Wallpaper* reveals a new look this week with their September issue. Led by creative director Sarah Douglas and art director Lee Belcher, the typography has been completely overhauled. The previously Swiss/brutalist headline face Graphik has been replaced by a more decorative set developed by long-time collaborators Paul Barnes and Christian Schwartz of Commercial Type, softening the overall look of the pages.
Since its 2005 launch Little White Lies has been a flagbearer for independent publishing. Universally respected (and awarded) for its use of illustration, its equally strong editorial vision has sometimes been overlooked, yet both aspects mark the magazine out as special. Following the departure of its design team, the latest issue is guest art directed by Rob Lowe, who under the name Supermundane is a respected artist, illustrator and editorial designer. Other magazines bearing his name read like a history of independent publishing, and include Sleaze, Good for Nothing, Anorak and Fire & Knives. Here he looks ahead at his week and reflects on designing Little White Lies.
The difference design can make! When I reviewed Mid Century last year the gist of the post was great content, shame about the design (sadly that review is one of the victims of the hack earlier this year). Now issue five is here sporting a brand new look from Esterson Associates, and the layout and art direction have been properly resolved. Read the rest of this entry
The Green Soccer Journal has a new issue with a new look coming soon.
The Misery Connoisseur is… well, it’s a wonderfully named magazine. Find out more.
The Modernist is looking for a new designer.
Babies are dumb! Not only do they try to touch-activate printed magazines, they even try to eat printed food (thanks Andrew).
Michael at Linefeed notes 18 years of onlinery.
The editors of Put a Egg On It say ‘If I Knew You Were Coming I’d Have Baked a Cake’ → July 6–9, Tokyo.
Bill Gates will be guest-editing the December issue of Wired.
This Monday we start the week alongside Liz Ann Bennett, editor of bimonthly independent women’s title Oh Comely. The magazine has successfully avoided the clichés of women’s publishing, forging an alternative editorial outlook based on creativity and curiosity. The 16th edition is published this week.
After several years working on magazines in New York, including More, New York and Men’s Health, Claudia de Almeida recently moved to San Francisco to join Wired magazine as design director. Her redesign of the magazine has just been revealed in the June issue.
Bloomberg Businessweek has redesigned their ‘Etc’ section, the in-house team working with consultant Mark Leeds to add a new super-wide sans called Druk Wide. You can see it here in the headline, in among the dogs. The font is also used for the section header (after jump).
The new-look US Wired, redesigned under editor-in-chief Scott Dadich by new design director Claudia de Almeida, is out this month. De Almeida has adapted Dadich’s earlier design approach (based on the square of the pixel) and applied it in a more spacious, relaxed manner. Her more mainstream experience at T: The New York Times Style Magazine and More is evident in the harder-working labelling of pages. Also of note is the condensed serif face and the smaller logo on the cover. The result is a subtle reinvention of the original US edition which stands it in good stead against the intense creative competition from the UK and Italia editions. Click on images for larger versions.
Marissa Bourke is best-known for her award-winning reinvention of the British edition of Elle. Late last year she moved to Harper’s Bazaar as creative director, where alongside new editor-in-chief Justine Picardie she has been looking to the magazine’s heritage for inspiration.