Leseprobe | Page Design

PAGE DESIGN

NEW LAYOUT AND EDITORIAL DESIGN

PAGE DESIGN NEW LAYOUT AND EDITORIAL DESIGN

Copyright © 2019 by Sandu Publishing Co., Ltd. Copyright © 2019 English language edition by Promopress for sale in Europe and America.

Promopress is a brand of: Promotora de Prensa Internacional S.A. C/ Ausiàs March, 124 08013 Barcelona, Spain Phone: 0034 93 245 14 64 Fax: 0034 93 265 48 83 info@promopress.es www.promopresseditions.com Facebook: Promopress Editions Twitter: Promopress Editions @PromopressEd Sponsored by Design 360° – Concept and Design Magazine Edited and produced by Sandu Publishing Co., Ltd. Book design, concepts & art direction by Sandu Publishing Co., Ltd. info@sandupublishing.com Chief Editor: Wang Shaoqiang Executive Editors: Jessie Tan Copy Editor: Design Director: Wang Shaoqiang Designers: Liu Xian, Huo Dingding Sales Managers: Niu Guanghui (China), Winnie Feng (International) Cover Design: Liu Xian Front cover projects by Amanda & Erik, Bond Creative Agency, and Mane Tatoulian.

Back cover project by Linus Lohoff.

ISBN 978-84-16851-99-7 D.L.: B 25035-2018 All rights reserved. The total or partial reproduction of this book, its transmission in any form or by any means or procedure, whether electronic or mechanical, including photocopying, recording or incorporation into an electronic storage and retrieval system, and the distribution of copies of the work through rental or public lending are not permitted without prior authorization from the publisher.

Printed in China

CONTENTS

CONTENTS 006

PREFACE

by Jose Moreno at creanet

009 010 019

041 042 042 046 048 048 052 056 058 062 066

040 119 120 120 124 128 130

FUNDAMENTALS OF PAGE DESIGN Paper Size Standards Typographic Measurement

023 032

Typography Page Layout and Grid System

070 072 074 076 078 082

Papel Vivo 12 Architecture Magazine Space Explorer 02point2 #6 Format Wars The Blueprint Magazine I love Chatsworth Road Crop Magazine Redesign of Sort Mælk

092 096 098 102 104 108 110 112 114 116

komma 21 Amalgam Journal Handbook to Extraordinary Culture Audi Magazine SS18 The Shining: Screenplay Magma komma 18 F!nePrint Magazine Food for Thought Welcome to Sweden

Da Vinci: Ladies Portraits New Vienna Now The Confessions IBM, Paul Rand’s Graphic Standards Manual Reprint

142 144 146 148

The Chelsea Hotel No Encalço dos Bufões Kape 24 h Cookbook Physics for USSR

MAGAZINE Dolomitenstadt magazine Interview with Bruch —Idee & Form 47° Fluchtpunkt Stadt Interview with Any Studio Land in Sicht!

Redesign of Cartelera Turia Slanted Magazine #31: Tokyo BAU Kaleidoscope Asia Issue No. 3

086 088 090

BOOK London Type Interview with Pyramid Biomimesis First: The Humans in Space Ladurée: El Placer del Macaron

132 134 138 140

PREFACE

PREFACE “Design is thinking made visual.”

—Saul Bass

151 152 152 156 156

179 180 180 184 186 190 194

233

240

POSTER Experimental Film Society Poster Series Interview with Pouya Ahmadi It Is What It Is Interview with Linus Lohoff

160 162 164 166 168

384.400 km Next Wave Festival 2018: Posters Constantin Brâncuși Tuder Ballet Studio BR Orchestra Season 18–19

170 172 174 176

Editorial design has evolved as time has passed. The essential changes from its beginnings until today are clearly evident—the use of format, the structuring of the page, the use of space, etc. The importance of editorial design lies in the need to capture the attention of the reader since a wide variety of design options are available for the reader to choose from. Therefore, editorial design becomes a differentiating element of the product.

Typographic Poster Series Self-publishing for Almanacco di Quartiere NOW Typographic Theatre

Editorial design is a branch of graphic design specialising in publications, such as books, magazines, posters, newspapers, catalogues, flyers, leaflets, triptychs, brochures, and covers, among others. It is dedicated to both the internal and external aesthetics of these texts or contents. It is like saying that editorial design is responsible for the architecture of publications.

It is a true art because it requires both creativity and a technical knowledge of production to gain the interest of a specific and very attentive audience. The editorial designer is in charge of the communication of an individual voice to a massive reception, creating a visual and aesthetic concept based on the word and the content. The intention is to transmit technical elements to optimise aspects of the legibility of different types of texts and images.

OTHER FORMAT Next Wave Festival 2018: Posters Interview with M. Giesser Arts House: Season 1in 2018 BWA Wroclaw Winter Brochure Paracelsus Annual Report Salzburg Global President’s Report 2017

198 200 202 204 206 208 210 212

Occupy Earth Exhibition Booklet Design Code Reyko New Order Catalogue Mane Tatoulian Branding Hier und Hier The Journal Issue 4.

by B&O PLAY SPIL

216 218 220 224 226 228 230

TIFF Annual Report Consecotaleophobia Panama Plus Festival Energy Natural Systems Provisional Figures CSR Report 2017 Melt! Music Journal

Each type of publication is entirely different from another, but what all publications have in common is the symmetrical balance between the text and the graphics. The task of graphic design is to achieve feasible and practical publications, from an economic, material, and editorial point of view, considering all these factors from the creation of the project to its development, reproduction, distribution and consumption. The editorial designer plays a significant role in the way that information is shared, presented and understood. Especially given the last function, this discipline can bring transcendental change to society. “Design creates culture. Culture shapes values. Values determine the future.”—Robert L. Peters.

The content included in the publication of things like books and magazines demand strict guidelines and rules for the use of typography and layout within the volumes and periodicals produced. The success of these publications depends on clear communication and storytelling, both of which demand rigorous applications of grid layouts and the establishment of visual hierarchies to keep readers entertained while they consume the content.

INDEX

There are many different approaches, but one of the most important is: Less is sometimes more.

A few of complementary features can create a greater and more useful impact, especially when it comes to typographic choices.

ACKNOWLEDGEMENTS

Typography is essential in the practice of organising, arranging and modifying a publication. The typography techniques used in print have a direct impact on how the reader is able to receive the image, as Hans Perter Willberg pointed out: “Typefaces are not only there to be read, you also see them.”

004

/ 005

Apart from typography, grid systems are also a fundamental of all areas of graphic design, but nowhere more so than in editorial design. A solid grid will form the backbone of the design, giving pages their structure. In graphic design, as in architecture, the guts of a finished product are held up by an underlying support structure that—more often than not—is invisible to the viewer, but can just as easily make or break a design.

A grid system organises and structures the design in a way that is optimized for the visual flow of information. As a result, working with grids saves the designer time and enables a number of other benefits ranging from more seamless team collaborations to enhancing a visual hierarchy. Swiss designer and author of the book Grid Systems in Graphic Design, Josef Müller-Brockmann, has put forward a solid, inspiring definition of the grid system: “The grid system is an aid, not a guarantee.

It permits a number of possible uses and each designer can look for a solution appropriate to his personal style. But one must learn how to use the grid; it is an art that requires practice.”

Editorial design is a highly visual medium by definition. If we consider typography and grid systems to be the cornerstone of an editorial project, imagery would be the visual content that brings a design to life. The best magazines and newspapers use imagery in creative ways to grab attention, help tell stories, and achieve interest and pace within a layout. Images can vary from publication to publication, some focusing more on photography, while others focus primarily on infographics and illustrations. Illustration is particularly useful when a publication is exploring a topic that photography would struggle to capture, for example, science-fiction-based articles, fictional characters, or out of this world scenarios. Great designs make use of visuals in an attention-grabbing, strategic way.

The components of an editorial project vary from type to type, but most of them cannot do without a cover. The cover is often set to adhere to the overall design scheme, such as typography, grid, colour, etc. The cover of an editorial work plays a role of seduction at first sight. It should draw attention in any way it can to make it stand out within a sea of publications and other sections that compete on the shelves in a bookstore. As well as looking stunning, the cover must be able to help sell the content, give a strong sense of brand, and be striking enough to set itself apart from its competitors.

The best covers tend to stem from one bold and straightforward idea. The covers that become the most memorable are often uncomplicated, but use visual communication in a way that is too powerful to ignore. It does not become memorable if it is shallow or contrived, it should be full of personality and bursting with a story to be told.

Definitely, editorial design can have a powerful effect across all businesses and sectors, and can help make even the most banal information more compelling and accessible, it has the power to excite, inform, and influence a reader purely through the way the information is presented, arguably making it one of the most potent storytelling tools that we have at our disposal.

Jose Moreno

Founder, Creative Director at creanet

006

/ 007

FUNDAMENTALS OF PAGE DESIGN

PAPER SIZE STANDARDS

Paper size standards conventions vary between different times and different countries and regions. Nowadays, ISO 216 has become an international standard commonly-used in almost every country, for example, the well-known A4 size. ISO 216 includes the A, B, and C series of paper sizes, but the C series is also known as ISO 269, mostly used for envelopes. Today, many countries use ISO 216 standards for printed documents, while at the same time, there exist different extensions and variants based on different countries and regions, for example, German extensions, Swedish extensions, Japanese variants, Chinese extensions, etc. Apart from ISO 216, many countries in the Americas as well as in the Philippines comply with different standards of paper sizes and the most common ones are North American paper sizes and Standardized American paper sizes (Letter, Tabloid, Legal, etc.), also known as ANSI (American National Standards Institute).

Whether for digital or print, page design is a fascinating field concerning the arrangement of typefaces, images, colour, layout, and grid on a page. Page design is a timehonoured craft dating back to the invention the moveable type printing press invented around AD 1040 in China. In Around 1450, Johannes Gutenberg introduced the metal moveable type printing press in Europe, which contributed to the release of the Gutenberg Bible and allowed for a massive increase in the reproduction. With the prevalent use of the printing press, many typographers and designers created their typefaces and fonts, for example, Nicholas Jenson’s Jenson, Claude Garamond’s Garamond, and so on.

In the twentieth century, legendary book designers like J. A. van de Graaf, Raúl M. Rosarivo, and Jan Tschichold pushed forward the design of the page by proposing the rules of page composition, which have influenced modern editorial design. Layout and composition are the foundations of a good page design. Regardless of the medium, a wellarranged layout can convey the message effectively and guide the viewer using visual language.

It is crucial to understand the basics of editorial design to achieve a well-constructed page layout. What elements are

involved on a page? How to position these elements logically and hierarchically? What typefaces should you use? How about the page size and composition? And when it comes to the details of text body like leading, tracking, paragraph width, etc., how should a designer to fine tune them? In this section, readers will get an overall understanding of the fundamentals of editorial design, including paper size, typographic units, the history of typography and the styles of different typefaces, layout elements, and the canons of the grid system. It is true that page design is an exciting field that combines the creative use of fonts, images, colour, and composition that relies partly on the designer’s creativity, skill, insight, and personal taste. There is no rigid rule on the composition of a page; and for particular media, it requires the designers to break the regular grid and think outside the box. However, you should always know the basics before you try to break it. This will not be possible without referring to the tremendous work done by researchers and designers in the past, as well as online materials. Our editorial team would like to show them our gratitude and hope this book will inspire more insights into page design.

The establishment and unification of paper sizes, to some extent, push forward the manufacture, production, circulation, and transaction of paper and the printing industry. Paper manufacturers can store paper in specific sizes for a long term and trade paper of various sizes with printing factories. Printing machines and paper cutting machines can be employed thanks to the universally adopted paper size standards. The standards also enable different institutions, organisations, and companies to set up their specific sizes of office-copy, writing paper, stationery, cards, or other printed documents in order to build their identity. Paper sizes affect the way readers recognise, filter, and absorb the given message and information, and, generally speaking, paper with standard sizes is better-received than that of a particular size, because the former is easier and more comfortable to hold and read, and to keep and archive for later use. Editorial designers should become familiar with the frequently used paper sizes and choose the right one for their design, whether it be a commissioned project or a self-initiated one.

841

mm × mm

A2

A3

A0

1189 594

A4

A5

A series The A series is the most frequently used format, which starts with A0, measuring 841 mm x 1198 mm (approximately equal to 33.1 in × 46.8 in). The base of A0 size is 2 defined as a sheet of paper with an aspect ratio of 1 to √2 and an area of 1 m (rounding figure). The successive paper sizes of this series include A1, A2, A3, and so on. By halving the preceding paper size, one can get two identical halves in the next paper size of the same series. For example, if you cut or fold a sheet of paper in A1, you get two halves of paper in A2 with the area of paper halved accordingly. The system of IOS paper size simplifies the calculation of the weight of the paper. The paper grammage is 2 defined as a sheet’s weight in grams (g) per area in square metres, abbreviated as g/m 2 or gsm. For precisely that reason, the area of a sheet of paper in A0 is rounded to 1 m , hence the grammage of paper in A0 is equal to to its weight in grams. So it makes the calculation of weight for different sizes much easier, for example, a standard A4 sheet 2 cut from a paper of 80 g/m weighs 5 g because its area is one-sixteenth of an A0 sheet.

A standard A4 sheet measures 210 mm x 297 mm and is the most commonly used paper size in the A series.

A6

A7

297

148

The international paper size refers to ISO 216 which is based on the German DIN 476 established in 1992. DIN stands for Deutsches Institut für Normung e.V. (German Institute for Standardisation) and today it can refer to the German national organisation for standardisation, the German ISO (International Organisation for Standardisation) member body, and the various standards set by the DIN. ISO paper sizes are all based on the same aspect ratio of the square root of 2 (√2), roughly equal to 1:1.4142. German scientist Georg Christoph Lichtenberg initially proposed this aspect ratio, so it is also known as the Lichtenberg Ratio. The main advantage of this system lies in its scaling.

Rectangular paper with an aspect ratio of √2 has the unique property that, when cut or folded in half lengthwise between its shorter sides, the two halves have the same aspect ratio and the area of each half is reduced to half of the full sheet.

Likewise, if two same-sized sheets of paper with an aspect ratio of √2 are laid side-by-side along their longer side, they form a sheet of larger paper with the same aspect ratio and double the area of each individual sheet. ISO paper sizes include varied series (A series, B series, C series, etc.) and different extensions as mentioned above, among which the A series and B series are more commonly used today.

420

210

105

52

A8 74

PAPER SIZE STANDARDS

International Paper Sizes

010

/ 011

A0 = A1 = A2 = A3 = A4 = A5 = A6 = A7 = A8 =

33.1 in × 46.8 in 23.4 in × 33.1 in 16.5 in × 23.4 in 11.7 in × 16.5 in 8.27 in × 11.7 in 5.83 in × 8.27 in 4.13 in × 5.83 in 2.91 in × 4.13 in 2.05 in × 2.91 in

A1

A0 = A1 = A2 = A3 = A4 = A5 = A6 = A7 = A8 =

1189 mm × 841 mm 594 mm × 841 mm 420 mm × 594 mm 297 mm × 420 mm 210 mm × 297 mm 148 mm × 210 mm 105 mm × 148 mm 74 mm × 105 mm 52 mm × 74 mm

PAPER SIZE STANDARDS

B series

C series

The B series is defined as: “A subsidiary series of sizes is obtained by placing the

The C series is also called ISO 269 and it is mainly used for envelopes. The C series formats are defined as the geometrical means between the A series and the B series

geometrical means between adjacent sizes of the A series in sequence.” Hence, B1 2 is between A0 and A1 in size and so forth, with an area of 0.707 m (rounded value 2

with the same number, for example, the area of C4 is the geometrical mean between

2

of √1×0.5) since the area of A0 is 1 m and A1 0.5 m . The shorter side of a B0 sheet measures 1 metre. The B series is less common than A series but in general, it is used for

the areas of A4 and B4, that is C4 = √A4×B4. Thus, C4 is slightly larger than A4 but smaller than B4. So if you write a letter on A4 paper, the letter can fit inside a C4

special situations, for example, many posters apply the B series paper size, envelopes and

envelope; and if you write a letter on A4 paper and fold it in half, the letter can fit inside a C5 envelope, and so forth.

passports are often seen in B-series size, and B5 is a relatively common format for books.

1000 62

B5

81

B4

B2

B3

39.4 in × 55.7 in 27.8 in × 39.4 in 19.7 in × 27.8 in 13.9 in × 19.7 in 9.84 in × 13.9 in 6.93 in × 9.84 in 4.92 in × 6.93 in 3.46 in × 4.92 in 2.44 in × 3.46 in

B1

B0 = B1 = B2 = B3 = B4 = B5 = B6 = B7 = B8 =

707 mm × 1000 mm 500 mm × 707 mm 353 mm × 500 mm 250 mm × 353 mm 176 mm × 250 mm 125 mm × 176 mm 88 mm × 125 mm 66 mm ×

88 mm

A size chart illustrating the C series paper sizes in millimetres and in inches (rounded values).

