UI is a monthly local magazine born in September 2004 in Hauzenberg, Bavarian Forest, Germany. The magazine features news and stories from the past, politics and society, culture and events.

Since issue 166, the new layout designed by Manuel Kreuzer is in use. Only two typefaces are used throughout the magazine: Sole Serif for headlines and body text and FF Real for masthead, bylines, standfirsts and captions.

Sole Serif is used for the magazine website, too.

Sucre Paper is a print-only independent publication from Copenhagen. The theme of issue #5 is “Anthropology” and features a selection of talented artists: Juliette Abitbol, Chiara Zonca, Nadia Ryder, Charlotte Robin (exclusive editorial), Ayo Akinsete, Benjamin Ewing, Arianna Lago, Aude Le Barbey (exclusive content), Pauline Caranton (exclusive editorial).

The body typeface is Sabon. It’s paired with Effra for headings. The magazine logo is custom. I have chosen Sabon as it goes well with a classic format of a newspaper, as historically it has been made for both typesetting techniques to begin with, and is easily usable in the digital realms. I also personally find the italics of it very neat and used them in text to emphasize a word/phrase or mark the interviewer. For the headline font the choice fell on Effra because I wanted a grotesque font that is more approachable, as the whole newspaper/magazine has a soft/delicate tone to it. Since Effra has a humanist touch to it and more softer, ronder shapes, it didn't overwhelm the page when being used on a greater scale.

Sterile Dogma is a printed translation of my Bachelor graduation thesis in the Graphic Design department at the Royal Academy of Arts in The Hague (KABK). Full title: Sterile Dogma: Nocturnus and its effect on the Human Development Through The Visual Culture in the Age of Radical Elation.

From the Thesis web page:

Today we are living in the world where fear and doubt are being condemned to the ever-lasting flight down the void. Regarded as concepts of weakness and futility and opposed by the constantly enhancing and inflated concept of positive-thinking and “gratefulness”, fear and doubt became even more shameful to experience than they used to be throughout the history. This becomes a reason for us to start denouncing such crucial parts of our lives as non-important ones or as those that are reinforcing fears and insecurities in favour of artificial cover made of all that successful compensating and striving. I see such escapism as an eminently important issue that can have poor fallout for our civilisation’s present and thus - future.

Live Magazine is an independent editorial project. For each issue, Frontier assembles a team of editors, writers, photographers, and illustrators to give readers insight into an event’s most powerful ideas and conversations. In addition to the editorial team, a group of designers engage with attendees through on-site workshop activities, interviews, and conversations, while also producing limited-run takeaways that reflect discussions of the day.

This issue was created at DesignThinkers 2019 in Toronto. The 72-page magazine features original works by fourteen contributors, and included articles on the evolution of Toronto's design community, on moving past the design canon, on starting a side business as a designer, on corporate branding and the type-design industry, and on managing your work and yourself. It includes interviews with and quotes from such designers as Bruce Mau, Cey Adams, Verònica Fuerte (Hey Studio), Jesse Reed and Hamish Smyth of Order, Adam J. Kurtz, Tina Roth Eisenberg, Natasha Jen, and others.

Gimlet (Display Condensed and Text) is primarily used throughout the magazine. Designed by David Jonathan Ross, Gimlet was chosen for its flexibility and energetic tone, to match the experimental and fast-paced nature of the magazine. Nimbus Sans (URW’s version of Helvetica) is used in Regular and Extended widths as a complementary sans serif.

See also Live Magazine No. 1, 2018.

Proto Grotesk (Production Type) is the typeface chosen for the redesign of Christie’s Magazine. Published six times a year, the magazine is the centerpiece of the editorial output by the British auction house.

It contains an inspiring edit of culture, collecting and luxury by leading writers, photographers and tastemakers, uncovers the personalities behind the greatest art and provides a comprehensive look at highlights from our upcoming auction seasons and Private Sales. The magazine is delivered to Christie’s most important clients around the world.

Five years after they first worked on Christie’s Magazine, London-based studio B.A.M. again was in charge of the redesign.

