Wired doesn’t have too much “furniture” so to speak, but one design element it makes good use of are lines. Just by looking at its color choices in headlines, it’s apparent that the magazine likes the idea of contrast. It juxtaposes heads and decks, and puts them in different colors and slightly different sizes to differentiate.
The same can be applied to its use of lines. Sometimes the magazine will use very thin lines, other times it will use big, bold strokes. There is no in-between. It also really depends on what the lines are being used for. One example is at the start of a story — usually there will be a thick line to break up the text before or somewhere during the first page of a story, whether it’s a FOB story or a feature.
However, when it comes to pull quotes and even the section flags at every page, the magazine opts to use a thin stroke. I think this is smart because it provides a contrast to the thickness of the other lines, and therefore won’t clash with them.
The magazine is also a fan of icons. In one instance, Wired incorporated the use of quotation mark icons to signify where pull quotes are. (The magazine also doesn’t have a specific way of tackling pull quotes, so it’s normal for two stories in one issue to deal with pull quotes in different ways).
Their photo and illustration credits are also very nicely designed that at first glance, you can’t even tell that’s what they are. They’re placed strategically on the page each time and will change from a paint palette or camera depending on if the visual is an illustration or photo, respectively. This is partnered with a thin stroke line, so as not to clash with other elements on the page and not attract too much attention to itself.
Lastly, Wired’s dingbat (the icon that lets you know it is the end of the article), is none other than its signature “w” from its logo. This is just to further solidify their identity as a magazine brand and makes sure readers familiarize themselves with it.