Editor’s Note A New Look Redesign of Texas Architect follows rebranding of its publisher, the Texas Society of Architects by Stephen Sharpe, Hon. TSA
(for example, “Editor’s Note” at the top of this page), several initial caps (that large “N” to the left), and numbering (on the “Contents” page.) Pullquotes and subheads (two or three words styled in bold to signify a pause in the narrative) have been introduced more often to break up the previously solid blocks of type. Along with the new graphic elements, this edition inaugurates a few new editorial features. First, there is “Profile,” which will take readers on a virtual visit with an architect, either at home or in the studio or some other location. Beginning on page 67 in this edition, it’s on the jobsite with Candid Rogers, AIA, who practices in San Antonio. Second, the results of chapter design award programs have been separated from the news pages in favor of a new section department called “Recognition” that starts on page 18. Third, and this is a more global change, there will be a greater emphasis placed on individual architects and other allied professionals. The close-up of Frank Welch, FAIA, out front of this edition denotes that new direction. However, photos of architecture will not completely disappear from Texas Architect’s cover. First published in January 1950 as a 24-page mimeographed pamphlet, Texas Architect has steadily improved in its graphic design and editorial content over the past 62 years. We want to hear your thoughts on these latest changes. Send comments to email@example.com.
Photos by Elizabeth Hackler
Herman Dyal, FAIA, principal of Dyal and Partners, directed the redesign effort with the assistance of Texas Architect Art Director Julie Pizzo and yours truly.
o doubt you noticed the makeover of the nameplate on the cover, the most conspicuous of several changes introduced in this edition. The redesigned Texas Architect – its first comprehensive overhaul since 2000 – represents efforts by consultant Dyal and Partners and the magazine’s staff. The objective was to visually align Texas Architect with the recently rebranded Texas Society of Architects and the component’s revamped website. (For more on that new identity campaign, see the news story on p. 9.) The firm’s principal, Herman Dyal, FAIA, also created the new nameplate as a companion to his square logo for the Society. (Compare the two shown side by side atop the masthead on the opposite page.) Since July, Texas Architect Art Director Julie Pizzo has worked with Dyal and his associate, Ryan McLaughlin, on what Dyal characterizes as a “refresh” of the magazine’s graphic design. (And I’ve offered my opinions, too.) While retaining its underlying structure, the team sought to make the layouts more casual and the navigation of the content easier for the reader. Pizzo describes the new look as “familiar, but friendlier.” Body text is now set in Baskerville (9 pt. over 12 pt. leading, in case you’re wondering) and aligned with “ragged” right margins. Benton Sans is used throughout and creates a visual tie to the new identity of the Society. LeCorbusier is the display font used for graphic appeal. It’s applied to section identifiers
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