For the September-October issue of Christie’s Magazine we’ve refreshed our look and feel. A bold new cover design, revamped typography and an expanded auction highlights section are now presented in an even more elegant format — changes that are all geared to expanding and enriching the conversation with like-minded art lovers.

A custom version of Proto Grotesk is used throughout. To enrich the stylistic palette of the editorial design, the family was expanded to include italics.

Clap magazine cover first issue

Clap magazine is a student project made for the Editorial Design course at Elisava. Clap is a monographic magazine, where the main topic is music and neighboring themes. So every issue is about a topic that can relate to the music in a direct or indirect way. As the identity of the museum has a permanent reference to Catalan culture, and the building is located in Barcelona, the magazine has both international and national content.

The first one talks about music and cinema, and it has some interviews to movies soundtrack authors, film directors, photographic reports about foley effects and instruments viewed from inside, articles about how films are developed following music and so on.

We wanted a cohesive but unique personality for the magazine style, so we continue using the same typography used in the Taral·larà identity, but a more legible one for the articles. Color, photography, and illustration are much more richer than in the identity, because of the possibilities given by the magazine's format and content.

Cover

One book of a series of books for secondary school and university education on the subjects of art, photography, film and architecture. This is part one, dealing with painting, graphics, and photography. Edited by Michael Klacht and Josef Walch, published by Schroedel (now an imprint of Westermann Gruppe).

Interestingly the main body is set in Profile Light.

Captions

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“Flop” is a special issue of the magazine Link. idee per la TV, a bookazine dedicated to new media and television published by RTI. Tomo Tomo studio supervise the art direction of the magazine since 2013. This issue, between the serious and the funny, tells the great failures (“flop”) of the media world, so even our graphics and the object itself try to be in part a “flop”, an epic fail. Thanks to a thin and very flexible paper and a “wrong” (shorter) cover, the magazine is “flopposo”, saggy in hands, imitating the onomatopoeic sound of the word “flop”. Obviously the main color is purple, which is said to bring bad luck at the openings in the showbiz world. Inside, various photographers and illustrators have interpreted the theme with an ironic and artistic touch. The typography features the standard couple of all the issues (Aperçu and Lyon). Here they are used in a different way, trying to stay simple and quite neutral, using also the text version of Lyon for headlines.

Dedicating a complete magazine to just a single letter – how can that work? By creating a concept which in form and content appeals to different people with different interests. The result: a surprising magazine which is fun to look at.

This is the final project of “Typografie Intensiv”, an advanced vocational training. At the same time, the magazine serves as a self-promotional work by showing the designer’s skills: editorial, concept, writing, illustration, project-management and paper-engineering.

The exploration of the topic – the letter Q – from different angles is reflected by categories. In the chapter opening, the topic is briefly explained and translated typographically. Illustrations, photos and pop-ups create a visual bridge to topics and texts.

Concept, design, paper engineering, text, illustration: designreiche.
124 pages, format 210 × 280 mm, print run of 22.
Softcover, perfect binding, including three pop-ups.
Paper: Profibulk matt, FLY.Design.Papier white (Cover), Galaxy Blau Metallic (Pop-ups).

Student project for the Postgraduate Diploma in Photography and Editorial Design in EINA School of Design in Barcelona, Spain. See more at Behance.

Magma is a scientific magazine that specializes in geology. Renowned by the quality of its scientific research, Magma also highlights the earth’s aesthetic beauty in shapes, colors and textures.

SITE is a journal for contemporary art, architecture, cinema, and philosophy. When the journal started, we attempted to set ourselves a series of goals, or at least to circumscribe a certain terrain. Because of the plurality of interests among the editors — artists, curators, film theorists, architects, philosopher, art critics — this proved to be a difficult if not impossible task, and instead of operating with definitions that in the end do not define anything, we attempted to do the opposite: to remain as long as possible in an indeterminate state.