1414

C4

C5

C2

C3

C0

1297

1000 mm × 1414 mm

013

B0 = B1 = B2 = B3 = B4 = B5 = B6 = B7 = B8 =

C6

C7

324

B0 /

2. A size chart illustrating the B series paper sizes in millimetres and in inches (rounded values).

B6

012

1. A size chart illustrating the A series paper sizes in millimetres and in inches (rounded values).

707

1 │ 2

57

458

229

114

C8

162

B7

353

176

88

B8

971

mm × mm

500

250

125

648

mm × mm

C0 = C1 = C2 = C3 = C4 = C5 = C6 = C7 = C8 =

36.1 in × 51.1 in 25.5 in × 36.1 in 18.0 in × 25.5 in 12.8 in × 18.0 in 9.02 in × 12.8 in 6.38 in × 9.02 in 4.49 in × 6.38 in 3.19 in × 4.49 in 2.24 in × 3.19 in

C1

C0 = C1 = C2 = C3 = C4 = C5 = C6 = C7 = C8 =

917 mm × 1297 mm 648 mm × 917 mm 458 mm × 648 mm 324 mm × 458 mm 229 mm × 324 mm 162 mm × 229 mm 114 mm × 162 mm 81 mm × 114 mm 57 mm ×

81 mm

PAPER SIZE STANDARDS

German extensions

Japanese extensions

· Japanese extensions

The German standard DIN 476 was first published in 1922 and it served as the basis for the ISO A series, B series, and C series. In 1991, it was divided into DIN 476-1 for

JB1

the A and B series, and DIN 476-2 for the C formats. Later, in 2002, the former was

The Japanese Industrial Standards (JIS) proposes two main series of paper sizes, the JIS-A series and the JIS-B series. The former is the same as the ISO 216 A series; the

JB2

latter is 1.5 times larger than the corresponding dimensions of the JIS-A series.

transformed into DIN EN ISO 216 by adopting the international standard, but the latter has been remained. In addition to the A, B, and C series, DIN also includes a D formats.

· JIS-B paper sizes: JB3

· DIN D paper sizes:

JB4 JB5

· A size chart comparing the SIS 014711 paper sizes and ISO 216 by illustrating the paper sizes from A4 to A3 in millimetres and in inches (rounded values).

JB6

A4

1030 × 1456

40.55 × 57.32

1

728 × 1030

28.66 × 40.55

in × in

mm × mm

in × in

0

771 × 1090

30.4 × 42.9

2

515 × 728

20.28 × 28.66

1

545 × 771

21.5 × 30.4

3

364 × 515

14.33 × 20.28

2

385 × 545

15.2 × 21.5

4

257 × 364

10.12 × 14.33

3

10.7 × 15.2

5

182 × 257

7.17 × 10.12

4

272 × 385

192 × 272

7.56 × 10.7

6

128 × 182

136 × 192

5.35 × 7.56

5.04 × 7.17

5

7

91 × 128

3.58 × 5.04

6

96 × 136

3.78 × 5.35

8

64 × 91

2.52 × 3.58

7

68 × 96

2.68 × 3.78

9

45 × 64

1.77 × 2.52

8

48 × 68

1.89 × 2.68

10

32 × 45

1.26 × 1.77

11

22 × 32

0.87 × 1.26

12

16 × 22

0.63 × 0.87

Swedish extensions The Swedish standard SIS 014711 (Swedish Standards Institute) adopted the ISO paper sizes of the A, B, and C series, while at the same time, added the D, E, F, and G formats.

The D format is between a B format and the next larger A format and contains mainly the same sizes of the DIN D. The sequence is defined as a geometric progression, for example, D4 sits between B4 and A3 and the sequence goes as A4, E4, C4, G4, B4, F4, D4, (H4), A3. The dimensions grow by a factor of 16√2 from one size to the next.

Chinese extensions

· Chinese extensions D1

D2

D3

E4

mm × mm

0

DIN D

· Swedish standard SIS 014711 paper sizes:

A3 H4 D4 G4 B4 F4 C4

JIS-B

SIS 014711

mm × mm

in × in

A4

210 × 297

8.3 × 11.7

E4

219 × 310

8.6 × 12.2

C4

229 × 324

9.0 × 12.8

F4

239 × 338

9.4 × 13.3

B4

250 × 353

9.8 × 13.9

G4

261 × 369

10.3 × 14.5

D4

272 × 385

10.7 × 15.2

H4

284 × 402

11.2 × 15.8

A3

297 × 420

11.7 × 16.5

D4 D5

D6

The Standardisation Administration of China (SAC) validated GB/T 148-1997 (formerly GB 148-1989) and it is in use today. The standard adopts the ISO 216 A and B series while at the same time, adds a custom D series, however, this D series is different from that of Sweden, which has an aspect ratio of roughly √2. It contains both the D series and the raw/untrimmed sizes of D formats (RD). The longest side of a Chinese D series is always two times larger than the short side of the next smaller size. In addition to naming the dimensions D0, D1, D2, and so on, each size has an alias that ends with an identical unit called K. In this case, D0=1K, D1=2K, D3=4K, D4=8K and so forth, which n can be defined as Dn=2 K. · SAC D paper sizes:

014

SAC D

mm × mm

in × in

Alias

0

764 × 1064

29.9 × 41.9

1

532 × 760

20.9 × 29.9

1K

2

380 × 528

15.0 × 20.8

4K

3

264 × 376

10.4 × 14.8

8K

4

188 × 260

7.4 × 10.2

16K

5

130 × 184

5.1 × 7.2

32K

6

92 × 126

3.6 × 5.0

64K

2K

/ 015

ANSI Standardized American Paper Sizes

PAPER SIZE STANDARDS

North American Paper Sizes

The American National Standards Institute adopted ANSI/ASME Y14.1 in 1992, defining a regular series of paper sizes used in the USA. The Letter size of North American paper sizes is assigned as ANSI A, while ANSI B contains Ledger and Tabloid. There are two alternating aspect ratios for the system due to the arbitrary base sides of the sizes. The current Canadian standard, CAN/CGSB-9.60-94, is very close to the ANSI standards and divided from P1 to P6, in which P4 is equal to Letter size.

The United States, Canada, Mexico, the Philippines, and some other countries and regions use a different system of paper sizes instead of ISO 216. The commonly used formats are Letter, Legal, Ledger, and Tabloid, which each has a different aspect ratio. · North American paper sizes:

Size

mm × mm

in × in

Letter

216 × 279

8.5 × 11

Legal

216 × 356

Tabloid

279 × 432

Ledger

11 × 17

432 × 279

17 × 11

N⁄A

CAN P6

107 × 140

ISO A6

105 × 148

Junior Legal

127 × 203

5×8

N⁄A

CAN P5

140 × 215

ISO A5

148 × 210

8.5 × 14

Half Letter, Memo

140 × 216

Government Letter

203 × 267

8 × 10.5

Government Legal

216 × 330

8.5 × 13

Letter 216 mm

Ledger

594

1189

A3

Similar size (mm × mm)

216 × 279

8.5 × 11

CAN P4

215 × 280

ISO A4

210 × 297

ANSI B

279 × 432

11 × 17

CAN P3

280 × 430

ISO A3

297 × 420

ANSI C

432 × 559

17 × 22

CAN P2

430 × 560

ISO A2

420 × 594

ANSI D

559 × 864

22 × 34

CAN P1

560 × 860

ISO A1

594 × 841

ANSI E

864 × 1118

34 × 44

ISO A0

841 × 1187

N⁄A

864 216

A2

432

A

(Letter)

A0

279

279 mm

Tabloid

297

432 mm

(mm × mm)

ANSI A

B

(Ledger, Tabloid) 1118

148

A5

A4

Canadian size

in × in

mm × mm

216 mm 256 mm

A7

Legal

A6 279 mm

74

A8

mm × mm

A1

559

52

420

210

105

ANSI size

5.5 × 8.5

841

mm × mm

016

/ 017

A size chart illustrating the ISO A series and a comparison with the commonly used North American paper sizes in millimetres and in inches (rounded values).

· ANSI and CAN paper sizes:

A size chart illustrating the ANSI sizes in millimetres and in inches (rounded values).

E D

C

Typographic units refer to the units of measurement ¬in typography, which were established and used in typography or typesetting in the early days of printing. Although nowadays, printing can be either in paper or digital format, the old terms and units of measurement remain in modern times. The generally used units in publishing and printing today are point systems (including the Didot’s point system, the American point system, and the Desktop publishing point) and the metric units system.

TYPOGRAPHIC MEASUREMENT

TYPOGRAPHIC MEASUREMENT

Point Systems

The point is the smallest unit of measure in typography, abbreviated “pt,’ which is used for measuring font size, leading, and other items on a printed page. In the traditional metal type system, point was used as the unit of measurement.

The point size of the font is described as the metal body on which a typeface´s characters were cast. The size of the point varied slightly according to different point systems, but generally 1 point is equal to 1/72 inch.

Didot’s point system The Didot‘s point system was created by François-Ambroise Didot 1783 based on the system proposed by Pierre Simon Fournier. Didot modified Fournier’s system by adjusting the base measurement unit to the French royal inch. In Didot’s point system, 1 point is equal to 1/6 ligne, equivalent to 1/72 French royal inch and 0.38 mm (rounded value) respectively. In Didot’s point system, there exists another unit of measure called cicero, which is used in typography in Italy, France, and other continental European countries. One cicero equals to 12 points.

American point system The American point system was first proposed by Nelson C. Hawks in the 1870s, dividing one British/American inch by six to get one pica and dividing one pica again by twelve to get one point. But it was not until 1886 that the American point system became standardised and it was defined officially that one pica is not precisely equal to one-sixth of an inch, but is exactly 0.166 British/American inch (rounded value). The standard pica then was defined to be the Johnson Pica. Thus today, in the American point system, one point equals to 1/12 Johnson pica, equivalent to 0.0138 British/ American inch (rounded value) and 0.35 mm (rounded value). The American point system has been widely used in the USA, the UK, Japan, and many other countries.

TYPOGRAPHIC MEASUREMENT

Desktop publishing point

As listed above, the size of a point can be varied slightly based on different units of measure, and these traditional typographic units are not based on metric units. . With the development of typesetting, metric units are being used in modern layout and page design gradually. But so far it is used only in a few countries such as Germany and Japan. In German publishing, there is a DIN standard defining the type sizes in multiples of 0.25 mm to promote the use of metric units for typographical measurement. And in Japanese publishing, they use the same multiples of 0.25 mm but name the unit using their own character, kyu, which is q in Romanized Japanese.

In digital print, display devices/applications, and page layout software, many digital print systems are a bit different from the traditional typographic units. The desktop publishing point (DTP point) or PostScript point is defined as 1/72 or 0.0138 metric inches (rounded value), equivalent to 0.35 mm (rounded value). Twelve points make up a pica (i.e. computer PostScript pica, measuring exactly 1/6 metric inch) and six picas make an inch. This specification was first proposed by John Warnock and Charles Geschke when they created Adobe PostScript. It was adopted by Apple computers as the standard for the display resolution of the original Macintosh desktop computer. In digital applications, the abbreviation for pica is pc and pt for point.

Conversion of one point in different point systems: In the Didot’s point system: 1 point = 1/6 ligne = 1/72 French royal inch = 1/12 cicero ≈ 0.38 mm In the American point system: 1 point = 1/12 Johnson pica ≈ 0.0138 British/Amecian inch ≈ 0.35 mm In the DTP point: 1 point = 1/12 PostScript pica = 1/72 metric inch ≈ 0.35 mm

6

POINT

8

POINT

9

12

14

18

24

30

36

48

60

POINT

POINT

POINT

POINT

POINT

POINT

POINT

POINT

POINT 020

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Comparison of point sizes from 6 to 60 in the DTP point system

Metric Units

Anatomy of typography

TYPOGRAPHY

TYPOGRAPHY

It is essential for designers and typographers to learn and understand every aspect of the anatomy of typography. In the Latin alphabet, each letter is called a character and each individual letter can have both a capital character (a.k.a. caps or uppercase) and a small character (a.k.a. lowercase). In the following anatomy of typography, readers will understand the importance of baseline in layout design on which characters sit and learn the structure and composition of characters.

The history of type design dates back to the 15th century when Johann Gutenberg invented the printing press. Individual letters were carved into wooden blocks and made reusable and moveable.

Later the invention of metal type improved the technique— individual capital and lowercase letters, as well as punctuation symbols, were cast in steel and then assembled on a wooden form to create an entire page of text and make it legible. And since then, hundreds of typefaces have been designed and used.

Typography is defined as the art and technique of arranging type to make written language legible, readable, and appealing to the eyes.

The three cornerstones of typography are regarded as legibility, readability, and aesthetics. Legibility refers to how easily individual characters can be distinguished from one another. Readability means how easy it is to read the text as a whole. In Designing with Type, the Essential Guide to Typography, the authors believe that: “Even a legible typeface can become unreadable through poor setting and placement, just as a less legible typeface can be made more readable through good design.” Design means how designers select typefaces, point sizes, line lengths and how they adjust linespacing (leading), letter-spacing (tracking), and the space between pairs of letters (kerning). For example, sans-serif fonts are usually considered to have low readability, thus when it comes to a large quantity of text, it is better to choose serif fonts.

An appropriate typeface can express the text and strike the chord. Prose, fiction, non-fiction, editorial, scientific, historical, and commercial writing all have different characteristics and requirements with regard to typefaces and styles, so designers must learn to analyse and understand the function of a text type, its form, and how readers would feel about the text, before deciding on a typeface. Usually it is believed that sans-serif fonts are more suitable for websites, flat designs, headings, introductory paragraphs, incidental text, or articles of a short length; while for books, newspapers, and magazines that require more compact typefaces, serif fonts are better choices as they offer maximum flexibility, readability, and legibility. However, those are not hard and fast rules, because the art of typography, whether in a traditional printing press or digital printing, is always an art of craft.

Crossbar

Ascender Line

Capital height

Baseline Descender Line

X–height

Counter

Terminal

Hairline

Italic

Kerning

Link

Ear

Ascender

Typography Stem

The anatomy of typogaphy.

Bowl

Anatomy of

Leading

Type Size

Sans Serif

Serif

Axis Loop

Descender

Bracket

TYPOGRAPHY

Typographic Terms

Typeface and font

· Serif and sans-serif

Serif sans-serif Bodoni

Kerning and Tracking

· Kerning and Tracking

A typeface, also called font family, is a set of one or more fonts with universal design features. Each font of a typeface has a specific weight, condensation, slant,

PH TYPOGRAPHY

italicisation, etc. For instance, the font “Helvetica Bold Condensed” refers to the bold, condensed-width version of Helvetica. It is different from “Helvetica Bold Condensed Italic” and “Helvetica Light Condensed,” but all of them belong to the same typeface,

Kerning

Helvetica. Helvetica is a different typeface from Futura, Garamond, etc.

TYPOGRAPHY T YPOGR APHY

Helvetica

Serif and sans-serif typeface

Tracking

A typeface with serifs is called a serif typeface. A serif is a small line attached to the end of a stroke in a letter or symbol. A typeface without serifs is called a sans-

· Italic

Typography Typography Helvetica

· Text Rag

headings, manuals, road signs, etc. because of their concise glyphs.

Italic

Designers would

A well-ragged text

pay attention

should balance the

to the shape

length of each line,

that the ragged line

neither too short

endings make.

nor too long.

Poor rag

distinguish them from the body of the text.

Script

A widow should be corrected since it creates too much white space between paragraphs or at the bottom of a page that could destroy continuity for the reader and make the layout look unbalance.

An orphan refers to a short line, a single word or part of a word, dangled at the beginning of a column or a page.

Script typeface is a cursive or handwritten typeface based on the varied and often fluid stroke created by handwriting. Script typefaces are usually used for invitations and diplomas to present a soft, classic, and elegant feeling.

· Leading the ratio between the value of the font size and leading is 10:12

Font: 8 pt Leading: 10 pt

the ratio between the value of the font size and leading is 10:12 Font: 10 pt Leading: 12 pt

Modifined rag

· Widows and Orphans

Script typeface

Snell Roundhand

A successful kerning should have proportional spacing between each letter and take into consideration the serifs involved. Tracking is often easily confused with kerning. In brief, tracking refers to making adjustments of the spacing throughout the entire word.

It can be used to fill a space or to make a single word look airy or condensed.

Text Rag When typesetting a body of text in a left or right alignment, there will be a vertical margin of a block of type. Text rag refers to the irregular or uneven vertical margin,

serif typeface. Serif typefaces are also known as “Roman” and sans-serif typefaces as “Grotesk” (in German) or “Gothic”. Serif typefaces are generally used in novels because of their high readability; while sans-serif typefaces are often used for

The name italic is derived from the calligraphy style first designed in Italy. It is a cursive font based on a stylised form of calligraphic handwriting, which is usually slanted slightly to the right. Italics are commonly used to highlight key points or quotes to

· Script

Kerning refers to adjusting the spacing between two individual letters within a word.

If set too closely, a word is illegible; whereas if set too apart, a word looks awkward.

Leading Leading refers to the space between lines of type in a body of text. It is an essential factor that determines whether the distance from the bottom of the words above to the top of the words below has appropriate spacing to make them legible and readable. The leading is measured based on the baseline of each line of the body text. The descenders and ascenders must be considered when determining the leading space. The overall appearance of the text and readability can be improved with proper leading. Several factors will affect leading, including typeface, type size, weight, case, tracking, etc. Usually, the ratio between the value of the font size and leading is 10:12, that is to say, for a 10 pt font, the usual leading is 12 pt.

Widows

page.

It diminishes readability and results in poor alignment at the top of the column or page.

024

/ 025 Orphans

which can distract a reader since it creates distracting shapes of white space that is unsettling and unpleasing to the eye. A well-ragged text should balance the length of each line, neither too short nor too long. Designers would pay attention to the shape that the ragged line endings make.

Widows and Orphans A widow is a very short line; usually, one word or the end of a hyphenated word left at the end of a paragraph or column. A widow should be corrected since it creates too much white space between paragraphs or at the bottom of a page that could destroy continuity for the reader and make the layout look unbalance. An orphan refers to a short line, a single word or part of a word, dangled at the beginning of a column or a page. It diminishes readability and results in poor alignment at the top of the column or page.

