It's been quite a few days without any editorial design project here on the blog. It's time to change that with a really cool project created by Mohamed Samir for Tecom Parks. The brochures he created are quite stylish. It feels more like a collateral for an exhibit or an upscale brand due to the simple typography, black and white photos and bold text. I especially like the cover he designed as you can see below. It adds bold colors over the start black and white layout. It feels simple but very elegant. I don't know if that was what he was trying to do, if so, he definitely accomplished it Tecom Parks editorial designs, a series of brochures that fall under one pack. The covers are following each park identity while the books layouts are almost same to maintain the feeling of one family package. Editorial Design Mohamed Samir is a Lead Designer from Dubai, United Arab Emirates. His focus is on Graphic Design, Branding, Illustration. For more information check out his Behance profile.
Ninety Nine U magazine features the best creative career insights from 99U.com. As I said here so many times, my biggest source of inspiration is always in the editorial design area, especially books and magazines. I have an admiration for the minimalism and elegance achieved by designers when they put together simple layout that communicates the message very well. I have been trying to bring some of these editorial design concepts to the web on every new release of Abduzeedo, but it's quite hard, especially the typography with overlap of text and imagery. Ninety Nine U magazine is such a good example of beautiful editorial design. It goes from simple to sometimes bold layouts, always focusing on highlighting the content. From interviews, articles, new sections, and lots of creative work. Published quarterly, packaged and delivered directly to your doorstep. Below you can see some examples of one of the most recent issues. The images are from their Behance page, the designers behind it are Mark Brooks and Sean Blanda. Editorial design In this issue: Interviews: Non-Format, Rubén Sánchez, Martina Flor. Missing Curriculum: Essays from Sean Blanda, Paul Jun, Christian Jarrett, and Justin Brady. Featured Creatives: Studio MUT and Aidlin Darling Architecture. Departures: Melbourne, Australia. Workspace: Mother, New York City, USA. Staff Sean Blanda - Editor-in-Chief Mark Brooks - Creative Direction, Art Direction and Design Matt McCue - Senior Writer Kiana St Louis - Assistant Editor and Community Manager Photographers in this Issue Joel Brooks Matthew Johnson Roy Rochlin Connie Tsang Adrià Cañameras Printer Hemlock Printers, Ltd BC, Canada www.99u.com/magazine
I love printed material, my whole design education was based on that medium as there was no internet back then. Now things evolved so much with not only internet but portable devices and so many different mediums, however the foundation of graphic design remains the same as it has always been, at least in my opinion, grid, typography and colors. The work that Another Collective put together for Percursos Culturais is a great example, check it out. Built by its artists and saved in the memory of its streets, houses and people, this is the city we intend to expand: a city of history, defined by these events that continue to project it to the future day by day. Through multiple itineraries, we show objects, documents, streets and spaces, revisiting multiple histories and myths that allow us to know the way it was developed and built along the centuries. Another Collective is a design studio formed in late 2012 and based in Matosinhos. Considering Branding, Web Design and Editorial Design as the main areas of intervention, they believe in an engaging work methodology. With a focus on experimentation and exploration of concepts, they relate customer and company in a relational symbiosis, having as a principle the clients claims, always favoring direct contact with them. For more information check out http://www.anothercollective.pt/
Starting the week with some beautiful editorial design and branding is always a good omen, at least we will get inspired and will thrive to do our best during the new week. For today's post I will feature a project title Athena, it's for a olive product made of natural ingredients. The work was done by Ana Lucía Valderrama and Marina Zertuche, both of them from Monterrey, Mexico. It's a student project, and it's not very recent, proving that good design is indeed timeless. Athena is an olive product brand made of natural ingredients, designed for gourmet kitchen, specially for chefs. The proposal aims to stand out the brand’s values (elegance, exclusivity and purity) and to create a tangible experience between the customer and the product. The naming is meant to relate to the goddess Athena, whom according to the greek mythology created the olive tree. Athena’s gift was used for light, heat, food, medicine and perfume. For more information check out the Behance page.
