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ARTFORUM FALL 2016 TYPOGRAPHIC ANALYSIS DENISE CRISP SARAH SHIVELY REED HARMON EDUARDO TALAVERA


TABLE OF CONTENTS EDUARDO TALAVERA, REED HARMON, SARAH SHIVELY

INTRODUCTION

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Artforum is a semi-monthly periodical that features the latest in visual arts, especially what is happening in major art cities such as New York City or London. Much of the magazine is made up of advertisements for shows in galleries, each of which is tailored to match the aesthetic of the gallery and to display art from the show. With so many advertisements, the magazine becomes a conglomeration of many different styles, with Artforum’s structure shining through only in the editorial sections of the magazine. This structure is clean, modern, and bold, but designed to make the featured art and artists the focal point, rather than the magazine commentary.

TAXONOMY This section analyzes the use of typefaces throughout the print version of the periodical and tracks which section the object is in, as well as what level of hierarchy it lives on.

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GRID ANALYSIS This section breaks down the invisible grid structure of the periodical and highlights patterns in the placement of content upon the grid.

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PRINT VS. WEB This section aligns the print and web versions of Artforum and identifies what changes between the two sets of affordances and what stays the same.

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UNITY THROUGH STYLE This section continues to analyze the differences and similarities between print and web, breaking down typographic and stylistic choices.


TAXONOMY

TAXONOMY

IMPACT

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logo

IMPACT

30 24

headline

IMPACT

9 GARAMOND 9 Garamond

sub head

6 GARAMOND 6 Garamond 5 GARAMOND 5 Garamond

body text

9 GARAMOND 9 Garamond 6 GARAMOND

folio

6 Garamond 5 GARAMOND 5 Garamond

credits

captions

issue

SIMPLE, YET DYNAMIC: TYPEFACES Throughout the publication of Artforum, there were only three typefaces used: Franklin Gothic, Impact, and Garamond. The limited use of different typefaces creates a unified aesthetic that allows for different portions of the magazine to read as consistent, as well as allowing the artwork to stay in the forefront of the reader’s attention, rather than the words about it. Artforum, however, used techniques such a widely varying sizes as well as color to allow for the text to play an interesting role in the overall design. 4 RESEARCH AND ANALYSIS BOOKLET


T

TAXONOMY

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48

40

40 24 24 16

FRANK-

Franklin Goth-

FRANKLIN GOTHFranklin GothFRANKLIN GOTHIC Franklin Gothic Franklin Gothic

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FRANKLIN GOTHIC Franklin gothic

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FRANKLIN GOTHIC

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FRANKLIN GOTHIC

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FRANKLIN GOTHIC

6

Franklin Gothic

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Franklin gothic

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Franklin Gothic

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Franklin gothic

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Franklin gothic

9

9

FRANKLIN GOTHIC Franklin gothic

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FRANKLIN GOTHIC

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FRANKLIN GOTHIC

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FRANKLIN GOTHIC

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Fraknklin Gothic

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FRANKLIN GOTHIC

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FRANKLIN GOTHIC

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FRANKLIN GOTHIC

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Franklin gothic

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Franklin gothic FRANKLIN GOTHIC Franklin gothic

KEY cover table of contents contributors columns

Franklin Gothic

previews

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FRANKLIN GOTHIC Franklin gothic

features

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FRANKLIN GOTHIC

10 9

7 Franklin gothic

reviews

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GRID ANALYSIS GRID ANALYSIS

OVERVIEW

SPECS

The grid of Artforum magazine was hard to figure out at first, due to changing Grid Usage (see below), but we discovered that it had an underlying 12-column grid that fit onto the square page. This grid differently based on the section of the magazine, as you will see in the next few pages. Within the pattern for each section though, there was customization based on the content. Overall, it was a complex grid that allowed for much customization within the system.

