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  • They are all migrants and this is their visually stunning journal

    MIGRANT Journal may well be the magazine of the season for obvious reasons. “If 2014 was a year of food magazines, 2015 a year of pet magazines, 2016 was a year of new feminist titles” writes Magculture’s Madeleine Morley. “The trend away from light-hearted themes towards more vigorous and politically motivated topics that Krass, Girls Like Us and Ladybeard have been exploring is encouraging weightier magazines to launch Kickstarter campaigns, of which Migrant Journal and The Real Review are two of the newest examples. 2017 should be the year of politically conscious independents, the year of magazines of resistance.It is a six-issue print-only publication critically exploring migration in all its forms”, she adds.

    MIGRANT Journal explores the circulation of people, goods, information, and even fauna and flora, around the world and the transformative impact they have on contemporary life. “While migration is part of humanity’s genesis, it seems the phenomenon has become ubiquitous, happening faster, with complex ramifications”, says the editorial team of this heart warming effort.
    “In order to break from the prejudices and clichés of migrants and migration, MIGRANT asks artists, journalists, academics, designers, architects, philosophers, activists and citizens to rethink our approach to migration and critically explore the new spaces it creates”.

    MIGRANT is a project led by a team of four, based in London and Zurich. Catarina De Almeida Brito, Christoph Miler, Isabel Seiffert and Justinien Tribillon are MIGRANT’s editors, practitioners and intellectuals. They are all migrants. “Catarina is Portuguese, Justinien French, Isabel German, Christoph Austrian… none of us live in the country we hold a passport of” they say.

    The pressing issues addressed in MIGRANT are visually stunning, translated into a thoughtfully designed publication by Swiss-based duo Isabel Seiffert and Christoph Miler. “Our magazine’s visual concept for the upcoming six issues of MIGRANT ensures a unique voice: bold colors and a custom-made typeface will guide you through the narrative layers of the publication, intricate maps and vivid infographics will invite you to explore topics in greater, atlas-like depth and eclectic sequences of images will produce the publications rhythm. Moreover, each number of MIGRANT comes with a different tactile texture on the cover relating to the subject of the current issue – pushing the idea that only a strong combination of content, design and material will create the finest reading experience” comments the duo behind the graphic design of an issue addressing migrants and immigrants alike.

    Explore this atlas of typography and graphic design here.

  • Dimitris Papazoglou on the typographic identity of the 57th TIFF

    Jim Jarmusch, Iggy Pop and the Stooges, Turkish filmmaker Zeki Demirkubuz and local soccer club PAOK were just some of the stars of this year’s Thessaloniki International Film Festival. Yet, the best design award of this 57th edition goes to the renowned Greek designer Dimitris Papazoglou.

    “The festival’s international character prompted a need to create a unified and versatile visual language for the institution, with strong elements of extrovert thinking, and not just as an isolated piece of work that could be resized in different formats, which has been the case up until now. With that in mind we tried along with my collaborators Axell Peemoeller and Yannis Fetanis to remain true to this decision throughout.”

    “The visual language adopted for the design of both the poster and all applications of the 57th TIFF’s visual identity, is inspired by a series of cinema’s key-features; the projection screen, the sense of repetition, but also the diversity of film frames, the concept of projection, the sense of movement and the perspective of the theatre itself upon the viewer’s entry (the row of seats from last to first)” says the 40 year old multi-awarded Papazoglou.

    “All of the above elements were translated, reconstructed and shaped through the use of typography creating a new work of art with multiple layers of interpretation, allowing the viewer to read it subjectively, whilst enhancing the overall experience of the art of cinematography. Additionally the strict use of black and white and the choice of a completely technical, monospaced typeface strengthens this experience even further, whilst simultaneously creating a link between classic cinema and the technology that surrounds it.

    The poster has been designed with the purpose of reprinting it with creative versatility in mind in catalogues, banners, press releases and other formats. As a total, all of the applied mediums of the project work together to create a solid visual language for the 57th TIFF” he adds.

  • In its 86-year history, this is why Fortune has its tenth new logo

    “Starting today, you’ll see it reflected on this website, in our growing family of newsletters, and in the forthcoming issue of the (completely redesigned) magazine” says Paul Martinez, Fortune magazine’s creative director, of the publication’s newest logo. It’s a brand new visual language, which aims to revive and take to a brand new direction, Fortune’s modernist heritage.

    “Why would we change the look of such an iconic brand? To reflect our working thesis, which we outlined in November, that every aspect of business is about to change, creating what we call the “21st Century Corporation.” Months in the making, the goal of our redesign is to create a visual representation of this new entity” he says. “We used Fortune’s modernist heritage as a starting point. My talented team of art directors—Peter Herbert, Josue Evilla, and Michael Solita—worked with editor Alan Murray and deputy editor Clifton Leaf to pair this aesthetic with a strong, graphic, forward-leaning look. The result? A design that is clean, modern, approachable, and clutter-free”.