The Socio Design folks keep delivering incredible work. We have featured some of their projects but they always share something new that is worth sharing here on Abduzeedo. The project we want to highlight is the Capital Magazine. They worked on the editorial design as well the typography for this quarterly newspaper. The result is super elegant and of course inspiring. Capital is a quarterly newspaper from Hedeker that reviews and summarizes the behaviors of financial markets from the previous 3 months. With a sparing use of images, the design instead adopts a typographic approach – picking out key points within the content and delivering them with greater impact. Each issue is printed on a different paper stock relating to the time of year it is printed. About Socio Design Socio Design are an experienced design and strategy agency based in London Bridge, South London. We help transform brands and businesses through carefully crafted design and rigorous strategic thinking. For more information check out http://sociodesign.co.uk/
Editorial design always has a special place in my heart and therefore here on ABDZ. We cannot get enough of these types of projects and every time we see something new and fresh we will share here. That's the case of the L'ADN, a french magazine about many different subjects. The cool thing about the work that Violaine & Jeremy did is the fresh and yet classic look of the pages with beautiful imagery. L'ADN is a quarterly magazine that reports on many different subjects, from trends and communications to anticipations. We made the editorial design and Art direction. Double Cover and chapters photographies by the stunning Nadia Lee Cohen. For more information check out http://www.ladn.eu/ and http://nadialeecohen.com. This project was created and shared by Violaine & Jeremy, a is an illustration and graphic arts studio currently based in Paris, France. You can learn more about that at http://violaineetjeremy.fr/
You might already know the work of Levente Szabo aka. Brisk Graphics for his recent work for the BAFTA 2016, but besides that, here we have a young illustrator with some impressive skills and awesome taste for art. We had the pleasure to make this brief interview with him, hope you enjoy it. You can reach Levente on the following links: Website Behance 1) First of all I would like to thank you for doing this interview, it's an honor for us to present more about you to our readers. I would like to start asking you about when your interest for illustration and digital art started? You can say it started pretty early as I studied graphic design both in High school and in the University where I finished at 2006. Ever since I worked as a freelancer graphic designer and tried myself in many areas from storyboard to concept art, comics, illustrated children’s books and of course the usual designer stuff (logos, business cards, editorials, etc) I bought my first tablet (A6 size Genius) around 2004 and it changed my whole career path. 2) Which artists do you use as reference? I try to be inspired by other mediums like films, movies and music (but a restful afternoon is the best choice if I have the time). Of course I have my favorite artists, I’m deeply in love with the works of Malika Favre, Vincent Mahé, Tom Haugomat and Magoz for example but the list goes on. 3) Your style is quite influenced by movie posters / double exposition photography / retro illustration. How did you develop this style and how would you describe it? This style (that I find hard to describe myself) is not uncommon nowadays, and I believe a lot of artists are turning back to the golden age of advertisement for inspiration. Incredible hand drawn posters were made in that area and I really hope that we’ll have a revival at some point. You should check out the fantastic works of Mads Berg, and you’ll know what I mean. 4) Describe us a bit about your creative process while creating a piece The most important (and the most demanding) part for me in each project is coming up with a suitable idea. Sometimes it takes a minute and other times it takes days or a whole eternity. I still haven’t figured out why. After that, you “only” have to make a nice illustration but that is definitely the easier part. 5) What would you consider the best moment on your career till now? The first email by Human After All (BAFTA’s creative partner) was definitely my greatest moment in my career. I had to read it a couple of times before I started to believe it’s not a joke. I remember the first BAFTA posters by Tavis Coburn in 2010. The whole idea seemed so incredible and at that time I never thought I’d be ever considered as a candidate for this work. 6) How do you describe your daily routine? Routine? Haha. That depends on the amount of work I have to do that day. As a freelancer your daily routine is 80% organized by your clients, but after a cup (well, it’s a mug) of coffee and a couple of emails later I start working on the illustration that is the closest to its deadline. In a rare occasions when I have free capacity, I will work on a couple of personal projects. 7) Being a multimedia artist, please tell us what's your favorite media to work with? Why? Although I work digitally at the moment which gives me a lot of freedom, my future goal is to work less and less digitally and turn back to traditional techniques. 8) Tell us five lessons you believe are really important for every artist. Never miss a deadline – for the most part you’ll be payed because you are reliable. You can tell if an illustration was made in a good mood or not. Design is a way of thinking. Start looking and studying other stuff, not in your own area. If you’re a freelancer always be polite with clients. Even if they destroyed your work. Find someone who can help with taxes. 9) Tell us five websites that you like to visit. Well, here’s a screenshot of my browser’s homepage. 10) Thanks again for your time, please leave a final message for the ones who are starting out on this kind of business. I don’t like to think about myself as a veteran (as I still have to learn new things every day) but I have a phrase I like to quote frequently: you will have the type of work that you have been doing. Clients won’t assume that you can make a movie poster if you’ve been doing similar but different works before, like editorial illustrations for example. You have to show them that you are capable.