Page size:

GRID USAGE 3 column span

4 column span

6 column span

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LEGEND 10.5 in wide x 10 in tall

top: 0.5 in bottom: 0.75 in right: 0.5 in left: 0.5 in Columns: 12, 43 points wide Margins:

Gutters: 12 points wide

Images Body Copy Header Caption Folio


GRID ANALYSIS

FRAMED IN: COLUMNS

EXAMPLES

In the Columns section of Artforum, small amounts of body copy are hemmed in on top and bottom by images. There is also room for a header and captions. The variation of this layout across spreads is pretty limited, as can be seen in the consistent transparencies. The elements live within a system of four columns, within the 12-column grid, varying by custom increments horizontally. RESEARCH AND ANALYSIS BOOKLET

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GRID ANALYSIS

SYSTEM OF DUALITY: REVIEWS In the Reviews section, the grid is divided into two halves: top and bottom. Within these two halves, the content alternates between body copy and images, maintaining a strict pattern of three vertical elements, but changing which type of content goes in each half. Other elements include a header-- with generous space-- and a box containing the captions for the page. Occasionally, images expand beyond the margins to the edge of the page or gutter. 8 RESEARCH AND ANALYSIS BOOKLET

EXAMPLES


GRID ANALYSIS

CHUNKY CHUNKS: FEATURES

EXAMPLES

In the Features section, generous white space lends itself to luxurious reading across a shortcolumned body copy, spanning six columns. Images also are given plenty of space and displayed individually or in pairs to allow for large image size. The introduction pages for features are an even more dramatic example of this, consisting an image covering a page and a third, with a simple header surrounded by an ocean of white space. RESEARCH AND ANALYSIS BOOKLET

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PRINT VS. WEB

PRINT VS. WEB

HEADINGS The heading for this Collective Consciousness article online includes the issue it was published in, the journal it’s apart of, and a small description about what the article is about. This blurb is also written in Franklin Gothic Book Bold.

IMAGES In this image from the online version, the caption next to it only features this image, instead of the multiple images. The images are spread out into one long column on the web, rather than into multiple columns.

BODY TEXT This body of text is styled in Franklin Gothic Book regular, and the kerning is set to automatic. The conversation back and forth also includes Bold & Small Caps.

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PRINT VS. WEB

HEADINGS The heading for this Collective Consciousness article in print only includes the journal it is apart of. The blurb description is on a complete different page. This heading is written in Impact, which varies from he online version.

IMAGES Because the images on the print version are spread out into several grids/columns this image holds two captions: one for the image shown, as well as another image to the right. Both images are styled the same.

BODY TEXT The names of each speaker in this print version are in Franklin Gothic Bold Small Caps, while the rest of the text uses the magazines secondary typeface, Garamond. The kerning is also set to auto, and both are in the color black.

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UNITY THROUGH STYLE

UNITY STYLE

TABLE OF CONTENTS In the print version, the table of contents is organized by a 3 column grid. Using primarily the typeface Franklin Gothic Book in 9 point size, the TOC is broken up into columns and features, making it easier for the reader to locate what they are looking for. The TOC additionally offers multiple smaller images that showcase what’s to come in the magazine.

ADVERTISEMENTS

HEADINGS

PHOTOGRAPHY

Advertisements take up three-quarters if not more of the majority of pages.

Headings in the print version are written using larger point size, allowing them to stand out more.

Photography vary from taking entire page, to being formatted to fit all types of grids.

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E

UNITY STYLE

HOME PAGE To the right is home page of ArtForum magazine. The page displays multiple navigation tools to allow the readers to better work their way around. Garamond & Franklin Gothic Book are mainly used on each page, to create consistency with the print version. It’s clear however, that the print version is a guide used in the online version, as a lot of similar grid structures are utilized.

NEWS Web version allows for there to be a real-time news section.

ADS Ads online have their own columns on the side. (right)

NAVIGATION Online version has more options for navigating the website.

HEADLINES Headlines in web have similar hierarchy, but are style differently.

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PAST COVERS

JANUARY 2016

FEBRUARY 2016

MAY 2016

SUMMER 2016

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PAST COVERS

MARCH 2016

APRIL 2016

SEPTEMBER 2016

JANUARY 2015

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