    The first complete representation of Fortune’s new aesthetic in the November issue shows what Martinez and his team are after. Its design emphasizes a quick, serviceable “front of book” that is full of digestible data, news, and takeaways. For the “feature well” they created a clean canvas to deliver strong, long-form stories – “a Fortune signature since our first issue in 1930.”

    “But the new logo says it all” adds Martinez. “We reached back into Fortune’s extensive archives to recreate a modern sans serif design that further emphasizes a clean, bold and contemporary design. You’ll find it used in conjunction with a subdued colour palette and a well-defined grid. It’s a new era, and we can’t wait to get started” he comments.

    Uncommonly among national monthly magazines of a certain age, Fortune has shown a taste for reinventing its nameplate or logo, which first appeared at the top of the inaugural issue in February 1930. Created to be a luxurious, forward-looking publication, ‘the Ideal Super-Class Magazine’ founder Henry Luce wrote in 1929, that it was “richly illustrated” and “distinguished” and whose “de luxe” pages conveyed an “arresting vitality”, Fortune was a reflection of the hope, promise, and prestige of the new world order.

    “In that spirit, Fortune has occasionally revamped the styling of its name. Generations of aspiring executives know Fortune for its strong, all-caps serif typeface; it hasn’t always been so. The title spent the first 18 years of its life in mixed case, and returned to it for a brief period in the early 1950s. In actual fact  “five of the ten logos that Fortune has seen over its lifetime weren’t in serif typefaces at all—from the low-rise spread capital letters of the title’s mid-century modern period to the, well, groovier options that carried the publication through the 1970s and 1980s”. This surely is a brand new take on an all-time-classic, critically acclaimed, publication.

  • Would you cast your vote for Hillary Clinton's custom typeface?

    “The newest iteration of Sharp Sans was conceived for the Hillary Clinton 2016 campaign” says New York based design studio Sharp Type Co on its creation that has already been buzzed around a lot. “Michael Beirut and the Pentagram team chose Sharp Sans Display No.1 as the main typeface of the campaign identity, but such a monumental project required a sturdier and more utilitarian typeface. “The new Sharp Sans is completely redrawn and shaped by the rigorous typographic demands of modern visual communications” adds the studio. “What sets the new Sharp Sans apart is a raised x-height, and newly opened counters that make it optimal for both text and display layouts; a new, more versatile approach, of which the previous two Display versions were not designed for. We call the new Sharp Sans our ‘use it for everything’ font”.

    Jesse Reed and Michael Bierut designed the logo, color palette and first Unity sketches back in June 2015. “Unity is a modification of Lucas Sharp’s Sharp Sans, which is itself a re-envisioning of the early ’70s type Avant Garde. Differences between Unity and Sharp Sans include rounding of the superscript dots, punctuation marks, and counters” reports Broadly’s Rachel McCarthy James. “Giving the typeface a name that’s consistent with all of the messaging that the campaign has used since the beginning [is] a powerful symbol” says Geoff Yost, a partner and designer at a Charleston SC branding agency, Annex Studio, who wrote about Clinton’s branding last year.

    Sharp Type is a digital typeface foundry based in New York City founded by type designer Lucas Sharp and partner Chantra Malee. The foundry produces custom & retail typefaces for print, digital, environmental design, brands, corporations, and publications. For more check here.

    May the best font win.

  • Parachute’s Bague Type System is a winner at the German Design Awards

    Bague Type System has been awarded it’s third award in this year’s German Design Awards “for its achievements in the field of typography, setting a new standard as a multipurpose type system”. Created almost three years ago by Parachute’s Panos Vassiliou “PF Bague Type System is a set of five related typefaces. Bague Sans is a monoline typeface which, despite its inspiration from 20th century geometrics, incorporates humanist characteristics. Its most remarkable feature is a distinct array of uppercase alternates and ligatures. The Slab version includes subtle variations in stroke width and semi-wedge serifs. Bague Universal introduces minimal forms, with inspiration from designers such as Bayer and Tschichold. It is complemented by rounded and inline versions”.

    First published in 2013, Bague was later upgraded and offered for commercial use at the end of the year, evolving into a type system with six related superfamilies which support simultaneously Latin, Cyrillic and Greek.

    Commissioned by the highest authority to represent new developments in the German design industry, the German Design Council which was established on the initiative of the German Bundestag (the lower house of German parliament) as a foundation in 1953, German Design Awards acknowledges the best and brightest in the field of design.

    For more check here.