WIRED isn’t just a science magazine — it’s a magazine about innovation and technology that hinges on the wonder behind science-fiction. The visual identity of WIRED is constructed to reflect this enduring, tech-focused spirit.
Usually, when the images are photographs, no matter how manipulated they may be, they exist to present the truth of things. I don’t simply say “things” as in issues or concerns, but “things” as in literal objects. This includes a signature Ernie Ball guitar and pre-amped, iPhone multimedia rig that makes for great on-the-go music recording.
“Things” include the sun as its being eclipsed, the sensors responsible for life-like CGI animation, the robot that is “soft-landing” on the moon.
If a magazine is predicated on intellectual curiosity and discovery, then it’s crucial that it can clear and accurately present “things.”
There are images on almost every page and they tend to take up half of the page.
If it’s a front-of-book story, the visuals seem to be incidental, quite honestly. They are by no means slapped on — even the most basic image of a “thing” is cut out and glossed up. If it’s a WIRED feature story, it feels as if there is more space to breathe and sit with the images. This could be because finally, an image gets the chance to take up a lot of space, a whole page, even, when paired with words.
The color palette WIRED is working with is neutral and cool with a dash of warmth. And even then, the pops of color are muted or jewel tones.
When it comes to the type of photography shots in WIRED, most of them tend to be passive with the promise of active.
Every story uses an image, too, therefore cementing WIRED’s visual identity as this factual-but-engaging exercise in intellectual curiosity.