The Los Angeles Times uses Belizio for body copy, including infoboxes or subheads within a given story. The Times uses LA Headline for headlines, LA Deck Display for decks, and LA text for other display copy. I consulted with SU… Continue Reading
The major textual content of the magazine is food and drink recipes. Thus, the magazine makes a very informed decision by choosing very clean and clear typography so that the steps can be easily read. They also showcase more than… Continue Reading
The department fronts in Essence Mag all have a full image the bleed through the entire page. Each front has an image of a solo photo of a black woman, the department name on the top left, and a subhead… Continue Reading
Typography After considerate searching through media kits, the physical publication itself and their website, I sadly regret to admit that I was unable to identity the typefaces used for the print issue. Seeing as they have just recently rebranded, a… Continue Reading
The Nation uses a variety of typefaces. The nameplate is Modern No. 20, a unique serif that conveys intelligence and has a political vibe to it. The nameplate is large enough to grab the reader’s attention, but not too large… Continue Reading
Typography Harpers Bazaar uses HTF Didot, which is a serif typeface that has become synonymous with the magazine because of how heavily they incorporate it into the magazine. HTF Didot was created in 1991 specifically for Harper’s Bazaar’s redesign and… Continue Reading
(Maybe I’m feeling the Met Gala 2018 theme a little too much, but surely, you’ll be angels). As much as I admired graphic design before, I definitely have a deeper appreciation for the craft after taking Publication Design with Professor… Continue Reading
TYPOGRAPHY The typeface for National Geographic’s nameplate is NatGeo SemiBold, a custom typeface. While it has varied in size, the look of it has stayed relatively the same, even since its first issue in 1888. The nameplate has always been… Continue Reading
Featured image by Raphael Schiller from Unsplash.com As a whole, WIRED’s textual aesthetic is sophisticated. I believe WIRED maintains this aesthetic in its typefaces, both serif and sans serif, to counter the unusual content, vivid language and overall fantastical tone contained… Continue Reading
I am particularly excited for this class because during GRA 617, I excelled at the magazine spread project. I heed the last class’s warning when it comes to picking a concept that will grant me enough photographs. My classmates and… Continue Reading