In typography, a typeface can include a set of fonts. Each font of a typeface has a specific weight, condensation, slant, italicisation, etc. The graph below shows different fonts of the typeface Helvetica and how to define each of them.

Helvetica Light

Helvetica Light Condensed

Classic Serif Typefaces

TYPOGRAPHY

Fonts of a Typeface

· Old style

Garamond

Helvetica

ABCDEFGHIJKLMNOPQRSTUVWXYZ

abcdefghijklmnopqrstuvwxyz1234567890

Palatino

Light Oblique

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz1234567890

Helvetica

Centaur

Light Condensed Oblique

ABCDEFGHIJKLMNOPQRSTUVWXYZ

abcdefghijklmnopqrstuvwxyz1234567890

Helvetica Condensed

Helvetica

Old style serif typefaces date back to 1465 and were inspired by Renaissance calligraphy. Old-style serif fonts are popular for setting the body of text due to their organic appearance and high readability. They are characterised by the low line contrast between thick and thin lines. In most old-style typefaces, the thinnest parts of letters are often at an angle rather than at the top and bottom, presenting an elegant and slender feeling. Typical examples of old style typefaces include Bembo, Garamond, Galliard, Minion, Palatino, Sabon, Scala, Adobe Jenson, Centaur, Goudy’s Italian Old Style, Berkeley Old Style, and ITC Legacy, etc.

· Transitional

Transitional Transitional serif typefaces, a.k.a. Baroque serif typefaces, first became popular in the mid-eighteenth century to the beginning of the nineteenth. They are in between old style and Didone serif typefaces. Compared to old style serif typefaces, the contrast between the thick and thin lines of transitional serif typefaces are more pronounced but less dramatic than that of Didone serifs. In transitional serif typefaces, the ends of many strokes are characterised more often, not by blunt or angled serifs, but by ball ends. The commonly used transitional serif typefaces include Caslon, Cambria,

Roman (Regular)

Helvetica

Baskerville

Helvetica

Times New Roman

Bold Condensed

Helvetica

Helvetica Bold

Helvetica

Helvetica Black Condensed

Helvetica

Helvetica

Helvetica

Oblique

ABCDEFGHIJKLMNOPQRSTUVWXYZ

abcdefghijklmnopqrstuvwxyz1234567890

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz1234567890

Bold Condensed Oblique

Baskerville, Times New Roman, etc.

Didone · Didone

Bold Oblique

Didot ABCDEFGHIJKLMNOPQRSTUVWXYZ

abcdefghijklmnopqrstuvwxyz1234567890

Black Condensed Oblique

Bodoni ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz1234567890

Century

Black Oblique

026

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Helvetica Family.

Old style

Condensed Oblique

Helvetica

Black

Serif typefaces originated from the words carved into stone in Roman antiquity.

Accodrding to Father Edward Catich’s book The Origin of the Serif, it is widely accepted that the Roman letter outlines were first painted onto stone, and the stone carvers followed the brush marks, which flared at stroke ends and corners, creating serifs. Serif typeface can be roughly classified into four types: old style, transitional, Didone, and slab serif in chronological order (the time when the typeface or the original movable typeface was created).

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz1234567890

Didone, a.k.a. modern, serif typefaces first appeared in the late eighteenth century and are marked by the great contrast between thick and thin lines. These typefaces bear vertical stress and long, fine, and horizontal serifs, with minimal brackets. They tend to be less readable than old style and transitional serif typefaces. Didone serif typefaces prevailed in the early nineteenth century, but later with new designs emerging in the twentieth, and old style typefaces reviving, they became less popular.

Didot, Bodoni, Century, Walbaum, and other typefaces are among the most common modern serif typefaces.

TYPOGRAPHY

Classic Sans-serif Typefaces

· Slab serif

Rockwell

Slab serif Slab serif typefaces date back to 1817, and are frequently used for posters. They have thick serifs that can be as thick as the vertical lines, so they tend to draw attention.

Some slab serifs like Rockwell have a geometric design with minor variations in stroke

ABCDEFGHIJKLMNOPQRSTUVWXYZ

width; while others look like most serif fonts but with larger and more apparent serifs.

abcdefghijklmnopqrstuvwxyz1234567890

Slab serif typefaces include Rockwell, Clarendon, Archer, Courier, etc.

· Grotesque

Sans-serif typeface refers to the typeface that does not have serifs at the end of strokes.

They have less line width variation than serif typefaces, so they look more compact,

Franklin Gothic

Grotesque, Neo-grotesque, Geometric, and Humanist.

modern, and minimalistic. Sans-serif typefaces are more likely to be used for headings and display of text on digital screens. They can be classified broadly into four groups:

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz1234567890

Clarendon

Grotesque Grotesque sans-serif typefaces emerged in the early nineteenth century. They are

· Neo-grotesque

suitable for headlines and advertisements with their solid, bold designs. Most early sans-serif typefaces did not have lower case or italics because there was no need to

Helvetica

In each typeface, different fonts with a range of widths, from extended to normal, condensed, etc., are offered. Examples of grotesque typefaces include Akzidenz

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz1234567890

Courier

ABCDEFGHIJKLMNOPQRSTUVWXYZ

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz1234567890

abcdefghijklmnopqrstuvwxyz1234567890

Univers

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz1234567890

· Geometric

Futura

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz1234567890

Avenir

ABCDEFGHIJKLMNOPQRSTUVWXYZ

abcdefghijklmnopqrstuvwxyz1234567890

have any, and the public at that time favoured a more restrained oblique or sloped design. The capitals of the grotesque typefaces are usually made in uniform width.

Grotesk, Venus, News Gothic, Franklin Gothic, Monotype Grotesque, etc.

Neo-grotesque As the name suggests, neo-grotesque evolved from grotesque types. Unlike grotesque typefaces, most neo-grotesque types have a relatively large and versatile font family to fit different body text. And they tend to have a “folded-up” design with some strokes (for instance the letter “C”) curving all the way round to end on a perfectly horizontal or vertical line. Helvetica, Univers, Folio, Unica, Imago, and so on, are some of the prevalent neo-grotesque sans-serif types.

Geometric As the name implies, geometric sans-serif typefaces are based on geometric shapes, like circles and squares. Geometric sans-serif typefaces prevailed during the 1920s and 1930s for their clean and modern design. In 1927 Futura, made by Paul Renner, received global recognition and popularity. However, geometric sans-serif fonts are considered to be the least readable sans-serif fonts for body text; thus they are usually used for headings and text in short paragraphs. Notable geometric types include Futura, Kabel, Semplicità, Nobel, Metro, ITC Avant Garde, Brandon Grotesque, Gotham, Avenir, and many others.

028

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PAGE LAYOUT AND GRID SYSTEM

¡ Humanist

Gill Sans ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz1234567890

Humanist

In graphic design, page layout deals with the arrangement of visual elements on a page. It is the process of arranging and organising the text and image based on the overall design scheme to achieve specific communication objectives. Page design involves organisational principles of composition, such as rules of thirds, the Van de Graaf canon, the golden ratio, and the grid system, etc., depending on the types of content. It also involves the positioning and parameter of the different elements such as the typeface, font size, the width of columns, leading, negative space, pictures or perhaps the size or shape of the medium (whether it is a book, a magazine, a booklet, a poster or others), etc. The way in which these elements are placed on a page affects how the reader receives information and emotion. A good page layout helps convey the visual and textual information more effectively, and it can even add aesthetic and ornamental values to the design.

Humanist sans-serifs bear some features of traditional letterforms, traditional serif fonts, and calligraphy. Their strokes vary clearly in width along their line or even alternate between thick and thin strokes, like Optima made by Hermann Zapf in 1958.

Frutiger is one of the most influential modern humanist sans-serifs because of its high legibility. Humanist sans-serifs types are prevalent for screens. In addition, with Gill Sans, Optima, and Frutiger, the humanist category expanded significantly in the 1980s

Optima ABCDEFGHIJKLMNOPQRSTUVWXYZ

and 1990s, and now includes FF Meta, Myriad, Thesis, Charlotte Sans, Bliss, Scala Sans, Syntax, Microsoft’s Tahoma, Trebuchet, Verdana, Calibri, Corbel, Lucida Grande, Fira Sans, and Droid Sans, etc.

abcdefghijklmnopqrstuvwxyz1234567890

Frutiger ABCDEFGHIJKLMNOPQRSTUVWXYZ

abcdefghijklmnopqrstuvwxyz1234567890

One of the most efficient ways to make a reasonable and organised layout is to apply a grid system on the page. A grid system refers to a set of measurements based on sequences of columns and rows, which can help a graphic designer to align and size the objects and elements on a page. The grid system was first used to organised handwriting on paper, and now it is applied to arrange the layout of printed material, web, and application design.

Syntax ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz1234567890

Verdana

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz1234567890

The column-based grid is commonly used in editorial design. With the column-based structure, designers can place text, images, illustrations, and legend consistently and hierarchically throughout the whole design. In addition to the column-based grid, there are some other categories of grid systems, such as the manuscript grid, modular grid, hierarchical grid, baseline grid, and combined grid. But there is no strict rule on the use of the grid system. Some designers believe that the grid limits creativity; while some argue that the grid system makes a design informative and communicative.

It is all up to the designer to decide on what kind of grid suits a design, and sometimes to do that, the designer needs to modify or re-create the grid manually.

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PAGE LAYOUT AND GRID SYSTEM

Elements of Page Layout

Anatomy of a page

Paragraph width

Column: Vertical area or field where content is positioned on a page, separated by gutters (vertical whitespace) or thin lines. Columns can make the content more compact and organised, but it can also lead to a dull design if there are very few variations.

Setting a proper paragraph width is essential for the readability of large blocks of text.

If set too wide, it will make the reading tiring; if too narrow, it will disrupt the flow of the text. As a general rule, it makes the text more readable if every line of the paragraph

Module: Square space that surrounds the text blocks.

contains roughly ten words. Bear in mind that the paragraph width depends on the font size and the length of the content. If the font size is 20 pt, the paragraph width needs to

Type area: Area where important text or images should be placed to ensure the content is not lost when the page is trimmed.

be more extensive; if it is 8 pt, the paragraph width should be narrower. In some cases, the leading should also be adjusted to fit the paragraph width. Generally, the wider the

Margin: Space that surrounds the text blocks, providing a visual buffer between the content blocks.

invariant rules.

paragraph width, the smaller the leading value, and vice versa. However, these are not

Running header: Area at the top of every page where titles of chapters or page numbers are usually placed and repeated. It is to give the reader a visual break and help them locate the specific sections.

Setting a proper paragraph width is essential for the readability of large blocks of text. If set too wide, it will make the reading tiring; if too narrow, it will disrupt the flow of the text.

Page number: Usually placed at the outer edge of the bottom margins. But now it is common to find it positioned on the other margins, aligned along the left margin, the right margin, or centred at the top or bottom margins.

Setting a proper paragraph width is essential for the readability of large blocks of text. If set too wide, it will make the reading tiring; if too narrow,

Trim line: Line that signifies the actual page size. Usually, each page will be trimmed along these lines.

Bleed area: Area left outside the trim line in case the page is cut one millimetre or two in the wrong direction, and white space occurs on a page. Allow three to five extra millimetres in all four directions.

Setting a proper paragraph width is essential for the readability of large blocks of text.

Setting a proper paragraph width is essential for the readability of

Running header

Headline

Column Module Type area Margin Trim line Body text

1 ― 2

Caption Page number

001

002

Bleed area 032

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Anatomy of a page layout based on a two-column grid, illustrating the elements of a page.

1. Paragraph width variations with a 10 pt font and 12 pt leading 2. Paragraph width variations with a 20 pt font and 24 pt leading.

Setting a proper paragraph width is essential for the readability of narro Setting a proper paragraph width is essential for the re Setting a proper paragraph width i Setting a proper ra

PAGE LAYOUT AND GRID SYSTEM

Margin

It is recommended to use the same font for both headings and body text to maintain consistency. However, if different fonts are used, make sure to avoid fonts with a similar

Margin refers to the space outside the type area. In a page layout, margins with a balanced proportion can help elevate the aesthetic feel of the whole design. Most

style—for example, do not use Helvetica and Univers at the same time.

classic layout designs have a perfect portion of margins because they are based on a specific rule, like the golden ration, or a specific mathematical formula. The books designed by Gutenberg, Caslon, Garamond, or by some pioneer designers in the

Heading and body text

Heading and body text

When it comes to the headings and body text, it is crucial to give a visual separation between headings and body text by using different font size and styles (bold, italic, ect.), to indicate the hierarchy of the text blocks and give a logical visual guide for the readers. Usually, the main heading is set in the largest point size, or the heaviest weight to show its importance.

When it comes to the headings and body text, it is crucial to give a visual separation between headings and body text by using different font size and styles (bold, italic, ect.), to indicate the hierarchy of the text blocks and give a logical visual guide for the readers. Usually, the main heading is set in the largest point size, or the heaviest weight to show its importance.

twentieth century, like Jan Tschichold, Karel Teige, and Max Bill are the best proof of that. When measuring the margin, it is always recommended to keep three to five extra millimetres for the bleed area to eliminate the risk of exposing a section of white paper after the page is trimmed.

1

1

1.5

1

1

2

Heading

3

1 │ 2 ― ― 3 │ 4

Heading and body text

3 │ 4

3. In this example, the top, left, and right margins remain the same. Such uniform composition tends to be less creative and dull.

1. The header and body text are set in the same font, but the two are separated cleverly by the white space, which looks elegant.

2. The fonts are still the same, but the header is set closer to the body text and in a heavier weight.

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4. A composition based on Van de Graaf canon with a balanced proportion and enough space for binding. It is suitable for literature and history books.

When it comes to the headings and body text, it is crucial to give a visual separation between headings and body text by using different font size and styles (bold, italic, ect.), to indicate the hierarchy of the text blocks and give a logical visual guide for the reader.

Usually, the main heading is set in the largest point size, or the heaviest weight to show its importance. The secondary header has a smaller point size and lighter weight than the main header but still has a larger point size and heavier weight than the body text. The body text is usually set in a point size that is comfortable for reading. Captions should be set in the smallest point size and the lightest, or the same point size and weight as the body text, but with different styles, for example, italic, thin or condensed.

3. The fonts are still the same, but the header is set in larger point size, making it more pronounced.

4. The larger the point size and heavier the weight, the more pronounced the header becomes.

Heading and body text

When it comes to the headings and body text, it is crucial to give a visual separation between headings and body text by using different font size and styles (bold, italic, ect.), to indicate the hierarchy of the text blocks and give a logical visual guide for the readers. Usually, the main heading is set in the largest point size, or the heaviest weight to show its importance.

When it comes to the headings and body text, it is crucial to give a visual separation between headings and body text by using different font size and styles (bold, italic, ect.), to indicate the hierarchy of the text blocks and give a logical visual guide for the readers. Usually, the main heading is set in the largest point size, or the heaviest weight to show its importance.

· Van de Graaf canon

Grid Types

PAGE LAYOUT AND GRID SYSTEM

Rules of Composition

Van de Graaf canon

· Manuscript grid

The Van de Graaf canon was proposed by Van de Graaf who devoted himself to book design for over fifty years, with his first book being The Gutenberg Bible in 1455. This

Manuscript grid The manuscript grid is the most basic form of all grid types. It can also be referred to as the single-column grid because it is made up of a single rectangle that defines the

canon is widely used in book design by dividing a page in a pleasing proportion. It

margins of a page.

works for any page with a different ratio of width and height, enabling the designer to create the margins and position the text body. For the page with a proportion of

· Complete project on page 042–045.

2: 3, the ratio of the margins remains 2:3:4:6 (inner margin: top margin: outer margin: bottom margin) when using the canon. The ration can be extended as 1:R:2:2R, for a page with a proportion of 1:R.

Raúl Rosarivo’s Gutenberg canon · Raúl Rosarivo’s Gutenberg canon

In 1947, Rosarivo examined the books of Gutenberg and other designers of the period and discovered the rules in these books. The rule was named after Rosarvo. It requires the designer to divide the height and width of the page respectively into nine equal parts and use the grids as a support system to position the type area with the help of diagonal rules. This rule can be applied to a page of any proportion.

Tschichold’s golden canon Tschichold’s golden canon was proposed by Jan Tschichold, one of the most significant typographers and book designers of the 20th century. The rule agrees with Van de Graaf’s canon and is much easier to create. Tschichold pointed out that the most comfortable page proportion should be 2:3. Using this canon on a page with a proportion of 2:3, the height of the type area is equal to the page width as shown by the circle. The margins’ ratio is 2:3:4:6.

· Tschichold’s golden canon

· Column grid

Column grid As its name suggests, column grid is based on the vertical columns split on a page.

It is the most commonly used grip type in modern editorial design. The column grid includes a two-column grid, three-column grid, four-column grid, and so forth.

· Complete projects on page 052–055, 056–057, 226–227.

Golden ration The golden ratio is a well-known rule based on the formula: a:b = a:(a + b) (a > b > 0). A golden ratio is an irrational number with a value of 1:0.618, represented by the Greek alphabet Φ (Phi). If a rectangle with a golden ratio—“a” indicates the longer side; “b” indicates the shorter side—is placed adjacent to a square with the side length the same as the longer side “a” of the rectangle, they make up a similar golden rectangle with the longer side “a + b” and shorter side “a.” The relation between the two rectangles corresponds to the golden ratio formula: a:b = a:(a + b).

· Golden ration

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PAGE LAYOUT AND GRID SYSTEM

· Modular grid

Modular grid

· Hierarchical grid

The modular grid refers to a column-and-row grid type that indicates not only

Hierarchical grid

x-placements but also y-placements. It is usually considered to be a rigid grid type.