I love when designers are able to translate a classic editorial design to the web, even if it's just for static mocks. I understand that you might think, oh that cannot be fully done with the variant screens sizes, resolutions, responsiveness - you name it. The truth is, the only way to find out is by trying. I love designers that push the visual design exploration and seek inspiration from well-established concepts borrowed from the print world. The Q. Tarantino project is a great example and makes me want to redesign ABDZ once again. The designer behind this project is Lina Bo, a UI designer and illustrator from Barcelona, Spain. For more information check out https://www.behance.net/lina_bo
Nothing like ending the week with some beautiful editorial design inspiration. For this post I want to share the work created by Anti, one of Norway's most award winning agencies, for A New Type of Imprint Volume 6. I love how simplicity and beautiful photos are the only thing you need to achieve an elegant result. A New Type of Imprint Volume 6 'Conversations on Creativity and Culinary Aesthetics'. Design Chapter TO by Umer Ahmed Art Direction cover Maja Hyggen About Anti Anti is a multi-disciplinary agency offering creative solutions to clients from every part of the world. We believe in simplicity, storytelling and creating an audience. In todays society people are bombarded with around 5,000 communication messages on a daily basis. To make a lasting impression, we need to stop telling others what we are good at, and instead tell them what we believe in, creating an authentic sharing of experiences and passion between client and brand. With a growing competition for attention, brands who establish a strong and engaging concept, accompanied by strong visual expression, become the most memorable brands of tomorrow. For more information check out http://anti.as/news
Translating design across multiple mediums is always a big challenge for even experienced designers. A solid branding system gives the flexibility and scalability to allow designers to carry over some design elements, the épuré – Fashion is a good example of that. The editorial design is strong and perfectly translated to the web. The project was created by Robert Gutmann, a graphic designer based in the south of Germany. Currently studying media design at the Offenburg University of Applied Sciences where he's just about to finish his bachelor thesis. Besides his studies he also works as a freelance graphic designer, Illustrator and Photographer on projects for various clients. You can check out his full portfolio at http://www.robert-gutmann.com/
Nothing can beat beautiful photography with a simple and elegant design. Every time I see something like I just described I get a great feeling, it's hard to express but check out the project that Pianofuzz for the Donaflor Mobilia catalog. The imagery is top notch, the grid and the typography is equally beautiful, it's definitely an inspiration. The studio was responsible for the graphic project of the new catalogue of Donaflor Mobília - Londrina, Paraná. The art direction and concept of this photographic production are part of the new branding orientation developed by the studio. Photography by Área 51. Production by Priscilla Germano and Pianofuzz. For more information check out Pianfuzz website.
It has been a long time since my last editorial design post. For this post I want to share a beautiful IdN Magazine project we stumbled upon from their Behance profile. It's the Makershift #14: Harvest Issue. There's not much to say besides go check out the images and get inspired by beautiful imagery, an elegant grid layout and typography. This issue features insect cuisine, black market syrup, time-traveling fridges, and mine-sniffing rats — the creative crops of a global harvest. For more information check out http://idnworld.com/ ABOUT IDN IdN (International designers' Network) is an international publication for creative people on a mission to amplify and unify the design community. It is devoted to bringing designers from around the globe together to communicate with, learn from and inspire one another. It has truly become what the initials of its title proclaim it to be — an international designers' network.
