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Brigitte wir, issue 3, 2016

Contributed by Jakob Runge  on Jul 22nd, 2016. Artwork published in
2016
.
Brigitte wir, issue 3, 2016 1
Photo: Jakob Runge. License: All Rights Reserved.

Juliane Kess, new art director of Brigitte wir magazine, introduced a redesign in spring 2015. The magazine focuses on women over 60 and wants to value this growing — but marginalized in the social environment— age group.

For the sans serif role, Lato was dropped and Brandon Grotesque introduced. For text — and some large italic headlines and quotes — an unidentified Garamond-like typeface was replaced with FF Franziska. Still in use — but much less prominent — is ITC Binary, a quite unbalanced face.

Brigitte wir, issue 3, 2016 2
Photo: Jakob Runge. License: All Rights Reserved.
Brigitte wir, issue 3, 2016 3
Photo: Jakob Runge. License: All Rights Reserved.
Brigitte wir, issue 3, 2016 4
Photo: Jakob Runge. License: All Rights Reserved.
Brigitte wir, issue 3, 2016 5
Photo: Jakob Runge. License: All Rights Reserved.
Brigitte wir, issue 3, 2016 6
Photo: Jakob Runge. License: All Rights Reserved.
Brigitte wir, issue 3, 2016 7
Photo: Jakob Runge. License: All Rights Reserved.
Brigitte wir, issue 3, 2016 8
Photo: Jakob Runge. License: All Rights Reserved.
Brigitte wir, issue 3, 2016 9
Photo: Jakob Runge. License: All Rights Reserved.
Brigitte wir, issue 3, 2016 10
Photo: Jakob Runge. License: All Rights Reserved.
Brigitte wir, issue 3, 2016 11
Photo: Jakob Runge. License: All Rights Reserved.
Brigitte wir, issue 3, 2016 12
Photo: Jakob Runge. License: All Rights Reserved.
Brigitte wir, issue 3, 2016 13
Photo: Jakob Runge. License: All Rights Reserved.
Brigitte wir, issue 3, 2016 14
Photo: Jakob Runge. License: All Rights Reserved.
Brigitte wir, issue 3, 2016 15
Photo: Jakob Runge. License: All Rights Reserved.
Brigitte wir, issue 3, 2016 16
Photo: Jakob Runge. License: All Rights Reserved.
Brigitte wir, issue 3, 2016 17
Photo: Jakob Runge. License: All Rights Reserved.

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1 Comment on “Brigitte wir, issue 3, 2016”

  1. Florian Hardwig says:
    Jul 22nd, 2016 10:15 am

    Albert-Jan Pool assumes that ITC Binary is the result of tinkering with the already fishy Rotis Semi Serif:

    […] the corners were rounded and the left below stem of d was cut off. As if this was not already enough, the top serif of A was torn off, leaving a vaguely defined start of the main diagonal stem. Why? The natural rhythm of thick and thin was destroyed by making the right stem of N thicker than the left one, this causing a dark spot at the join right below in the N. And, maybe worst of all, someone made the d much wider than e and o, thus distorting one of the few characteristics of Rotis that helped conceiving the hodgepodge of design styles within the typeface as some sort of design concept: its condensed proportions …

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