Hierarchical grid refers to an intuitive placement of elements that comply with the hierarchy of the information. It is described as a grid that has no equal spacing between

· Complete project on page 184–185.

modules because it has a somewhat customised proportion based on the requirements and type of the content and medium. Hierarchical grids are commonly found in web design.

· Complete project on page 124–127.

· Baseline grid

Baseline grid The baseline grid is a grid type of horizontal lines that are evenly spread on the page.

The text is aligned along the horizontal lines with the bottom of each letter positioning

· Combined grid

onto the grid as if it were written on a lined page.

· Complete project on page 144–145.

Combined grid Combined grid uses multiple grid types on a page, making the page layout look more systematic and organised.

· Complete project on page 104–107.

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MAGAZINE

001 Dolomitenstadt Magazine

DESIGN Bruch—Idee&Form PHOTOGRAPHY Stefanie Wurnitsch, Ramona Waldner

The credo of the biannual magazine Dolomitenstadt is to define tradition from a contemporary perspective and create an exceptional and multi-faced picture of Eastern Tyrol in Austria. The magazine focuses on the people and its surroundings, especially the personalities that make the region distinctive. The structure and typographic composition of the design reflect the conflict between modernity and tradition that this area is experiencing and create a diversified rhythm that gives each of the various topics an individual expression.

MAGAZINE

Interview with Bruch—Idee & Form

01. What drove you to establish Bruch, and what is your vision for Bruch?

After several years working for different agencies, we just wanted to start something that belongs to us. We wanted to make our own decisions, set our own priorities, and choose the customers whom we would like to work for.

Our vision is to create work of very high quality, without (too many) compromises—something that we are proud of and does not follow trends.

·Founded by Josef Heigl and Kurt Glänzer

02. Typography matters in editorial design, what do you consider when selecting a preferred font for a project?

At first, it is important to find a font that meets the core of a project and makes the design appealing and unique. Second, depending on the application, target group, and how we are going to use it, we have to consider readability, language, or special character support of a specific typeface.

For 47° Grad, the client already used Interstate as the main font and we were happy with that because we thought it supported their idea of a grounded and regional cooking approach. As for the sub font, we decided to use Fleischmann to create a strong contrast and tension and to communicate the idea of haute cuisine.

For the Dolomitenstadt Magazine, we also decided to mix a sansserif typeface with a serif typeface, that is, Circular and Freight.

Both fonts were pretty new, and they helped to communicate the magazine’s ongoing topic about the tension of modernity and tradition. To give the magazine a diversified rhythm and give the various articles their own voices, it was necessary to work with more than just one typeface.

04. Do you like using a grid system? What do you think is the role of the grid system in editorial design?

In principle, we use a grid system for each project. An integrated harmonious and yet changeable system is really essential to us.

But sometimes it is also necessary to break out of the grid, to keep the design interesting and surprising.

05. Please share your design process with us when starting a new editorial project.

MAGAZINE

03. Let’s take the fonts you used for 47 Grad and Dolomitenstadt Magazine as examples. Why did you settled on these font choices?

Think about the topic/confrontation, research, sketch, get the concept (think about the general design approach, rhythm, grid system, typography), design, and work on the layout. network so we can tackle big projects despite being relatively small. Regarding design philosophy, we learn from each other— Jakob’s approach is usually a bit more planned, considered, and methodical, while I tend to work a bit more intuitively, visually, and in a hands-on way.

06. How do you define good editorial design?

Good editorial design has rhythm. It supports the content and sometimes creates surprising outcomes and provokes minds. It should be definitely well- and thoughtfully- produced.

07. Do you have any favorite magazines and why?

One of our favorite magazines is certainly the Bauhaus Magazine.

The editorial quality of the articles combined with the graphics is really well done and pleasant to the eyes.

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MAGAZINE

COLOUR TYPEFACE Circular Pro, Freight SIZE 210 mm × 285 mm PAGE COUNT 160 pages

The combination of sans-serif typeface and serif typeface points straight at the theme of the magazine: the fusion of tradition and modernity. The designers use both manuscript grid and three-column grid for reference.

002 47°

DESIGN AGENCY Bruch—Idee&Form PHOTOGRAPHY Marion Luttenberger

47° Rare Styrian Cuisine is the union of six Styrian chefs who work together to define the core values of contemporary and honest cuisine. 47° magazine initiates this ambitious project and focuses on the dialogue between the chefs and their local producers, to look into the interaction between identity and culinary art. The editorial design communicates the chefs’ straightforward and honest approach to cooking by strengthening the contrast between the paragraphs, the images, and the white space on the pages. Bruch finally chose the typefaces Interstate and Fleischmann to give a further visual contrast to the layout.

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MAGAZINE

003 Fluchtpunkt Stadt DESIGN AGENCY Any Studio ART DIRECTION Jakob Kornelli CLIENT Stadtaspekte

Interview With

ANY STUDIO

·Founded by Max Edelberg and Jakob Kornelli

COLOUR

TYPEFACE Interstate, Fleischmann

SIZE 185 mm × 240 mm

PAGE COUNT 52 pages

Fluchtpunt Stadt (translated literally as “vanishing city” in English) is the fourth issue of the independent magazine Stadtaspekte which aims to tell the stories of both refugees and the new arrivals, Any Studio gave this issue a unique visual look by using two specific Pantone colours: black (Pantone Process Black U) and gold (Pantone 871 U) for the transitional pages. A colourful series of photos were set in between the transitional pages. The cover featured is an excerpt of the journal written by refugee Muhammad Asif which acted as is an introduction to the issue’s topic and was printed on neon green paper.

01. What drove you to establish Any Studio?

Jakob and I met in the north of Italy where we both studied design. The courses were very diverse and not mainly focused on one design discipline. Having a broad and well-rounded education can be super helpful in your early years; nonetheless we were both getting more into graphic design after our studies, so it slowly became our primary focus. After graduation, Jakob went to Berlin to study design thinking in more depth and opened his first agency there. I was gaining experience while working in different studios in Italy and Germany. In 2016, I moved to Berlin while Jakob was looking for a new challenge, so we reconnected and joined forces to form Any Studio.

02. How do you find the preferred font(s) for a project?

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Typography is extremely important for what we do. Recently there have been some significant developments in type design since the discipline used to be a bit on the dull side of things and was surrounded by a sombre and monotonous atmosphere.

However, recently, a lot of young type foundries are popping up all over Europe, experimenting with type and pushing the field in an exciting direction, while at the same time still releasing super high-quality typefaces for daily use. To answer your question, we are very inspired by these new developments in typography, and we try to incorporate bespoke fonts made by small independent foundries whenever we can. But ultimately, the fonts have to fit the project and convey the contents visually in the right way.

Another part of choosing a font is its mere functionality: Is it readable at the right size? Does it run narrow or wide? Should it be open-source?

also have the functional aspect of editorial design: Is it fun to read? Is the page navigation good?·

We use grids in every editorial project. The complexity of the grids can vary, but we usually try not to make them too complicated—like it is said: Less is more. Grids are essential to keep a sense of proportion throughout your layouts, but also they are a necessary tool for the designer to make the design process more effective and precise.

05. How would you describe your approach to design?

04. How do you define good editorial design?

It depends. I think an editorial design is successful when it captures the nature of the content in the right way. There is a very intuitive feeling that you get when you see something and know that it is just right on the spot. Usually, this involves bold and fresh decisions on the part of the designers and editors—surprise plays a big part in that. When the collaboration and trust between the two are right, you can usually see it in the result. Of course, you

MAGAZINE

03. Do you like using a grid system? What is your rule on using grids in editorial design?

Most importantly projects should be fun for everyone involved— fun is the key point. We try to work very closely with our clients, so very often we work more as consultants in the beginning and then slowly shift to art direction and design, all the while maintaining a very dynamic and transparent project flow. We are a small agency, so we can act very quickly and are very flexible. Specialised tasks are usually commissioned to our creative network so we can tackle big projects despite being relatively small. Regarding design philosophy, we learn from each other—Jakob’s approach is usually a bit more planned, considered, and methodical, while I tend to work a bit more intuitively, visually, and in a hands-on way.

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COLOUR

TYPEFACE Minion Pro, Bill Corporate

SIZE 230 mm × 310 mm, 150 mm × 230 mm (cover story)

SPAGE COUNT 84 pages

004 Land in Sicht!

DESIGN AGENCY Any Studio ART DIRECTION Jakob Kornelli CLIENT Bundesstiftung Baukultur, Stadtaspekte

Land in Sicht! is a special issue of the magazine Stadtaspekte (translated literally as “city aspects” in English) commissioned by the Bundesstiftungg Baukultur. It centres on the interdependency between city and countryside.

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MAGZINE MAGAZINE

COLOUR

TYPEFACE Minion Pro

SIZE 210 mm × 280 mm

PAGE COUNT 108 pages

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MAGAZINE

005 Redesign of Cartelera Turia DESIGN Candice Alencar, Nayelli Jaraba CLIENT Self-initiated

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The reason for using Minion Pro is that it is the typeface used for the logo of Stadtaspekte. The design is guided by a seventeen-column grid without gutters.

This was an academic project completed by Candice Alencar and Nayelli Jaraba to redesign the pocket magazine Cartelera Turia, a traditional publication to promote Valencia’s cultural life. They did the project for one of their master’s courses called Magazines and Newspaper Projects. They set a two-column grid and used the typeface Univers because they looked for a font family with a larger range of characters.

MAGAZINE

006 Slanted Magazine #31: Tokyo

DESIGN AGENCY Slanted Publishers CREATIVE DIRECTION Lars Harmsen DESIGN Clara Weinreich, Julia Kahl

COLOUR

TYPEFACE Univers

SIZE 121 mm Ă— 163 mm

PAGE COUNT 56 pages

The Slanted team dove into Tokyo in 2017 with their friends in Japan, Renna Okubo and Ian Lynam, to take an intense look at the contrasting design scene of Tokyo. Tokyo is a city that unites cultural extremes: It is a city where the futuristic meets the traditional and tranquility meets speed. Slanted #31: Tokyo featured some of the most amazing and inspiring creatives based in Tokyo, such as &Form, shin Akiyama, Tatsuya Ariyama, Yoshihisa Shirai, IDEA, and so on. Illustrations, interviews, and essays complimented the issue thematically and systematically. As a regular feature of the Slanted magazine, the booklet Contemporary Typefaces attached included an editorial selection of recently published typefaces of international high-quality.

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COLOUR

TYPEFACE Suisse Int’l

SIZE 160 mm × 240 mm

PAGE COUNT 304 pages (including 48 pages for booklet)

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The Slanted team has utilised Suisse Int’l by Swiss Typefaces as part of their editorial identity since 2014. In each magazine, additional contemporary and new typefaces are selected based on the issue’s theme.

007 BAU

DESIGN Mane Tatoulian CLIENT Clarín

Bau is a biweekly magazine about modern architecture and industrial design, released as a supplement by Clarín, the largest newspaper in Argentina. It is oriented towards young and adult readers who are interested in architecture and design, covering the different topics of the two domains.

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COLOUR

TYPEFACE Helvetica Neue

SIZE 210 mm × 297 mm (A4)

PAGE COUNT 40 pages

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008 Kaleidoscope Asia Issue No. 3

DESIGN AGENCY Bureau Borsche CLIENT Kaleidoscope Asia

Helvetica Neue is a symbol of modernism.

As a designer obsessed with typography and modernism, Mane often turns to typefaces that are clean, clear, and classic, such as Helvetica Neue, Garamond, Akzidenz, etc. The page is based on a modular grid made up of five columns and eight rows.

In 2014, Bureau Borsche was commissioned to redesign the Milan-based Kaleidoscope magazine—an international contemporary art magazine defined by its curatorial and interdisciplinary attitude towards the new and the artsy. Critical players from creative communities around the world find their home on the pages of Kaleidoscope’s printed and online magazine. Bureau Borsche came up with a contemporary, iconic, yet adventurous scheme with a classic look to support the magazine’s cutting-edge contributors. Apart from the design of the magazine, they also made teaser movies for Kaleidoscope’s website and created merchandise products for special events and collaborations, together with brands like Slam Jam Milano and Études Studio.

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MAGAZINE MAGZINE

COLOUR TYPEFACE Scotch Modern SIZE 230 mm × 300 mm PAGE COUNT 380 pages

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MAGAZINE

Bureau Borsche worked together with the Kaleidoscope team in Asia for this issue. They let the Asian team decide on what was the most readable design for the Chinese audience, after that, they moved on with the layout for the text in English, to make sure the elements work well with one another.

009 Papel Vivo

DESIGN AndrĂŠs Higueros ART DIRECTION Pablo Quintero PHOTOGRAPHY Eduardo Quintero, Pablo Quintero, Luis Pedro Castellanos (magazine)

Papel Vivo is a publication of art, lifestyle, culture, and hope. The goal of the magazine is to create impact with its editorial design. It combines the concept of the magazine with that of the fanzine and is printed in black and white. It is mainly targeted at young readers who are in search of good design, art, and different cultures. AndrĂŠs looked for a contrasting style, so he turned to Druk condensed and expanded, and Fenix Std. The two sans-serif typefaces carry a lot of personality and variations. The design is based on asymmetric modular grids.

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MAGAZINE

010 12 Architecture Magazine

DESIGN AGENCY creanet CREATIVE DIRECTION Jose Moreno

COLOUR

TYPEFACE Druk, Fenix Std

SIZE 230 mm × 300 mm

PAGE COUNT 20 pages

Creanet was commissioned to design the 12 Architecture Magazine. It is essentially produced and written by architects, for architects, and includes architectural projects of existing buildings and structures, and essays on architecture.

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MAGAZINE

COLOUR TYPEFACE Helvetica / Stanley SIZE 210 mm × 297 mm (A4) PAGE COUNT 127pages

011 Space Explore

DESIGN AGENCY Pyramid PHOTOGRAPHY Robin Mellor CLIENT Space Explorer

Space Explorer is a pioneering new model for large-scale public art exhibitions founded

by Robin Mellor. It transcends the restrictions of the stuffy, traditional gallery and utilises mobile phone technology to make the exhibition experience more interesting and interactive. Pyramid was commissioned to design the magazine, branding identity, app, and collateral materials for the brand. The first exhibition entitled Another Space & Time will turn Hackney’s untapped land into a thought-provoking journey through North America’s desert communities. The magazine is grounded on a six-column grid.

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COLOUR

TYPEFACE Fugue

SIZE 200 mm Ă— 270 mm

PAGE COUNT 32 pages

012 02point2 #6

DESIGN AGENCY GeneralPublic CLIENT Zoo Galerie

02point2 is an annual contemporary art magazine. It runs to 20,000 copies and is distributed for free in over 200 art venues in France and Europe (galleries and contemporary art museums, schools, art centres, and fairs).

For the sixth issue, GeneralPublic reinterpreted the model they created in 2002 by highlighting its most recognisable features. The idea was to find a functional and lively solution to the dense content: giving strictness to the grid for theoretical texts and interviews, yet overcoming this rigour by letting the images disturb the grid and float freely above the texts. In the portfolio section, maximum exposure was given to the artists’ works and exhibition views in full-frame photos.

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COLOUR

TYPEFACE JAF Laptur

PAGE COUNT 40 pages

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/

GeneralPublic were looking for a very legible typeface with calligraphic style and finally settled on JAF Laptur. With subtle gothic shapes, Laptur is a strong yet harmonic typeface that seemed to be the perfect fit for the layout.

SIZE 210 mm Ă— 297 mm (A4)

013 Format Wars

DESIGN AGENCY Format Wars DESIGN Florencia Viadana TEXT Emiliano Quintana CLIENT Self-initiated

Format Wars is an independent magazine that offers a space for analogue photographers and photography writers. Florencia Viadana came up the concept when she packed up her stuff for a move from Buenos Aires to Amsterdam. As she was packing, she found numerous photos, pages of old scrapbooks and diaries that she had made and collected in the past years. These materials somehow touched her heart and finally ended up being the basis of this publication with beautiful stories and intimate photographs.

077

MAGAZINE MAGZINE

COLOUR

TYPEFACE Fira Mono, Futura

SIZE 160 mm × 220 mm

PAGE COUNT 52 pages

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Florencia tried to maintain a kind of sobriety throughout the publication; thus she chose strong and sound typefaces like Fira Mono, Futura, which as she believed, could interact with the pictures yet would not outshine them.

014

The Blueprint Magazine DESIGNER Ekaterina Nikolaeva CURATION Dmitry Devishvili, Maria Cheloyants CLIENT Self-initiated

The Blueprint is an independent magazine about fashion, beauty, and modern culture. The magazine contains five sections with essays about fashion trends, interviews with creative people, history of fashion houses, and up-to-date styles seen in motion pictures. It is a project that Ekaterina did for her course at the Stroganov Moscow State Academy of Arts and Industry.

MAGAZINE

COLOUR TYPEFACE ITC New Baskerville, Univers SIZE 210 mm × 285 mm PAGE COUNT 128 pages

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Ekaterina used several compositional schemes for different kinds of material in the layout. The primary visual language of Ekaterina’s work lies in the synthesis of classic and modern techniques.

Thus, she selected two typefaces that fit well to her design aesthetics: ITC New Baskerville and Univers.

015

I love Chatsworth Road DESIGN AGENCY Pyramid PHOTOGRAPHY Jørn Tomter CLIENT Jørn Tomter

I Love Chatsworth Road, a non-profit community magazine, is a unique photographic documentation of the neighbourhood around Chatsworth Road in Hackney, London, which acts as a valuable archive to record the rapid changes of this neighbourhood, including stories about the locals, shops, and markets.

