Alexey Brodovitch

Alexey Brodovitch was an influential editorial designer in the 50's, I particularly like the way in which he manipulates the form and shape between the image and text.

Alexey brodovitch was an artist, graphic designer and photographer. However, he was most famous for his art direction, primarily for the magazine Harpers Bazaar. He was a aesthetic entity whose permanent influence was perceived along the entire visual arts. His style of combining elegantly set typography with new and experimental trends in photography became widely popular in the 1940's and 50's, helping to keep the magazine at the forefront of its field in a swiftly changing world.


''Brodovitch was the first art director to integrate image and text. Most american magazines at that time used 
text and illustration seperately, dividing them by wide white margins. Brodovitch cropped his photograhps, often off-center, brought them to the edge of the page, integrated them in the whole. He used his images as a frozen moment in time and often worked with succeeding pages to create a nice flow trough the entire magazine. This brought a new dynamism in fashion layouts.


The typeface he preferred was Bodoni, but when needed he switched to Stencil, Typewriter or a script. He matched the typeface with the feeling or with the need for an appropiate effect. Legibility was not his primary concern.

His layouts are easily recognized by his generous use of white space. Colleagues at other magazines saw his sparse designs as truly elegant, but a waste of valuable space.''


AlexeyBrodovitch

This spread from 1935 shows the integration of all graphic elements. Brodovitch accentuates the fluidity and movement of the images by using repetition and diagonal and horizontal stress. He uses the contacts like frames from a film and creates the illusion of movement and spontaneity across the left-hand page. The strips of film overflow onto the opposing page, as if the dancers have twirled across the spine of the magazine. The enlargement on the right-hand page depicts the grand finale of this dance numer.

Following the idea I had about using the fitting technique of the garments and the facts that they accentuate the female figure could be adapt to the style of the cookbook e.g with the curve of the text:

 This idea could also work across typeface,  I used the hourglass curves of the female figure to came up with this typeface idea, this could be developed through changing weights.

T Magazine Supplement

T Magazine is the supplement to The New York Times magazine. Here are a few of their covers. Artists and Designers are invited to interpret the franker T in any way. They each portray the T in distinct style yet work together and are consistent with the letter.

The supplements I am designing for, need to work together and still be consistent through the use of the circle. The circle could be made up of letters from the professionals name, or of something that is relevant to them. This could also be through using colour.

Circular 16 - The Typographic Circle

''Lippa has designed the last nine issues of Circular and delights in creating each from scratch. In this issue the close up of the title on the cover through the contents pages and dividers indicates a desire to focus on the detail of the work. The use of Courier as the default font set without justification is designed to act in contrast to the typographic perfection of the featured work.''

http://pentagram.com/en/new/2010/01/new-work-circular-16.php

The cover of Circular 16:

Lesley Moore

Tuttobene '07 ~ all-in-one newspaper


LesleyMoore


The newspaper has a clever concept. And also offers use in a different context than an ordinary newspaper.

Why Not Associates

Envy - Corporate identity, for London based post production facility. Showing the identity running across a range of deliverables: including letterhead, business card, compliments slip, cd packaging, note books, bellybands, video labels and packaging, tags. 

Gives me something to consider when creating the brand identity for the fashion designer, to experiment with how the identity can be used across a range of promotional materials in different ways.

The Reel - Corporate identity for xtreme information's media resource service showcasing commercials and promos. 

Nice bit of branding across the stationary. The editorial zines are very consistency, and vibrant.

Pigeons & Peacocks - 

Third issue of the magazine created for the london college of fashion.

The magazine represent the work of students at the london college of fashion. This is relevant to my yearbook design brief as it is of similar content. I like the layout of the images with some working to the margins and other going off the pages. The yearbook is going to have to have different layouts to suit the work of the students, so that it shows their work off in the best way. This may include one large single images, or 2/3 showing different aspects of their work. So looking at how their composition works with in the grid system is something I need to experiment with.

I also like the cover of the magazine with the monotone images and the foiling.

Pigeons & Peacocks - 

Quarterly fanzine for london college of fashion showcasing students work.

These work as a fold out poster/zine. They are each very different yet keep a consistency through the use of the same grid system, typeface and format.

London College of Fashion -

Prospectuses 09 - Including cover, bags, and spreads.

Use of colour to distinguish each different publication. When thinking of how this could relate to the yearbook, the use of packaging for it could be visually interesting, either a bag or even a poster wrap.

WhyNotAssociates

Editorial design

Like most graphic design, newspaper and magazine design is an exercise in combining technical detail with artistic flair. The core components of editorial design are text and pictures, so a keen understanding of typography, layouts, grids and composition is essential. In fact, magazines perhaps more than any other format show how the many elements of graphic design can come together in one place: images, illustration, photography, logos and mastheads, information design, paper stock and so on.


What is perhaps a little different from other areas of graphic design is that editorial design demands constant reinvention, as Jeremy Leslie of magculture.com explains: ‘Editorial design uses and fuses two key elements of graphic design. It uses templates and sets up rules to follow, which is the technical side, in terms of understanding structure and limiting your choices to make certain statements. But it’s also about taking the rules that you have set up and making something creative from them. Unlike most areas of graphic design, editorial design is an ongoing project. It’s not a one-off, like a piece of packaging or a poster, where you get it all set up and then hit the print button; it needs to develop. So you’re looking for graphic designers to come up with a strong functional basis and rules, but you’re also looking to bend those rules on a daily, weekly or monthly basis. There has to be a balance between the familiar, so people recognise the magazine they bought last time, and surprise, to let them know it’s a new issue.




Esquire covers under art director David Curcurito are very type-led

DesignCouncil