fonts that play a role are Post Grotesk and Knockout. […]

Opara and his team created comprehensive guidelines for the identity and a style guide for the art direction of the magazine, which has been brilliantly implemented by The Baffler’s new art director, Lindsay Ballant, in the first issue of the relaunch.

Ballant also assigned and art directed all of the illustrations shown here.

Table of contents. Various typefaces are used to differentiate sections and subject matter.

Opening spread of an essay by Suzy Hansen in the Salvos section. Photograph by Lindsay Ballant. Heading in Lyon Display.

Opening spread of an essay by Robert Westbrook. Lettering by Jessica Hische.

Opening spread of an opinion piece, featuring Domaine Sans

Short stories appear on sky blue pages.

The magazine’s grid has been redesigned for greater flexibility.

Poetry appears on yellow pages.

Type size can be blown up to grab a reader’s attention.

Opening spread of an article by David Gambacorta. Photo-illustration by Lindsay Ballant.

Opening spread of an article by Joel Whitney. Illustration by Jon Han.

Geared campaign by Popular Mechanics and American Hiking Society.

David Hockney’s new book for his exhibition at Fondation Vincent van Gogh Arles.
Edited by Bice Curiger. Published by Fondation Vincent van Gogh Arles. Bilingual French/English.

Catalog published on the occasion of the exhibition Pasolini Roma, which was shown at the CCCB (Barcelona, ES, 2013), the Cinémathèque française (Paris, 2013–2014), the Azienda Speciale Palaexpo (Rome, IT, 2014), the Berliner Festspiele — Martin-Gropius-Bau (Berlin, DE, 2014), and the San Telmo Museum (San Sebastián, ES, 2015).

Published by Skira Flammarion, 180×240 mm, 264 pages. There are various language editions. The images here show the French version. You can flip through the Spanish and Catalan editions on the CCCB website.

Graphic design by Laure Afchain, Hugo Anglade and Thomas Petitjean, then with Maquette & Mise en page. In 2014, Anglade and Petitjean founded Spassky Fischer. The typeface Ostia Antica was designed and produced in collaboration with Yoann Minet specifically for this project.

“Nourished Journal is a bi-annual lifestyle publication. The aim of Nourished Journal is not only to create an inspiring publication, but also to be a platform for readers and contributors alike to share, learn and connect. The journal features interviews with inspiring individuals, uplifting and informative editorial, recipes, travel stories and practical information on health and wellbeing. We believe in taking a holistic view on life, which you will see reflected throughout the journal.”

Park is a bar, restaurant and distillery located in the Canadian resort town of Banff, within the Banff National Park, and the province of Alberta. It is a region of diverse natural beauty which includes mountains, prairies, forests and desert badlands, and that attracts walkers, campers and skiers locally and internationally. More about the project here.

Kinfolk 2015 print redesign

Editor-In-Chief & Brand Director: Nathan Williams
Creative Director: Charlotte Heal
Art Director: Anja Verdugo
Ouur Design Director: Jennifer James Wright
Founding Designer: Amanda James Jones
Proofreader: Kelsey Snell

In 2012 Seattle Met’s food and drink editor, Allecia Vermillion, had the fun idea of a yearbook for beer. The 11-page feature celebrated the “new school of Seattle craft beer” by awarding classic honors and riffing on the periodic table.

I tend to stay away from layout gimmicks but this was impossible to resist. Font Bureau’s Biscotti and Bradley Initials lead the way. The opener acts as a kind of cover, inspired by vintage American yearbooks. For the spreads, I stuck to a reduced color palette and strict range of type sizes, so that most of the energy would come from imperfect alignment and overlapping elements — many yearbooks were made by students and are full of quirks. The photography caps off the concept; all of the subjects were willing participants and photographer Patrick Kehoe nailed the look.

I recommend anyone striving for a retro look to seek out unusual combinations of typefaces. Don’t rely on fonts exactly from the genre you’re emulating — unless the product needs to be historically accurate — instead, understand your content and express a feeling. A touch of contemporary typefaces will balance the design, keep you away from copycat mode, and help your work ring true.