The project is founded and run by photographer Jørn Tomter.

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COLOUR

TYPEFACE Clifton, GT America

SIZE 245 mm × 340 mm

PAGE COUNT 32 pages

016 Crop Magazine

DESIGN AGENCY Studio Ahremark PHOTOGRAPHY Mathilda Björk, Mathilda Svedberg, Maja Franzén, Sanne Ahremark

Crop Magazine is a publication that reflects the visual culture through the lens of philosophy, religion, and history and sheds light on the modernist creative era. Studio Ahremark’s work is sometimes viewed as minimalist, like Crop Magazine, but they would rather see it as a way of designing through reduction, which often helps in clarifying communication, legibility and minimises waste.

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COLOUR

TYPEFACE Gotham, Sabon

SIZE 279 mm × 432 mm (Tabloid)

AGE COUNT 64 pages

017

Redesign of Sort Mælk DESIGN Line Marie Rasmussen ART DIRECTION Lisbeth Højmark SUPERVISION Lisbeth Højmark

Sort Mælk, translated literally as “black milk” in English, is a magazine focusing on popand sub-culture and features international fashion editorials, new trends, and exclusive interviews. The magazine is geared towards those readers who want to set the agenda, seek new trends and tendencies. Line Marie did this project for her course at the School of Visual Communication in Denmark. The visual concept for the redesign was to create a liquid feeling throughout the magazine using a dynamic and playful layout inspired by Chinese grid and vertical typographic design, to imitate drops of milk.

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COLOUR TYPEFACE Baskerville, Gotham SIZE 185 mm × 290 mm PAGE COUNT 16 pages

Line Marie preferred to work with classic typefaces, but sometimes she found it magical to mix new and classic typefaces. In Sort Mælk she paired Baskerville with Gotham and found it work perfectly.

018 komma 21

DESIGN komma team PHOTOGRAPHY komma team

Komma Magazine is the platform for students at the Faculty of Design at the University of Applied Sciences Mannheim. Each issue covers a unique theme and is entirely executed by student editors. Issue 21 discusses the topic of the boundaries, borders, and limits in life and design. The primary section covers visual works displaying the boundaries and restrictions in different areas of design. The second part gives an insight into theses, student works, events, and exhibitions held in the faculty. In between the two parts are interviews with various designers and studios. The editorial team includes editors-in-chief Fiona Oehler and Camilla Schröer, and editors Maximilian Borchardt, Kerstin Sebesta, Bianca Werdan and Sarah Zink.

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COLOUR

TYPEFACE Suisse Int’l, Suisse Works

SIZE 180 mm × 250 mm

PAGE COUNT 176 pages

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The layout was divided into six columns, with the top and bottom margin left wide to highlight the page numbers and short descriptions. The team chose Suisse Int’l and Suisse Works by Swiss Typefaces because they wanted to create a clean and straight overall view for the layout. Furthermore, the two typefaces have high readability for both body text and headlines in larger point sizes.

019 Amalgam Journal DESIGN Pouya Ahmadi

Amalgam Journal is an ad-hoc trans-disciplinary journal that explores the intersection of typography, language, and the visual arts, edited and designed by Pouya Ahmadi. A diverse range of voices is brought together throughout the magazine, to discuss what typography means today and how it can be expanded and enriched.

Pouya utilised a simple grid, monochromatic colour scheme, and a limited number of typefaces for the publication, echoing his pursuit of simplicity.

MAGAZINE

020

Handbook to Extraordinary Culture DESIGN Lucas Depolo Machado CLIENT New Heroes & Pioneers

COLOUR TYPEFACE Nemesis, Pegasus, Diatype Programm SIZE 160 mm Ă— 210 mm PAGE COUNT 160 pages

Handbook to Extraordinary Culture (Vol. 1) is a young magazine published by independent publisher New Heroes & Pioneers based in Sweden. The magazine brings together articles and photographs on a range of subjects, such as art, design, fashion, architecture, food, travel, and cultural movements.

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COLOUR

TYPEFACE GT Sectra

SIZE 200 mm × 265 mm

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The primary typeface GT Sectra

by Grilli Type is a serif typeface based on the calligraphic forms of a broad nib pen. The sharpness of the strokes gives the typeface a contemporary look. The publication is based on a grid of four columns and four rows.

021

Audi Magazine SS18 DESIGN AGENCY Bureau Borsche ART DIRECTION Mirko Borsche CLIENT Audi

The German content agency was delighted to commission Mirko Borsche as creative director for the fourth relaunch of the corporate Audi Magazine. Bureau Borsche oversaw the complete creative process and redesign of the new Audi Magazine. With a new focus on photography and the subtle use of white space, the publication has achieved a lavishly reduced look fit for the luxury German car maker. Bold, oversized typography and small detail images in “Audi Red� shaped the modern aesthetic of the magazine.

MAGAZINE

COLOUR TYPEFACE Sabon SIZE 210 mm Ă— 270 mm PAGE COUNT 174 pages

Audi made the primary typeface choice for the magazine. Bureau Borsche added the typeface Sabon to give a bit more readability to the text. The two-column grid was used for the layout.

022

The Shining: Screenplay DESIGN Carla Cabras CLIENT Self-initiated

The Shining is a horror film produced and directed by Stanley Kubrick and cowritten by novelist Diane Johnson in 1980. The film was based on Stephen King’s novel of the same name written in 1977. Carla created this project as a fanzine based on the script of The Shining. All the text and image used in the layout are the property of Warner Bros.

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COLOUR TYPEFACE Universal Serif, Open Sans SIZE 210 mm Ă— 297 mm (A4) PAGE COUNT 216 pages

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Before choosing a typeface, Carla will take a long time to think and arrange various texts because this is a fundamental part of an editorial project.

She likes to create contrast with serif and sans-serif typefaces, but she avoids using too many typographic styles that could lead to chaos. Usually, she settles on two typefaces for a project. For The Shining, she chose Universal Serif, a classic serif, and Open Sans to create a sharp and elegant contrast.

MAGAZINE

The project is based on a combined grid. Carla believes that it is vital for a designer to find the right balance on a page. She likes using grid, but there is always an exception. She loves experimenting and sometimes breaking the rules to create something original.

023 Magma

DESIGN Cristóbal Riesco CLIENT Self-initiated (non-commercial)

Magma is a scientific magazine focusing on geology. Renowned for the quality of its scientific research, Magma also highlights the Earth’s aesthetic beauty in shapes, colours and textures. This was a project that Cristóbal did for a postgraduate diploma in Photography and Editorial Design at EINA University, School of Design and Art in Barcelona, Spain. The design was based on an eight-column grid.

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COLOUR TYPEFACE Founders Grotesk SIZE 180 mm Ă— 245 mm PAGE COUNT 84pages

024 komma 18

DESIGN komma team PHOTOGRAPHY komma team, Francesco Futterer (content)

The 18th issue of Komma Magazine deals with the topic of collision. Collision is defined as an encounter of at least two parties, in most cases with a negative connotation. However, the issue focuses on the point that even the most destructive collisions can lead to new insight and the need for improvement. Thus, the magazine is divided into two parts, representing two different mindsets about design. The playful layout breaks formats, grids, and design conventions to make every article as attractive as possible. The editorial team of this issue includes editor-in-chief Steffen Hotel and editors Mareen Hollmann, Julia Haaf, Volker Henze, Myriam KĂźhn, Kevin Neutz, Steffi Schnuck, and Lisa Rudolf.

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COLOUR TYPEFACE Alte Schwabacher, Univers LT Std Roman SIZE 180 mm × 250 mm PAGE COUNT 150 pages

025 F!nePrint Magazine DESIGN Brian Liu

F!nePrint magazine is a weekly magazine that aims to ask an incisive question based on the previous week’s hottest topic. In a world of fabrication, intended deceit, unexpected error, and oblivious intellectual mediocrity, it is undoubtedly a daunting task convincing others of the importance of asking questions, let alone finding absolute truth. The magazine tends not only to celebrate the act of questioning itself but also pays tribute to the communities and people who continually change the public’s view on the world’s issues.

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COLOUR

TYPEFACE GT America, Untitled Sans

SIZE 120 mm × 266 mm

PAGE COUNT

026

Food for Thought DESIGN Sofia Felgueiras

Food for Thought is a magazine that features original stories about food. In the first issue, this publication shows how food is closely connected to fields like art, fashion, and so on.

One of the grand themes in this issue is about the popularity of brunch in the nineteenth century—rich hungover people enjoyed it a lot on a Sunday—and how the trend re-emerged today.

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COLOUR TYPEFACE Charon, Leitura SIZE 190 mm Ă— 297 mm PAGE COUNT 46 pages

027

Welcome to Sweden DESIGN AGENCY Amanda & Erik CLIENT A New Type of Imprint

A New Type of Imprint is a magazine focusing on creative culture and design, published quarterly by the Norwegian agency ANTI. The eleventh issue includes a chapter dedicated to Swedish designers and creatives. Amanda & Erik were commissioned to design the spreads for this chapter. They applied a grid of six columns and four rows to the page, and they chose two typefaces, Druk and Europa, for their design. Druk was used for headlines because of its tall design, which serves as a reference to the elongated shape of Sweden; while Europa was used for body text because of its simple geometric appearance with a Swedish functionalist style.

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COLOUR

TYPEFACE Druk, Europa

SIZE 240 mm × 300 mm

PAGE COUNT 54 pages

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BOOK

028 London Type

DESIGN AGENCY Pyramid CONTENT TEXT Pyramid, Rupert Murphy CLIENT Self-initiated PHOTOGRAPHY Pyramid

London Type is a photographic compilation of London shop fronts and some typefaces that Pyramid has found and collected around the city over the course of a year. It is a visual expression of the city through typography and a celebration of its diverse cultures and influences which together shape it.

BOOK

Interview with

PYRAMID

01. What drove you to establish Pyramid?

After leaving university, I started making a lot of artwork for local bands. Looking for a job in a country in the midst of an economic crisis was not easy, so João and I decided to team up and create our studio focused on the music industry with the hope of working on the projects we loved. So gradually we started doing a lot more editorial work too.

02. Typography matters in editorial design. What do you consider when selecting a preferable font(s) for a project? Please take London Type as an example.

·Founded by Beatriz Cóias and João Chaves

It should feel right not only visually but also conceptually. The primary typeface we used for the book London Type is ITC Johnston, created by Edward Johnston in 1916 specifically for the London Underground Railway and it has been used ever since then. The use of the other typeface, Local Gothic by Christian Schwartz was inspired by the shop’s letterings and signs, which I thought was also appropriate for the project.

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03. Do you like using a grid system? What do you think is the role of the grid system in editorial design?

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I always use a grid even if it’s a very loose one. It’s a good starting point, and even if you’re going to break it, it’s good to know the rules first.

Considerate and appropriate.

05. How do you approach a new editorial project and decide the right type, grid, colour, and so on for a project? Please share your design process with us.

When receiving a new brief, I tend to quickly form a rough idea of the outcome that I would like to have. With that idea in mind, I proceed by doing proper research. There is a lot of trial and error.

I will play with different grids, colours, fonts, and layouts until I land on something that feels right and can act as the foundation for the project.

06. In editorial design, do you think that the design (layout, type, colour, etc.) should outweigh content text or vice versa? What is your opinion of the relationship between content text and design?

It depends on many factors. Generally, it’s good not to let the designer’s ego take over and keep in mind what the aim of the publication is.

Again, it varies. Sometimes it makes sense to go for a very bold design that overshadows the images and text, other times it’s good to let everything look airy and have a quieter layout even if it’s tempting to go overboard.

BOOK

04. How do you define good editorial design?

07. That said, printed matter is fading away; as an editorial designer, how would you respond to such a claim?

I don’t think printed matter will ever disappear completely, but I do think designers need to keep up with the times and embrace the new digital tendencies, like adapting editorial layouts to websites. It’s probably not a bad thing for the environment either.

08. What do you think is the charm of editorial design for printed matter?

Editorial design is such a fun challenge. As a designer, to be able to play with elements that in a way seem constrictive, like size, images, and text, and see how you can make something special out of them is gratifying. There is also something nice about being real and being able to feel and smell the paper. In a way, it somehow relates to the different sensation of reading a real book and reading a kindle, just like talking to someone face to face instead of online.

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BOOK

029 Biomimesis

DESIGN AGENCY Studio Fréro CLIENT Self-initiated PHOTOGRAPHY Studio Fréro

COLOUR TYPEFACE ITC Johnston, Local Gothic SIZE 148 mm × 210 mm (A5) PAGE COUNT 108 pages

Biomimesis is an exploration of biomimicry and architecture. Biomimicry is the art of studying and taking inspiration from shapes, patterns, materials, and properties found in nature. This research takes inspiration from nature to find solutions to the social, energy, and environmental crises that we are currently facing.

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BOOK

COLOUR TYPEFACE HK Grotesk SIZE 155 mm Ă— 230 mm PAGE COUNT 100 pages

The typeface used in this project, HK Grotesk, is a modern and linear typeface with high readability. Inspired by nature, Studio FrĂŠro used the golden ratio as the grid foundation for this project. Each page is divided into three columns: two columns for the main content and one column for secondary content like notes and captions.

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BOOK

030 First: The Humans in Space DESIGN Leticia Ortín, Ângela Monteiro CLIENT Self-initiated

First: The Human in Space is a book about the Space Race between the Soviet Union and the United States in the twentieth century. The book documents the first milestones in humanity’s conquest of space, while at the same time depicting the stories of the people involved from a humanistic perspective. The book is divided into three sections and narrates the story in flashback, simulating the countdown stage. The design of the book aims to reflect two main concepts: the gradual loss of gravity and the marking of the vertical axis: Earth versus Space. As the story goes on, the page layout breaks the rigorous grid gradually and becomes bolder, to reflect the theatrical nature of this achievement.

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BOOK

031

Ladurée: El Placer del Macaron DESIGN Clara.B Landín ART DIRECTION Clara.B Landín CLIENT Self-initiated

COLOUR TYPEFACE Venus, Universe, ITC Cheltenham SIZE 200 mm × 280 mm PAGE COUNT 230 pages

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Leticia used a specific font, for each section. The name of the fonts, Venus and Universe, respond to the topic of space and build a mysterious atmosphere. The page is based on a modular grid of six columns and eight rows.

This is a personal project inspired by the history and aesthetics of Ladurée, a French luxury bakery and confectionery house founded in 1862, known for its delicious and delicate macaroons. It includes the history of Ladurée, recipes, collections, and some tips on how to get perfect macaroons. Clara.B Landín chose Bodoni and Bulter for the design. Bodoni was used for body text, section title, and footnotes; Butler was mainly for primary titles, bringing a fresh and modern touch to the publication. All the information and photos shown in the book are not actually from the company but collected only from documentation in the public domain.

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BOOK

032

Da Vinci: Ladies Portraits DESIGN AGENCY creanet CREATIVE DIRECTION Jose Moreno

COLOUR

TYPEFACE Bodoni, Bulter

SIZE 200 mm × 340 mm

PAGE COUNT 100 pages

The book Da Vinci: Ladies Portraits is a volume compiled by Sandy Migliore, who has studied numerous scientists and specialists in art, in particular, the portraits of women painted by Leonardo da Vinci.

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BOOK

033 New Vienna Now

DESIGN AGENCY Sagmeister & Walsh CREATIVE DIRECTION Stefan Sagmeister DESIGN Philipp Hubert

COLOUR

TYPEFACE Times New Roman

SIZE 210 mm × 300 mm

PAGE COUNT 80 pages

This book is a new guide through contemporary Vienna. With seventeen chapters, the book covers architecture, design, fashion, art, restaurants, shop design, magazines, games, music, film, dance, and performance. Sagmeister & Walsh sought to create a functional, usable book that would be easy for readers to navigate. However, they also wanted to balance this function with a lively, playful approach that felt appropriate to the culture of “contemporary Vienna.”

This juxtaposition is visible on every page, such as the colour-coded sections decorated with expressive coloured confetti, the diversity of imagery/illustration types and typographic play.

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BOOK

COLOUR

TYPEFACE Lineto Lord, Blender, LaPolice

SIZE 175 mm × 245 mm

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BOOK

034 The Confessions

DESIGN Cristรณbal Riesco, Camilo Roa CLIENT Self-initiated (non-commercial)

The Confessions exposes how the directors and supporters of the filmmaking movement, Dogme 95, broke their own rules. Dogme 95 was a movement started in 1995 by the Danish Directors Lars von Trier and Thomas Vinterberg who advocated the traditional values of story, acting, and theme. The confessions listed in the book correspond to those of Catholic Confession, thus revealing the paradox between rule-making and rule-breaking. Cristรณbal and Camilo have done this project for their postgraduate diploma in Graphic Design and Publishing Projects at ELISAVA Barcelona School of Design and Engineering.

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BOOK

035 IBM, Paul Rand’s Graphic Standards Manual Reprint DESIGN Syndicat

COLOUR TYPEFACE Harbour, Maison Neue, Times Ten SIZE 140 mm × 210 mm PAGE COUNT 192 pages

Cristóbal and Camilo chose an eight-column grid for this book. They chose three modern, well-designed typefaces that subliminally transmit the idea behind this project.

The “IBM Graphic Design Program” by Paul Rand is considered one of the most memorable graphic design projects of the twentieth century. The iconic logo has made the company’s initials instantly recognisable globally and continues to be used today. Between the 1960s and the 1980s, the company started to document a group of graphic rules and usages in a folder and updated it regularly, enabling their successors to reproduce the logotype, graphic and typographic rules, designs for internal and external documents, signage and architectural applications. Syndicat worked with the legal successors of Paul Rand and IBM itself to reproduce the folder and offer the broadest possible vision of the work accomplished over these years.