The images are taken from the most recent edition, no. 33 from 2013. Konst & Teknik’s redesign was introduced in no. 20, 2007, when the previously bilingual journal gave up publishing articles in Swedish and became English-only. The text typeface is Lexicon No. 1 (i.e. with short extenders) in Roman A and Italic A styles, with occasional emphasis in Roman D (bold). Konst & Teknik drew a custom sans serif typeface used for titles, running headers, page numbers, etc., known as Tratura. Earlier issues from no. 1 (2001) to 18/19 (2007) had been designed Carlsson/Neppelberg, with Vectora as the main typeface.

From Everything Studio:

Before we started designing BOMB magazine, we went to the office to research its history. The archive we found was like a fossil record of graphic design evolution; spanning three decades, BOMB’s mutation of style was redefined by successive strata of designers. Magazines, perhaps more than most forms of design, indicate a precise history of graphic innovation because publishing cycles catch the micro-trends of the moment.

Rather than try to find the ideal form for BOMB’s content, our approach attempted to capture what we had experienced on the shelves of their archive — the sense of ephemerality and scrappiness. To begin with we designed every issue with a different layout. The building blocks of the magazine — the caption, the column, the headline, the footer — we imagined would change in scale and placement for every issue. The only constant we gave ourselves was the use of the typeface Univers, simply because it has so much stylistic variety. As the years passed we settled into layouts with longer timespans. We stopped frantically remaking the grid from scratch for each issue, and would allow the same template to be repurposed for a year at a time.

Our favorite section in the magazine is First Proof, BOMB’s literature and poetry supplement. To contrast this with the glossy white pages of the Art section, we used a rough newsprint-like stock. Also, we introduced a serif type [Plantin] to put the reader in a slightly different frame of mind. The design is less edgy, and has a slightly more old-fashioned spirit.

Since 1994 in France, researchers, critics and professionals have shared their viewpoints and their researches on the major themes that animate the graphic design field in the annual publication Graphisme en France. The 21st issue adresses the topic of artistic direction for press and magazines, through the contributions of Angelo Cirimele, Francesco Franchi, Pierre Ponant and Véronique Vienne.

Young studio Ultragramme was chosed to design the journal. Through their choices of paper, layout, printing and typography, they've implemented a number of codes directly inspired by those of the press and magazines.

The layout is based on a modular grid that allows text to be set alternatively on two, three or four columns. In the same way, titles are successively centered, floated right, then left.

Three typefaces are used across the whole publication: Trianon, Origin Super Condensed & Wigrum. Each typeface is alternately used for titles, texts, as well as notes and epigraphs.

Part of the publication was printed in spot colors (dark blue, red and neon yellow), alternating pages in monochrome, two-color and three-color.

The publication is available for download in English and in French.

“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.”

Our task was to update the look of a series of academic books dedicated to restoring and preserving historical sites and monuments.

We solved this by designing a coherent, modern, eye-catching and highly legible graphic form for the entire series.

We’ve created a completely refreshed design of the vignettes and layout for the series. The series includes the following titles: Kazimierz restored — its monuments and cultural landscape; Alois Riegl, Georg Dehio and the Cult of Historical Monuments; About Wawel; and The Historical Monument and History.

Komma is the student magazine published by the University of Applied Sciences Mannheim, Faculty of Design. It is created entirely by a student editorial team. The magazine features selected student works as well as interviews and reports from the design scene.

In issue no. 7 (see more images), Pilar Cano’s Edita was used as body text. It is a truely well-designed magazine that brings out the best in Edita.

“It’s Spring/Summer 2014 and change is in the air! For this ninth edition of The Gentlewoman the extraordinary designer Vivienne Westwood leads a cavalcade of audacious and daring women. ” The Gentlewoman

Creative Director: Jop van Bennekom
Art Director: Veronica Ditting

The (final?) cover shown on The Atlantic’s site is ok, but doesn’t seem as strong as this one with its massive Titling Gothic declaring the special issue topic. The entire issue appears to use only two families, but the expansive variants in each of these — weights and widths in Titling Gothic, Text and Display optical sizes in Mercury — offer plenty of options for the multitude of layouts and hierarchies in these pages.

Seen on the Creative Review blog. From an upcoming exhibition of “The Graphic Design of the Eames Office”.