Further adventures in the world of drinking! Magazines and alcohol are a heady mix, never more so than with Edinburgh’s Hot Rum Cow. Issue four is out next week, featuring this handwritten typographic cover by Adrian Morris. The red is flourescent – nice! – and the lead drink this issue is a seasonal look at sherry.
After a hectic week of the AGI Open conference it was a pleasure to sit down and tweet images of magazine typography for the Design Museum yesterday. Here are a few of my posts, along with a selection of others contributed over the afternoon. Thanks to Michael at the Museum for inviting me, and to everyone who took part.
Click on images for larger versions, and see the full set on twitter – search #FontSunday (above image from The Face, Neville Brody, 1983).
Just under three weeks to go and tickets are selling fast for our Modern Magazine conference. Latest news is the addition to the line-up of designer/typographer Paul Barnes of Commercial Type, who’ll be discussing recent collaborations with Wallpaper* and Vanity Fair.
Read a brief interview with me about the Modern Magazine conference and book on the YCN site.
Here’s a promo for The Fashion, the new magazine coming this Saturday from The Guardian and Observer newspapers. It feature a new font, Guardian Fashion, based on an ultra tight condensed version of the house font Guardian Weekend.
Creative directors Alex Breuer & Caz Roberts, typography Chris Clarke, animation Alex Purcell.
The annoying autoplay function means I’ve had to take down this video – link to it here.
Yikes! It’s the magazine they said couldn’t be redesigned, but the rumours were true. Here’s New Yorker creative director Wyatt Mitchell talking readers through the first parts of his 13-strong (!?!) team’s revamp of the title, to be revealed in this week’s edition.
From the video, it looks like they’ve gone about the project with the utmost respect for the history of the magazine. First up is a redesign of the listings section, with a redrawn version of their famous Irvin typeface (as featured throughout the vid) and additional illustration and photography.
So far, so good, but apparently these changes are just the beginning. Watch this space.
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 The previously Swiss/brutalist headline face Graphik has been replaced by a more decorative set developed by long-time collaborators Paul Barnes and Christian Schwartz of Commercial Type, softening the overall look of the pages.
Commercial Type discuss their work on a new Didot for Vanity Fair.
It’s Nice That have launched First Broadcast, a new TV channel that opens with a series of interviews with publishers.
Holborn Magazine interviews Peter Bilak, founder/editor of Works That Work: ‘There are a lot of cliches about how design magazine should look like, which we ignore, and instead focus on the storytelling and how to help understanding of the content.’
Maurizzio Cattelan, the man behind Permanent Food and Toilet Paper, has a vinyl-only collection of music out now.
Anorak are having a summer fete in London, August 31.
If you want to attend the AGI Open London design conference (September 26/27), get in quick as tickets are disappearing fast.
Latest Little White Lies reviewed on MagPile by designer Luke Tonge.
Special Request team interviewed by HolbornMag.
Font geekery – behind the scenes in Apple’s iOS7.
Genius is in the details, according to David Hepworth.
Magazines and music! Popular Noise needs your Kickstarter support.
Standby for news of next Printout, July 23rd.
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).
Chris Dixon was part of the team behind the influential 2005 redesign of New York magazine. In late 2011 he joined Vanity Fair and has spent the last 18 months quietly reinventing the look of that magazine. He looks forward to his week ahead and shares a rare favourite magazine.