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BOOK

036 The Chelsea Hotel DESIGN&AD Galya Dautova, Karina Yazylyan

COLOUR

TYPEFACE Times New Roman

SIZE 235 mm × 320 mm

PAGE COUNT 336 pages

The Chelsea Hotel is a historic hotel and landmark in New York built between 1883 and 1885, best known for the notoriety of its residents—numerous legendary writers, musicians, artists, and actors. The book is about the hotel’s history and influence. It consists of three parts: The central portion includes interviews; the additional section at the beginning features photos of the hotel; the additional section at the end contains facts about the residents and their room numbers.

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BOOK

037

No Encalço dos Bufões DESIGN Estúdio Lampejo CLIENT Editora Javali PHOTOGRAPHY Athos Souza

COLOUR

TYPEFACE Sporting Grotesque

SIZE 190 mm × 240 mm, 150 mm × 185 mm (insert)

No Encalço dos Bufões, which translates as “on the track of buffoons” in English, is a book published by Javali in 2018. The book is about the archetype of the buffoon, written by Joaquim Elias Costa. The buffoon, also known as harlequin, jester, madman, and clown, is a figure widely used in the history of art. Inspired by the psychological and historical portraits of the buffoon presented in the essays, the editorial design of this book aims to break the order; thus it has two identical covers, guiding the reader through two different reading orders. The curves and shapes of the font are classy and modern, in contrast to the grotesque images of the book.

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BOOK

038 Kape 24 h Cookbook

DESIGN AGENCY Bond Creative Agency ART DIRECTION Kasperi Salovaara, Jesper Bange CLIENT Kari Aihinen FOOD STYLING Kirsikka Simberg PHOTOGRAPHY Sami Repo (food), Paavo Lehtonen (book)

COLOUR

TYPEFACE Bauer Bodoni, Bodoni, Swift

SIZE 160 mm × 220 mm

PAGE COUNT 164 pages

Finnish Chef Kari Aihinen, a.k.a. Kape, wanted to publish an original cookbook that would stand out from the rest in this category. The starting point of the concept is about Kape’s work ethic and the way he seems to be on the move round-the clock. Bond also wanted to highlight the chef’s artisanal attitude. The result, Kape 24 h, plays with the dualism of bistro and fine dining both in the chef’s recipes and the design of the book. The layout is clear and functional with an added roughness from the documentary-like pictures and handdrawn elements. The gold-foiled edges contrast with the cover’s raw cardboard material.

The book is targeted not only at culinary enthusiasts but also aestheticians as the book is itself a design object.

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BOOK

039 Physics for USSR

DESIGN Timur Babaev CURATION Evgeny Korneev CLIENT HSE Art and Design School

COLOUR TYPEFACE Eksell Display, Calibre SIZE 215 mm Ă— 280 mm PAGE COUNT 276 pages

The aim of the project is to create a book devoted to the history of physics in the Soviet Union and its exceptional role in the development of modern science and culture. To show both the brutality and refinement of the Soviet Union’s physics, Timur used two typefaces for this project: Robert beta (primary font) and Akzidenz-Grotesk Pro (for signature). Timur also created a unique font, Physics+Lyrics, for the covers and titles to represent the stencil styles famous in the Soviet Union. The book is based on a modular grid of twelve columns and twelve rows.

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BOOK

COLOUR TYPEFACE Robert (Beta), Akzidenz-Grotesk, Physics+Lyrics SIZE 200 mm × 280 mm PAGE COUNT 224 pages

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POSTER

POSTER

040

Experimental Film Society Poster Series DESIGN Pouya Ahmadi

The Experimental Film Society (EFS) is an Irish company dedicated to the production and screening of experimental cinema, formerly known as the Experimental Film Society Collective founded by Rouzbeh Rashidi. EFS produces films that are distinguished by an uncompromising devotion to personal, experimental cinema. These films adopt an exploratory, often lyrical approach to filmmaking and foreground mood, atmosphere, visual rhythms, and the sensory interplay of sound and image. EFS is at the centre of a new wave of Irish experimental filmmaking.

POSTRER

Interview With

POUYA AHMADI

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·Graphic designer ·Art director

01. Please tell us more about your creative background?

I’m a Chicago-based graphic designer, researcher, and educator.

I am currently running my own practice where I focus on editorial design and brand identity projects mainly for cultural organisations and small businesses. Additionally, I design and edit the Amalgam journal which explores the intersection of typography, language, and the visual arts.

Before moving to Chicago, I studied visual communication and image research at the Basel School of Design in Switzerland where I had the opportunity to learn about Swiss typography more indepth both in its historical context (what is known as International Style) as well as its current position in today’s design world. Before that, I studied graphic design at the University of Tehran.

The content always informs my designs. That includes the layout, typography, use of imagery, and so forth. In the case of EFS posters, I was more interested in treating the letterforms as personas. The very interaction of the type, images, and other typographic elements on the page reflects on the general concept of the film. Therefore, both type and image, used in each poster, are treated very similarly in the way they speak to one another.

There is always a hidden dialogue back and forth between the letterforms and the snapshots taken from the film which is more obtrusive at times. So, in a way, these posters are inspired by the modernist movement but with a very critical systematic approach—a Re-modernist turn, perhaps.

Each poster has a direct association with the concept of the film that it represents. In the case of Closure of Catharsis, for instance, the subject matter is a man (James Devereaux) sitting on a park bench talking to the camera, trying to weave together a thought that will not cohere while commenting on passers-by, his “guests”… Mysterious images intervene, overturning the serenity of the park-bench monologue. The constant collision of the mysterious images interrupting the spoken words is what drives the structure of the poster. In contrast to that, in Filmore, another feature film by Rouzbeh Rashidi, a couple in their garden is filmed from a single, distant angle for an hour. The audience does not hear what they say. The subtle shifts in their physical interaction speak volumes about their relationship and, as the erotic tension builds between them, Filmore develops into a subtly gripping experience. The typography of the poster is a direct reflection of this very concept. The custom type used for the title that subtly metamorphoses from sans-serif to serif letterforms visualises the emotion built up throughout the film. The tiny tracked-out body type represents the barely audible conversation between the couple.

03. As you mentioned, you’re anti-grid yourself.

Why? If you don’t use a grid, what other reference(s) would you bring in to make sure the layout is wellcomposed?

POSTER

02. When designing a series of posters for the Experimental Film Society, what did you consider when selecting a preferred font for a poster?

I have a very particular way of using grids. For me, the main reason for setting up a grid is to question their very existence. I practise that methodology differently based on different contexts.

I mainly work with general parameters instead of purely gridbased layouts. These parameters can range widely. They can be very loose but usually provide a reasonable system to work with.

04. How do you approach a new editorial project and decide the right type, layout, colour, and so on for it?

Please share your design process with us.

As I mentioned earlier, for me, it is crucial that the design is derived from the content. That means that I have to spend some time with the content initially. Once I have a good understanding of it, I usually try to translate that concept into a typographic logic and set of parameters. However, there are times when those logics need to be interrupted depending on the case.

05. How do you define good editorial design?

Good editorial design is a commentary on the content that it contains. It is an extension of the content. It reveals the unspoken.

06. When combining text with an image or images in a layout, what do you think are the things a designer should pay attention to?

I can only talk about my way of dealing with type and image, and that is paying attention to the inner logic of the images. Images have their own language, and it is the task of the designer to discover and speak to it. Once I find out what the image is trying to convey, I translate that into a typographic form.

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POSTER

COLOUR

TYPEFACE Mercury, Interstate, Futwora, Suisse Int’l, Bluu Next

041 It Is What It Is DESIGN Linus Lohoff

A continually updated series of posters featuring images which depict conceptual photoillustrations with the implicit use of form, colour, material, and light. Linus removes all contextual meaning, trying to let the elements speak for themselves and allowing the spectator to apply their own thoughts onto the posters if they wish so.

SIZE 610 mm × 915 mm

Interview with

Linus LOHOFF

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·Art director ·Photographer

01. Please tell us more about your creative background.

My father was a photographer, more of an architecture photographer. I played with his cameras and equipment a lot. This was the first “creative experience” I had. At the age of fifteen, I volunteered in a photo studio and learned some stuff about light and composition. My curiosity about graphic design increased as time went by, and finally, I studied communication design at the University of Applied Sciences in Duesseldorf, Germany.

During my time in school, I got an internship at INTRO, a music magazine, where I learned a lot about typography and editorial design, and came to regard it as a somewhat royal discipline.

Later I studied abroad at BAU, Escola Superior de Disseny in Barcelona for one year. During this year, I worked for some fashion brands as a photo retoucher, as well as some design studios.

Currently, I work as an art director in Vasava.

The typography I choose always depends on the project and what you want to communicate. Do you want to be bold, subtle, or edgy? Do you want it loud or quite? It all depends on the approach you have. For the project, It Is What It Is, I wanted to produce something super neutral and let the image be the hero and eyecatcher. Helvetica, the font I chose, has a vertical axis and is really indifferent in a good way. To give it a little twist and uniqueness, I rounded the dot above the letter “i”.

03. As an editorial design, what does the grid system mean to you?

The grid is the structure which holds the design together. Like any other instrument in the design process, it is not absolute. It should be used as a flexible tool, so, when necessary, it should be modified or entirely abandoned for a more workable solution.

Nevertheless, I like to use grids since it means reference, order, and hierarchy to me.

04. How do you define good editorial design?

Editorial design for me is kind of royal discipline in communication design (some might not agree). You have to communicate through a specific content with typography, photography, illustration, and graphic design without losing the vision. You have to combine these assets into one coherent thing with power and impact. Furthermore, it should not only be aesthetic but

also give the viewer an “aha effect.” The quintessence should be visible visually and intellectually. Overall, I am not in the position to judge what defines a piece of good editorial design since this is primarily based on individual taste and thought, but for me, I appreciate editorial design with smart design. A magazine that always surprises me is Zeit Magazin designed by Bureau Borsche.

I love the double cover idea. It creates so many story-telling possibilities.

POSTER

02. Typography matters in editorial design, so how do you select the preferred font(s) for a project?

05. How would you describe your approach to design?

If we’re speaking about my personal work, I just enjoy creating stuff without any further thoughts. Lately, I have enjoyed experimenting with simple forms, colours, and textures, and combining them into minimal abstract artworks. It might be a result of my obsession with light and shadow. I think it’s just important to let it flow, enjoy the process, and stop when it feels right.

As for commissioned work, it depends on the amount of freedom given by the client’s brief. I prefer doing some research on the theme and analysing it from different perspectives rather than being given a particular frame. But it can also happen that I throw away all the research work and go for something entirely different. Creativity or visual communication means that you have total freedom to produce ideas. There are no rules on a specific workflow or an approach to design. It might be right to understand the client first and then develop a plan, but it’s more important to treat every project as a unique thing.

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POSTER

COLOUR

TYPEFACE Helvetica

SIZE 297 mm × 420 mm

042 384.400 km DESIGN Leticia Ortín, Miguel Anónimo

Collaborating with Miguel Anónimo, Leticia created a series of eleven posters for 384.400 km, a fanzine featuring the photographs that NASA had captured during the Apollo 11 trip. Apollo 11 marked man’s first landing on the moon. The concept of the posters was to reflect the weightless effect of being in space by letting the elements (typefaces, images, data, etc.) float and move through the page freely.

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POSTER

043 Next Wave Festival 2018: Posters DESIGN AGENCY M. Giesser ART DIRECTION Marsha Golemac PHOTOGRAPHY Morgan Hickinbotham CLIENT Next Wave

COLOUR

TYPEFACE Ace Lim, OCR-A

SIZE 210 mm Ă— 297 mm (A4)

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The design was based on a grid of eight columns and twelve rows without gutters. Leticia and Miguel chose two typefaces: Ace Lim and OCR-A. The first one is an expanded and bold type, while the second has a scientific look that is ideal for the numbers shown on the posters.

Next Wave Festival is the most comprehensive platform in Australia for encouraging the next generation of artists to take creative risks. Next Wave produces unparalleled learning programmes and a biennial festival which reflect a commitment to social and cultural diversity, environmental sustainability and inclusion. The entire identity includes the programme booklet, posters, and other printed material.

POSTER

COLOUR

TYPEFACE Oracle

SIZE 196 mm × 270 mm

M. Giesser created a visual system in which all outputs were split in half (50/50). The entire identity was turned into two opposing halves working together to create drama, tension and also give the viewers a sense of tranquillity and space. The whole design was grounded on a module grid of four columns and eight rows.

044 Constantin Brâncuși

DESIGN Brando Corradini CLIENT Self-initiated

Brando created a series of six posters to pay tribute to the Romanian sculptor Constantin Brâncuși, one of the greatest of all time. Brando was amazed by Brâncuși’s work and above all the creative path of his thought. In Brando’s opinion, an artist should not be a prisoner of a specific art form, like sculpture, painting, poetry, music, but a “preacher” with dedication, constancy, and, above all, artistic thought. Brando respects this great artist because he loves his humility, his simplicity, and his wisdom. “I do not believe in creative torment. The purpose of art is to create joy. It is artistically created only in equilibrium and inner peace. ” —Constantin Brâncuși.

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POSTER

COLOUR

TYPEFACE Space Text, Stanley Smith

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The poster was based on a grid system of five columns. The two typefaces used are Space Text by Florian Karsten and Stanley Smith

by Studio Address, and Colophon (David Bennewith). Brando believes that the choice of font must always coincide with the semantic content of the message and its meaning. If the meaning of the sentence screams hard, the font must represent this state of mind; while if he wants to convey a delicate and sober message, he would shift towards a thin and elegant font.

SIZE 297 mm × 420 mm (A3)

045 Tuder Ballet Studio DESIGN AGENCY Due Collective DESIGN Alessio Pompadura, Massimiliano Vitti CLIENT Tuder Ballet Studio

Due Collective was commissioned to create a series of posters for the Tuder Ballet Studio’s 2017–2018 academic year. They applied a fluid grid to the design and left 15 mm on four sides of the page. To give the design a modern look, they chose two typefaces made by Swiss Typefaces: Suisse Int’l Regular and Suisse Works Regular.

POSTER

046 BR Orchestra Season 18–19

DESIGN AGENCY Bureau Borsche CLIENT Bavarian Radio Symphony Orchestra

COLOUR

TYPEFACE Suisse Int’l, Suisse Works

SIZE 500 mm × 700 mm

The Bavarian Radio Symphony Orchestra’s international acclaim reaches far, with yearly tour dates far-flung from its Munich base. A long-term client of Bureau Borsche since 2010, the BRSO’s signature black and white corporate design was inspired by its own stage presence: the monochrome suits of the orchestra. To delve deeper into the essence of the orchestra, they crafted a customised font that combines both serif and grotesque sans-serif to visualise the harmony and disharmony of the orchestra’s notes. This bold yet minimal design expands across all aspects of the BRSO’s media, from print to merchandise and digital.

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POSTER

047 Typographic Poster Series DESIGN Fatih Hardal CLIENT Self-initiated

COLOUR

TYPEFACE BR Ariala, JHA Times Now

SIZE 594 mm Ă— 841 mm (A1)

As an enthusiast of typography and typefaces, Fatih always believes that typography is the most critical tool in graphic design because using typefaces cleverly can enhance the design and create a clear hierarchy. To train his eyes and aesthetics, Fatih makes making a typographic poster every day.

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POSTER

048

Self-publishing for Almanacco di Quartiere DESIGN Muttnik CLIENT Self-initiated

COLOUR

TYPEFACE Tusker Grotesk, Helvetica

SIZE 500 mm Ă— 700 mm

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Fatih usually selects a typeface from the previous projects that he has reviewed or happened upon. Sometimes he even makes his own typefaces when he cannot find a suitable one. Most of these posters were based on a grid of four columns and five rows.

Muttnik made a series of posters for the editorial graphics class held at L’Appartamento in Florence. The project aims to explore the possibility of compositions and the positioning of text and imagery on the page.

POSTER

COLOUR

TYPEFACE Neue Haas Grotesk

SIZE 210 mm × 297 mm (A4)

For each project, Muttnik pay attention to the choice of typeface and tries to see how different fonts are applied in various contexts.

They also keep a list of their favourite typeface foundries and keep an eye on new typefaces.

The posters are all based on a grid of ten columns and fourteen rows.

049 NOW

DESIGN AGENCY My Name is Wendy DESIGN Carole Gautier, Eugénie Favre CLIENT Self-initiated

A series of posters for My Name is Wendy’s self-initiated project, alongside the motion design of the same name.

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POSTER

050 Typographic Theatre Posters DESIGN Alsu Gilmanova

COLOUR

TYPEFACE DIN

SIZE 840 mm × 1186 mm (A0), 594 mm × 841 mm (A1)

Alsu created a collection of three posters for the Moscow-based theatre, Stanislavsky Electrotheatre. The Stanislavsky Electrotheatre was founded in 1915 as the cinema palace, the Ars Electrotheatre. After the revolution, it became home to Konstantin Stanislavsky’s opera and drama studio, and not long after that, the Stanislavsky Drama Theatre. Thus, the Stanislavsky Electrotheatre inherits the symbolic legacy of these three locations, a cinema, an opera studio, and a dramatic theatre.

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POSTER

COLOUR

TYPEFACE Helvetica Neue Cyrillic

SIZE 700 mm Ă— 1000 mm

Alsu used no specific grid for these posters, and she intended to draw more attention to the information itself by using bold typeface and forms.

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OTHER FORMAT

OTHER FORMAT

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BROCHURE CATALOGUE ANNUAL REPORT NEWSPAPER MORE

051

Next Wave Festival 2018: Programme DESIGN AGENCY M. Giesser ART DIRECTION Marsha Golemac PHOTOGRAPHY Morgan Hickinbotham CLIENT Next Wave

Interview with

M. GIESSER

¡Founded by M. Giesser

Next Wave Festival is the most comprehensive platform in Australia for encouraging the next generation of artists to take creative risks. Next Wave produces unparalleled learning programmes and a biennial festival which reflect a commitment to social and cultural diversity, environmental sustainability and inclusion. The entire identity includes the programmes booklet, posters, and other printed material.

01. Please tell us more about your creative background.

I finished my studies in 1998 and since then have worked for a host of different design studios in Toronto, Amsterdam, and Melbourne. I have always had a passion for writing, and in secondary school, I started putting my zines together in a traditional way by cutting, pasting, and photocopying all by hand. Later, a teacher asked me whether I would be interested in a desktop publishing course. I had no idea what it was, but I liked the idea of being able to compile words and pictures in a more manageable, less time-consuming way. I think I was pretty much hooked on the first day of class. From there I went on to focus primarily on brand identity and publishing projects, with a healthy dose of digital design.

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In 2015 I decided to leave the studio world and start my own practice so that I could have more control over the clients I was working with. I spent enough time working with large corporate clients in the past. My current client base is mostly small to medium-sized creative businesses, organisations and institutions.

This enables me to work directly with the decision makers and, in many cases, the owners.

Generally, I start by selecting six to eight typefaces that make sense for the project. From there I let the characters speak to me.

Usually, I’m looking for something inherent to the font that brings something unique. I often find something very unconscious happens where there is an excellent connection between the name of the typeface and the project that I am working on. With Next Wave, the initial concepts involved a series of typographic distortions through the lens of a crystal ball and the name of the typeface used is Oracle by Dinamo Typefaces. Another example was the rebranding of the State Library of Victoria where I used Reader by Colophon Foundry, a complete coincidence that I didn’t even pick up on until a couple of months into the project.

03. Do you like using a grid system? What do you think is the role of the grid system in editorial design?

Admittedly I live and die by the grid. Even the smallest, one-off, quick pieces of design I have to do, always start with a grid. It just makes the process of organising the information much quicker. It immediately gives you a solid starting point, and from there, you can change it, push it as much or as little as you want. When done well, the grid allows the graphic design to disappear and enables the reader to absorb the content quickly. Through structure we achieve clarity.

04. Please share your design process with us when approaching a new editorial project.

It sounds clichéd, but it’s true—you have to start with the content itself. The type of project, its requirements, the kind of images you have to work with, the style of writing, the audience, the brand, the budget, the page count, these all inform the design response. If given a completely open brief, I would probably spend the rest of my life working through it.

05. How do you define good editorial design?

OTHER FORMAT

02. Typography matters in editorial design. What do you consider when selecting a preferred font(s) for a project? Please take the Next Wave Festival as an example.

Ultimately it has to aid in the process of communicating a story or an idea.

06. What should a designer pay attention to when combining text with an image or images in a layout?

It’s subjective, but my opinion is that there should be clear separation and distinction between text and image. The two absolutely must work together to support each other, but too much interaction can border on illustration. There is a time and place for this, but it has to be done sparingly and used to create a hierarchy of content and denote a change or shift in the content.

I think the idea is that you don’t want one element to distract from the other, but instead, the design should enable the reader to process both independently. If it is an image-led publication, the images should be the hero with the text being secondary.

Conversely, imagery can be used to explain complex texts, but if it interrupts the flow of the text, it can make that process of understanding more difficult.

07. That said printed matter is fading away, as an editorial designer, how would you respond to such a claim?

It is, and it’s not. I think in brand identity you see print dying much more drastically. A company will always print business cards, but for most small to medium-sized businesses, that is probably the only piece of collateral they will print. Everything else is digital, so producing good digital templates has become a hugely important part of what I do.

I think books are possibly more popular now than at any other point in the past twenty years. The magazine industry goes up and down, but to me, it still seems relatively healthy. Publication and editorial projects are mostly acts of love. Nobody makes much money on either, so it is really about being passionate and committed to something and having the energy to see it through.

If it is a good idea and has something unique to say, chances are there will be an audience for it. It might be a tiny one, but at the moment, it feels like there’s something out there for everyone no matter how niche or obscure the subject matter.

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OTHER FORMAT

COLOUR

TYPEFACE Oracle

SIZE 96 mm × 270 mm

PAGE COUNT 68 pages

052 Arts House: Season 1in 2018

DESIGN AGENCY M. Giesser ART DIRECTION Marsha Golemac PHOTOGRAPHY Tomas Friml CLIENT Arts House

Arts House is one of Australia’s most exciting contemporary arts presenters. Its dynamic programme of activities spans the development and presentation of innovative, multidisciplinary works and the curation of adventurous, high-calibre festival seasons.

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OTHER FORMAT

COLOUR TYPEFACE Graphik SIZE 170mm Ă— 240 mm PAGE COUNT 68 pages

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Graphik by Commercial Type was used as the main typeface in this project because it is the brand typeface of Arts House. The layout was based on a modular grid of four columns and eight rows.

053 BWA Wroclaw Winter Brochure DESIGN Karolina Pietrzyk, Mateusz Zieleniewski CLIENT BWA Wroclaw

BWA Wroclaw commissioned Karolina Pietrzyk and Mateusz Zieleniewski to design the bilingual brochure for its galleries. BWA Wroclaw Gallery, composed of four galleries, namely Awangarda, Dizajn, Studio, and SiC!, curates and presents shows, exhibitions, events, and publications concerning contemporary visual practices and new social, political, and spiritual ideas. The brochure includes all the exhibitions taking place in the four galleries from January to April.

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OTHER FORMAT

COLOUR TYPEFACE Atlas Grotesk SIZE 148mm × 210 mm (A5) PAGE COUNT 20 pages

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OTHER FORMAT

The colours used in the brochure and the logo on the cover correspond to BWA Wroclaw Gallery’s visual identity designed by Maciej Lizak.

054 Paracelsus Annual Report

DESIGN AGENCY Bruch—Idee&Form PHOTOGRAPHY Erwin Polanc

Bruch was commissioned to design the annual report of the Paracelsus Medizinische Privatuniversität, a private medical university located in Salzburg. In addition to the standard content and the financial facts of a yearly report, Bruch decided to communicate the university’s core values through a set of photographs shot by Erwin Polanc. The pictures recorded the trivial matters in everyday life situations with an artistic approach, pointing out that the ultimate measure of an institution’s success lies not merely in the financial figures but more in the orientation and values that the university stands for.

188

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COLOUR

TYPEFACE Gill Facia MT

SIZE 195 mm × 264 mm

PAGE COUNT 80 pages

190

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055

Salzburg Global President’s Report 2017

DESIGN Dominik Langegger HEAD OF MARKETING Thomas Biebl CONTENT TEXT Louise Hallman CLIENT Salzburg Global Seminar

Printed with metallic Pantone 8004C on a newspaper-sized format and finished with partial UV varnish for the cover, this issue is dedicated to celebrating the past seventy years of Salzburg Global Seminar in an elegant anniversary publication. Salzburg Global is a non-profit organisation that convenes the world’s most outstanding people across generations and sectors to bridge the gap, expand collaboration, and transform systems.

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COLOUR

TYPEFACE Garamond Premier Pro, Swift, Meta

SIZE 285 mm × 385 mm

PAGE COUNT 46 pages

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For this report, Langegger used two of the corporate typefaces, Swift and Meta, to make sure the report carries parts of the visual identity of the organisation. As for the body text, he chose Garamond Premier Pro, a super legible and elegant typeface that comes in a lot of styles to play with. Salzburg Global use a wide range of different markups in their corporate language, so they always use a typeface with multiple weights and styles.

056 Occupy Earth Exhibition Booklet DESIGN Tania Hoffrén PHOTOGRAPHY Hilla Kurki

Occupy Earth is a collaborative course and workshop set up by Aalto University in Helsinki and the Parsons School of Design in New York. Tania designed the booklet for the recent exhibition held in Helsinki. In the Occupy Earth collaborative course, students create works under the theme of “mixed reality,” constructing new forms of virtual and physical hybrids to explore the polarised discussion on the ecologies, climates, and environments that people now face in the 21st century.

196

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TYPEFACE Helvetica Textbook

SIZE 138 mm × 200 mm

PAGE COUNT 36 pages

057 Design Code

DESIGN AGENCY Gusto IDS CLIENT Acerbis International ART DIRECTION Riccardo Raspa, Massimiliano Vitti PHOTOGRAPHY Riccardo Bianchi

Design Code is a double-cover newspaper presented during the Salone del Mobile 2018 for the launch of Acerbis 2018 products and ICONS collections. The layout of the newspaper is based on a modular grid of eleven columns and eighteen rows with 10 mm margins on all sides of the page. The typeface used in the design is Circular Std designed

by Laurenz Brunner, which is the institutional typeface of Acerbis’ visual communication.

The red-black duotone colour scheme also echoes the brand’s visual identity.

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TYPEFACE Circular Std

SIZE 300 mm × 480 mm

058 Reyko

DESIGN David Reca ART DIRECTION David Reca

Reyko is an electronic music duo from Spain. To release their first single, Spinning Over You, the duo played a concert in Madrid. Reca designed the graphic elements for the event, including a poster, an invitation, and some postcards. The overall aesthetic is evoked through two contrasting typefaces—Futura and Druk—which establish a nexus with the two components from the group. The layout is an experiment with the objective of making the pieces powerful through a custom grid design. Some images inspired by the artists in the 1980s, like the “kiss”, a direct reference to Magritte, were used to boost the communication.

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COLOUR TYPEFACE Futura, Druk

059 New Order Catalogue

DESIGN AGENCY Bureau Borsche ART DIRECTION Bureau Borsche, Diez Office CLIENT Hay PHOTOGRAPHY Gerhardt Kellermann, Jonathan Mauloubier

New Order is an open-ended system comprising interconnecting aluminium parts and focused on versatility. All elements are modular, enabling infinite combinations and applications, while achieving a sustainable balance between functional variety and price. For New Order 2.0, developed in collaboration with the HAY team, Diez Office has elevated the functionality and quality of the system by extending its infrastructure to include tables, panels, drawers, and doors, as well as workspace management solutions. Like the original design, New Order 2.0 can be installed using a single Allen key, enabling people to engage more effectively with their workspace. The grid of the catalogue was based on six columns with six squares in two different sizes.

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COLOUR TYPEFACE Haas Grotesk SIZE 210 mm Ă— 285 mm PAGE COUNT 148 pages

060 Mane Tatoulian Branding DESIGN Mane Tatoulian CLIENT Self-initiated

A personal branding design system by Mane Tatoulian which reflects the essence of the designer in every detail. The overall design concept centres on simplicity and complexity, meticulously representing in the designer’s philosophy and style. The typeface Helvetica Neue, paired with the clean layout, expresses the purest essence throughout the text.

204

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COLOUR

TYPEFACE Helvetica Neue

SIZE 210 mm × 297 mm

PAGE COUNT 132 pages

061 Hier und Hier

DESIGN Carina Mähler PHOTOGRAPHY Carina Mähler

The editorial publication Hier and Hier is a manifesto and documentation of the corporate design of the same name. The layout was based on a grid of four columns. Carina used black and white as the primary colour scheme to highlight the content itself.

206

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COLOUR

TYPEFACE HK Grotesk

SIZE 210 mm × 297 mm (A4)

PAGE COUNT 64 pages

062 The Journal Issue 4. by B&O PLAY

DESIGN Rasmus Jappe Kristiansen, Pernille Posselt CREATIVE DIRECTION Jakob Kahlen PROJECT MANAGEMENT Henrik Taudorf Lorensen ILLUSTRATION Olimpia Zagnoli ILLUSTRATED TYPOGRAPHY Rasmus Jappe Kristiansen

The Journal is a printed newspaper released by B&O PLAY focusing on the brand’s culture and products. By emphasising the graphic design and imagery, the design team tried to turn it into something worth keeping on the magazine rack. The Journal was bundled with titles such as Wallpaper, GQ, and Elle Decoration, with a print run of up to 850 thousand per issue. The designers applied a grid of twelve columns and used B&O PLAY’s corporate typefaces Abril and Gotham for the magazine.

208

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COLOUR

TYPEFACE Abril, Gotham

SIZE 257 mm ร 370 mm

PAGE COUNT 32 pages

063 SPIL

DESIGN Miriam Kรถnig, Anne Genkel

SPIL is an artistic-creative and conceptual examination by two designers at Bauhaus University on the subject of Homo Ludens, a book written in 1938 by Dutch historian and cultural theorist Johan Huizinga. In the book, Huizinga discusses the importance of the play element in culture and society. The result is a visual dialogue between two players (designers), Kรถnig and Genkel.

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COLOUR TYPEFACE Big Caslon, Gill Sans SIZE 170 mm × 240 mm PAGE COUNT 192 pages

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Since there were many different images and visual styles in this experimental project, Miriam and Anne decided to use clear and straightforward typefaces that had high readability and, at the same time, would not distract the viewer from the visual elements.

064 TIFF Annual Report

DESIGN AGENCY Blok Design DESIGN Vanessa Eckstein, Jaclyn Hudson CREATIVE DIRECTION Vanessa Eckstein CLIENT Tiff

The 2016 annual report is a love letter to cinema and an ode to one of the world’s most renowned and respected cinematic organisations, TIFF (Toronto International Film Festival). To capture the core of what makes TIFF so unique, Blok paired bold verbs with unexpected concepts, such as “catalyse collectivity,” “inspire time,” and “shift dreams/reality.” Inspired by these poetic phrases, the final result eschewed conventional format and embraced the beauty and language of film, creating a cinematic experience.

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COLOUR

TYPEFACE Stanley, Benton Sans

SIZE 240 mm × 340 mm, 215 mm × 300 mm (additional cover)

PAGE COUNT 56 pages

065 Consecotaleophobia DESIGN Vincenzo Marchese Ragona PHOTOGRAPHY Baldo Sciacca

Consecotaleophobia is an editorial project developed to raise people’s awareness of deforestation. Vincenzo selected Gill Sans and GT Sectra, and used the former for headings and the latter for body text, wanting to give the project a modern, simple, and elegant look.

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TYPEFACE GT Sectra, Gill Sans

SIZE 90 mm × 200 mm, 120 mm × 200 mm, 170 mm × 200 mm

PAGE COUNT 26 pages

066 Panama Plus Festival

DESIGN AGENCY Moby Digg CREATIVE DIRECTION Maximilian Heitsch, Korbinian Lenzer DESIGN AGENCY Gabriela Baka, Maximilian Heitsch, Marco Kawan, Korbinian Lenzer CLIENT Panama Plus Festival

Panama Plus festival asked Moby Digg to design their entire visual appearance, animated teasers and digital presence. Panama Plus is an interdisciplinary music and arts festival which continually tries to build bridges between cultures and societies. The branding is based on a visual analogy to claim undefined territory. Maps often use hatching to mark a particular area. Moby Digg took that as a key-element and started to play with it until they created patterns with geometric forms and even optical illusions, which was an interesting analogy to the festival. The whole identity includes magazines, flyers, website design, posters, social media materials, photo booklets, stickers, t-shirts, patches, animations, videos teasers, flags, programme flyers, and custom fonts.

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COLOUR

TYPEFACE MD Maya, Union SIZE 170 mm × 240 mm (magazine), 148 mm × 105 mm (brochure) PAGE COUNT 64 pages (magazine), 28 pages (brochure)

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To accompany the design identity, Moby Digg designed a new font named MD Maya. The festival tries to create a utopian world in which the visitors head for an alternative experience and (hopefully) forget reality. The symbols of this typeface somehow form signs, but could also be the silhouette of a building or a mark in a cave. Union was used as the complementary typeface to MD Maya.

067

Energy Natural Systems DESIGN AGENCY creanet CREATIVE DIRECTION Jose Moreno

Energy Natural Systems (ENS) is a renewable energy company specialising in clean and natural energies. The company needed to establish an image that would position it well and fit the culture of the segment for global operations.

The goal of ENS calls for the production of renewable energy to create a healthier future with less damage to natural resources. Creanet has developed the complete visual identity for the brand, including posters and brochures.

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TYPEFACE Helvetica

SIZE 297 mm × 420 mm (A3)

PAGE COUNT

068 Provisional Figures DESIGN AGENCY Pyramid CLIENT Marco Martins PHOTOGRAPHY André Cepeda (content)

Provisional Figures is an exciting new piece of theatre created by award-winning Portuguese film and theatre director Marco Martins. “Provisional figures” is the name used in statistical studies to classify all migrants whose situation and status is undefined or provisional and who are currently working in the United Kingdom. The play is the culmination of a two-year project in collaboration with Great Yarmouth’s Portuguese community, many of whom moved to the town between 2009 and 2014 to work at the large food processing plants in Norfolk. Pyramid was commissioned to design the booklet for this play.

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TYPEFACE Helvetius, Sporting Grotesk

SIZE 148 mm × 210 mm (A5)

PAGE COUNT 32 pages

069 CSR Report 2017

DESIGN AGENCY Charlie Tango ART DIRECTION Rasmus Jappe Kristiansen CLINT KMD A/S

The KMD CSR Report 2017 focuses on social responsibility, digital transformation, and KMD’s commitment to complying with the UN principles in the Global Compact. The layout is based on a twelve-column grid.

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COLOUR TYPEFACE Interface SIZE 200 mm Ă— 270 mm PAGE COUNT 38 pages

070 Melt! Music Journal DESIGN AGENCY Format Wars DESIGN Florencia Viadana CONTENT TEXT Emiliano Quintana

Melt! is a monthly music journal dedicated to experimental music, underground producers, and events. The design is a mixture of eclectic typefaces and alternative layouts based on the music that inspires the designers. The journal is a combination of different creative aspects: sometimes surreal, sharp, clean, and occasionally messy.

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COLOUR

TYPEFACE Eksell Display Web, Roboto Mono, Futura, SangBleu, Georgia

SIZE 285 mm Ă— 370 mm

PAGE COUNT 24 pages

230

The journal is an ode to music. The typefaces that the designers chose are entirely related to the theme of the journal: music. Some of them are in italic, bold, light, or regular, while some are totally experimental, depending on the genre of the music.

The types are used to represent rhythm, harmony, form, used, and dynamics. The whole layout is based on a baseline grid.

/ 231

INDEX

INDEX

Contents

Alsu Gilmanova

Blok Design

Brian Liu

Candice Alencar, Nayelli Jaraba

Alsu is a graphic designer based in Moscow, Russia. She graduated from the British Higher School of Art and Design (BHSAD Moscow).

Blok is a design studio specialising in brand identities and experiences, packaging, exhibit design, installations, and editorial design. Since 1998, they have been doing what they love by collaborating with thinkers and creators, companies and brands from around the world. They take on projects that blend cultural awareness, a love of art, and humanity to advance society and business alike.

Born and raised in Taiwan, Brian Liu is currently a graphic design student at the Art Center College of Design in Los Angeles. He is passionate about a diverse range of media, including print, digital, and collage. He draws inspiration from photography, vintage materials, graffiti, and Asian culture, especially his Taiwanese homeland. His work is rooted in research, iteration, and open dialogue. He prides himself on his thoughtful approach and creative communication.

Branding is his greatest passion: discovering a brand voice, crafting an identity with creative thinking, passion, and love.

Candice Alencar is a graphic designer based in Recife, Brazil, with more than ten years of experience in advertising and graphic design. She obtained a master’s degree in Editorial Design at EASD (School of Superior Art of Valencia) in 2018.

She focuses primarily on branding, editorial, and art direction.

www.behance.net/alsugilman P176–177

Amanda & Erik Amanda & Erik is a Swedish design and illustration studio founded by partners Amanda Berglund and Erik Kirtley in 2017. They both studied Arts, Crafts and Design at Konstfack University of Arts in Stockholm. As a studio, they combine their strengths in conceptualisation, design, typography, and illustration, and strive to make excellent work with an acute sense of colour and composition. They work primarily with visual identities, publications, and original artwork, but never shy away from new fields. www.amandaerik.com P116–118

Andrés Higueros Andrés Higueros is a graphic designer from Guatemala. He is a lover of typography and editorial design. Currently, he is working as graphic designer at Futura in Mexico. www.behance.net/andreshigueros P070–071

Any Studio Founded by Max Edelberg and Jakob Kornelli, Any Studio is a young creative agency with a strategic and human-centred approach to design. They offer strategic consultancy, concept development, branding, and creative execution in digital and print for clients from culture to commerce. www.any.studio P048–051, 052–053

www.blokdesign.com P216–217

Bond Creative Agency Bond Creative Agency helps new businesses and brands to get started, and refreshes and revolutionises existing ones for growth. Its services include identity, digital, retail and spatial, packaging, and product design. It brings together talents from different fields to create cross-disciplinary solutions for brands. Its team includes graphic, spatial, and strategic designers, producers, digital developers, copywriters, and artisans. Bond has studios in Helsinki, Abu Dhabi, and London.

www.behance.net/brianliu85 P112–112

Bruch—Idee&Form Bruch—Idee & Form, founded by Josef Heigl and Kurt Glänzer, is a graphic design studio based in Austria, focusing on branding, editorial design, and packaging design. www.studiobruch.com P042–043, 046–047, 190–193

www.bond-agency.com P146–147

Bureau Borsche

www.brandocorradinigrafik.info

Bureau Borsche is a graphic design studio founded by Mirko Borsche in 2007. Renowned for its versatility, the studio’s design ideas are content-driven based on their belief that design is a source of learning, understanding, and joy. They offer design and communication consultancy for clients from all fields of interest and love to delve deep into their own minds to create original works within the scope of art, subculture, and design. Bureau Borsche has won numerous national and international awards, and their work has achieved critical acclaim in both the business and advertising sectors.

P164–165

www.bureauborsche.com

Brando Corradini Brando Corradini is a graphic designer based in Rome, Italy.

He draws inspiration from everything that surrounds him. He thinks that good graphic design should communicate with little, not adding but selecting. His motto is: Less is more. It is a mantra that guides him all the time. Apart from graphics, he is passionate about architecture, fashion, design, and music, from which he gets inspiration.

P066–069, 102–103, 168–169, 204–205

Nayelli Jaraba is a Colombian graphic designer specialising in editorial design and UI/UE design. She studied calligraphy and user experience design in Argentina and went on to gain a master’s degree in Design of Analogue and Digital Publications at EASD. www.candialencar.com www.behance.net/nayi P056–057

Carina Mähler Carina Mähler is a graphic designer based in Germany. She mainly works in the fields of corporate design, editorial design, and packaging design. The most important things for her are authenticity and personality. She develops solutions with the client to achieve a long-lasting design. She appropriates the rules of classic design and tries to break them to find more innovative solutions. www.carinamaehler.de P208–209

Carla Cabras Carla Cabras studied design at the Accademia di Belle Arti “Mario Sironi” di Sassari, an academy of fine arts located in Sassari, Sardinia. Now she lives and works as a freelance designer in Sardinia. www.carlacabras.wordpress.com P104–107

INDEX

Clara.B Landín

Dominik Langegger

Estúdio Lampejo

GeneralPublic

Clara.B Landín is a graphic and UX designer based in Barcelona. She graduated with a degree in Advertising and Public Relations. In 2016, she gained a master’s degree in Graphic Design at EINA in Barcelona. Currently, she is working as a graphic and digital designer for Esprit. She is passionate about editorial, typography, social photography, UX/UI, and web design.

Dominik Langegger is an art director and communication designer, living and working in Salzburg, Austria. He specialises in branding, and his works are often based on variable systems and grids that work throughout various media. www.behance.net/langegger

Estúdio Lampejo is a small, internationally recognised creative studio based in Belo Horizonte, Brazil. It was founded

by Filipe Costa, João Emediato, and Luiza Maximo. They combine sharp and bold concepts with experimentations in different mediums and work in various fields, including branding, communication, editorial design, and illustration.

P194–197

www.estudiolampejo.com.br

GeneralPublic is a Paris-based design studio specialised in graphic design and art direction in the field of culture.

Founded by Jérémie Harper and Mathilde Lesueur, GeneralPublic relies on the idea that any project, whatever its size, needs a daring and tailor-made design solution.

Through constant experimentation, the studio is always seeking to develop a durable and unique graphic solution in its work for institutions, designers, architects, trendsetters, cinema or contemporary art magazines.

www.behance.net/clarabelen P130–131

creanet Creanet is a multi-disciplinary design studio specialising in graphic design, brand identity, editorial design, illustration, website, and visual communication. www.creanet.es P072–073, 132–133, 224–225

Cristóbal Riesco

P144–145

Due Collective

www.generalpublic.fr

Fatih Hardal

Due Collective is a graphic design duo founded by Alessio Pompadura and Massimiliano Vitti in Perugia, Italy in November 2016. They design communication systems for the commercial, cultural and artistic sectors, specialising in print, visual identity, editorial design, and typography. They love strong contrasts; they experiment; they know the rules; sometimes they play with the rules.

Living in Istanbul, Fatih is a student at Marmara University, Faculty of Fine Arts. He is very much interested in typography and typeface and makes typographic poster projects on a daily basis. He has collaborated with brands like Sagmeister & Walsh and Airbnb. www.behance.net/fatihhardal

www.behance.net/du-e

P170–171

P166–167

P076–077

Gusto IDS Gusto IDS is an international agency based in Italy and Germany centering on brand identity, art direction, advertising, and digital development. They help empower the identity of their clients in the global market and contemporary scenarios. en.studiogusto.com

Format Wars

Cristóbal Riesco is a graphic designer and art director based in Santiago, Chile. He specialises in editorial design, brand identity, and web design. Cristóbal is known for his clean aesthetics, balancing typefaces with photographs and colour palettes to create impactful visuals.

Ekaterina Nikolaeva Ekaterina Nikolaeva is a student at Stroganov Moscow State University of Arts and Industry. At the moment, she is running her own studio named Kaza Studio.

Format Wars is an independent design studio founded by Florencia Viadana in Amsterdam in 2017. They believe in the transformative power of design. They are obsessed with colour, typography, and layout.

www.behance.net/cristobalriesco

kaza-studio.com

P108–109, 138–139

P082–085

www.formatwars.design

David Reca

P200–201

Karolina Pietrzyk, Mateusz Zieleniewski

P078–079, 230–232

Karolina Pietrzyk and Mateusz Zieleniewski are Polish graphic designers working on editorial projects, identities, typography, and illustrations.

Empire, Syndicat

Galina Dautova, Karina Yazylyan

www.karolinapietrzyk.info www.mzieleniewski.com

David Reca is a graphic and type designer based in Spain. In 2018 he graduated from the Escuela Superior de Diseño in Madrid with a degree in Graphic Design. His work focuses on printed and interactive matter and graphic identities.

Founded by François Havegeer, Sacha Léopold and Kévin Lartaud, the Empire publishing house is an extension of the Syndicat studio’s activities related to images, graphic design, and relations with artists.

Galina Dautova and Karina Yazylyan are currently studying at the HSE Art and Design School in Moscow, Russia. They enjoy working on projects related to culture and art.

www.behance.net/davidreca

The company does not wish to define an editorial line regarding types of publications but to pose questions on reproduction, documentation, and the circulation of images through catalogues, monographs, theoretical works, magazines, posters or re-editions.

P142–143

www.e-m-p-i-r-e.eu www.s-y-n-d-i-c-a-t.eu

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235

P140–141

234

P202–203

www.behance.net/GalyRainbow www.behance.net/karinayazylyan

P186–189

INDEX

komma team

Linus Lohoff

Miriam König

Pouya Ahmadi

Komma Magazine is the platform for students at the Faculty of Design at the University of Applied Sciences Mannheim.

Each issue covers a unique theme and is entirely executed by student editors. The editorial staff changes constantly, and in every issue readers will find a different theme and layout design. The content includes term papers, course highlights, as well as bachelor/master’s theses written by students.

Depending on the specific issue and theme, the komma team will feature guest artists’ works and interviews with selected designers.

Linus Lohoff is a multi-disciplined art director and photographer from Germany with Brazilian roots. Currently, he is living in Spain and working with national and international clients across different fields. Meanwhile, he is working for Vasava, a design agency based in Barcelona.

Miriam König studies visual communication and visual cultures at the Bauhaus University in Weimar. She focuses on graphic design, photography, and illustration.

Pouya Ahmadi is a graphic designer and art director based in Chicago. He works across cultural and social fields, collaborating with artists, curators, and designers to develop brand identities, printed matter, and publications. Pouya’s work has been featured in many print and digital media, such as It’s Nice That, AIGA Eye on Design, People of Print, Grafik, Etapes, Type Directors Club, Ligature magazine, Print magazine, IdN magazine, and Moscow International Design Biennial, amongst others.

Leticia Ortín is a graphic designer who tries to combine art and design in her career. Both disciplines enable her to view the world from a different perspective and inspire her greatly in her study and research. She is passionate about publishing and has pursued a postgraduate course in editorial design at ELISAVA Barcelona School of Design and Engineering in the past months. Her work often stands out with a strong typographic, geometric, and photographic style, especially the simplicity and elegance of black and white colour schemes and compositions. www.araestudio.xyz P128–129, 160–161

Line Marie Rasmussen Line Marie Rasmussen is a Danish graphic designer with a BA degree in Graphic Communication from the School of Visual Communication in Haderslev, Denmark. She always finds it fascinating to develop print solutions with a strong conceptual approach and straightforward yet quirky design.

For her, every detail has a meaning. linemarierasmussen.com P090–091

www.ldmachado.com

Moby Digg is a Munich-based digital design studio working in the fields of branding, identity, and coding. It was founded

by Korbinian Lenzer and Maximilian Heitsch, and was initially based in Buenos Aires. Since 2012, it has been operating out of its German studio, engaging in versatile conceptual and visual projects. Its services cover events, communication, and visual identities, including poster, magazine, and web design, as well as mobile experiences.

P098–101

www.mobydigg.de

Lucas Machado is a multi-disciplinary designer living and working between São Paulo and Rio de Janeiro. He works in different creative fields, including cultural institutions, independent publishers, architecture, product design, and behaviour agencies.

P220–223

M. Giesser

Muttnik

M. Giesser is a communication design studio based in Melbourne focusing primarily on visual identity. They work with small to medium–sized creative businesses, organisations, and individuals, helping them to understand better who they are, and to find the best way to communicate their concept to their desired audiences. www.mgiesser.com

Muttnik is a collective of graphic designers and illustrators founded by Silvia Agozzino, Alberto Bolzonetti, and Nicola Giorgio, specialising in graphic design for communication, publishing, and advanced illustration. Their passion for printed matter leads them to experiment with different media.

P180–183, 184–185

www.muttnik.it P172—173

Mane Tatoulian

My Name is Wendy

Mane Tatoulian is a graphic designer based in Argentina.

Passionate about typography and modernism, her work is clean, clear, and universal. She looks for purity in each piece work. Mane believes that designers have the power, the energy, and the weapons to bring concepts alive and give them their identity.

My Name is Wendy is a creative duo founded by two graphic designers Carole Gautier and Eugénie Favre, in 2006.

Together they unite their expertise in graphic and plastic art.

They produce visual identities, typefaces, formal principals, pictures, patterns, and printings.

manetatoulian.com

www.mynameiswendy.fr

P062–065, 208–209

P174–175

237

Leticia Ortín

Moby Digg

Lucas Depolo Machado

/

P092–095, 110–111

P212–215

P156–159

236

www.komma-mannheim.de

www.behance.net/mirikoenig

www.linuslohoff.com

www.pouyaahmadi.com P096–097, 152–155

Pyramid Pyramid is a visual communication and sound design studio founded by Beatriz Cóias and João Chaves in 2012. They work between London and Lisbon. They use graphic design not only as a tool to create good designs but also as a way to inquire about the world they live in. They work with music bands, labels, non-profit organisations, fashion brands, and institutions. www.studio-pyramid.com P074–075, 086–087, 120–121, 226–227

Rasmus Jappe Kristiansen Rasmus Jappe Kristiansen is a graphic designer from Denmark. He has gained a Bachelor’s degree in Visual Communications. After graduation, he worked in different studios worldwide and worked with clients such as B&O Play, NASA, YouTube, and Lego. www.behance.net/rasmusjk P212–213, 230–231

ACKNOWLEDGEMENTS

Sagmeister & Walsh

Studio Fréro

Sagmeister & Walsh is a creative agency based in New York, USA. They are a full-service studio creating strategy, design, and production across all platforms. They specialise in brand identities, campaigns, social strategy, content creation, commercials, websites, apps, books, environments, and more.

Studio Fréro, founded by Frédérique Ferrand and Romain Kerdoncuff, is young, multi-disciplinary graphic design studio based in Aix-en-Provence, France, specialising in visual communication, branding, illustration, motion, web design, editorial design, photography, and video design.

avalcarceldesign.tumblr.com

P124–127

P134–137

Slanted Publishers Slanted Publishers is an independent publishing house founded in 2014 by Lars Harmsen and Julia Kahl. They publish the award-winning print magazine, Slanted, which covers international design and culture.

They publish daily blog guides to events and news, and present interviews with more than 100 designers and entrepreneurs. In addition, Slanted Publishers releases other projects like The Yearbook of Type, the tear-off calendars, Typodarium and Photodarium, the independent type foundry Volcano Type, and other design related projects and publications. www.slanted.de P058–061

Sofia Felgueiras Sofia Felgueiras is a graphic designer based in Portugal, specialising in graphic design, editorial design, and interactive design. www.behance.net/mariasofia P116–117

Studio Ahremark

We would like to express our gratitude to all of the designers and companies for their generous contribution of images, ideas, and concepts. We are also very grateful to many other people whose names do not appear in the credits but who made specific contributions and provided support. Without them, the successful compilation of this book would not have been possible.

www.studio-frero.com

Special thanks to all of the contributors for sharing their innovation and creativity with all of our readers around the world.

Tania Hoffrén Tania Hoffrén is a visual designer based in Helsinki, Finland.

She believes that exploring different materials and media is the best way to learn about design. Driven by curiosity, she is eager to see how far a creative mind can go. www.taniahoffren.com P198–199

Timur Babaev Timur Babaev graduated from the HSE Art and Design School in and specialises in graphic design. In 2018, he completed his studies on the art of the book at the same institute. He currently works as a graphic designer and illustrator. www.behance.net/AmagumaX P148–149

Vincenzo Marchese Ragona Vincenzo Marchese Ragona is an Italian graphic designer, living and studying in London. www.vmragona.com www.instagram.com/vmragona P218–219

Studio Ahremark endeavours to provide clients with carefully crafted and conceptually appropriate design solutions. With a wide range of services, their goal is to help their clients build stronger and more durable brands with effective visual strategies that resonate well with audiences and generate positive business impacts.

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