The amazing people from Folch Studio put together an incredible editorial design project for Metal Magazine, a fashion publication for a younger demographic. As I've said many times before, editorial design is such an inspiration for me. I love the way designers play with the grid, imagery and typography. For this project you can see some details that give a super fresh look, like the images breaking the grid and almost superimposing the text. Moving away from the young fashion publication for young people, Metal’s visual language turned more mature and sophisticated, claiming a more conceptual idea of fashion. The new format, art direction and typographic treatment symbolised this transition. While creating a strong attitude and strengthening the magazines structure, design almost disappears, creating with its absence a recognisable look and feel. "Metal came out from this new zeitgeist and contributed to the necessary creation of a new format, where content and concepts were finally dealt with in an unprecedented way in fashion fields. Some of the photographers who turned their noses up at this choice, were later aspiring to see their work published in such a fresh and experimental framework. Images were strongly enhanced by an innovative and playful choice of papers, something not really common in editorial design at that time: the harmonic play between the organicity of the offset paper and the cold white of the coated ones was spread across the bound and stapled publication. For more information check out the full case study at http://www.folchstudio.com/work/metal-magazine/
Good design is timeless, Massimo Vignelli said that once and Dieter Rams reassured use with Good design is long-lasting. If you look back to 5 years ago you can see some of the trends but you can also see this saying working. That's why I like to go back to old projects in sites like Behance, Dribbble, Pinterest, books and of course my own site Abduzeedo to see how much things have changed, but also how much good design is still good design. The project I am sharing today is a great example: the I Love Bodoni book by TwoPoints.Net Every typeface has its own charisma. Not only does its presence in design lend an attribute to the identity of a product or project, but also reflect the taste, personality and attitude of the designer behind. Most designers keep a list of favorites with no more than ten typefaces throughout their trajectory. Some make a statement by sticking to just one typeface in every piece of their work. The choice for typeface is the flag held high by designers. Bodoni has been used in everything from 18th century Italian books to 1960s periodicals, and early versions of the typeface are still used for fine book printing. Popular for poster use, it has graced diverse ad campaigns from Mamma Mia! to Nirvana. This graceful illustrated volume comprehensively explores the broad scope of experimental and creative design ideas that have been realized using Bodoni. I Love Type is a collaboration between Viction:ary and TwoPoints.Net. The type collection series, with focus on one specific typeface at a time, documents the fashionable comeback of a selection of time honored typefaces in a myriad of contemporary designs gathered from around the world. The jacket is printed in CMYK, plus a Pantone neon color and a holographic metal hot foil stamp. As well as the spine, the edge is colored with the neon color. Each book of the series is going to have another color, so when all the books are displayed together they will form a neon rainbow. The preface for I Love Bodoni was written by Wolfgang Hartmann of BauerTypes. Publisher: Viction:ary Distribution: Gingko Press Year: 2011 Buy this book on Amazon
Editorial design is the biggest source of reference for me anytime I look for inspiration. Designing products require much more than just beautiful compositions. I feel that we are so attached to beauty, that we tend to forget that there's something much bigger behind everything. I know that beauty is the greatest seducer of man, but I also know that designing a product requires us to think about systems, degradation of data and how flexible our design is. Editorial designers have been dealing with this for a long time and that's why, in my opinion, we should not reinvent the wheel, just improve upon what was already done. In this post I feature the work done by Wedge & Lever in 2011, when they were hired to redesign the TransWorld Surf magazine. I decided to publish this project because it's incredible how much what they have done here in 2011 has become one of the biggest trends of this last year, and probably the biggest design trend of 2016 in terms of web. The cool thing is that it looks like the web is finally becoming mature and flexible enough for us to have such rich compositions. On the other hand, most of what I see that follows this trend is on Dribbble, where most of the times, it's just visual explorations. That said, I am trying hard to implement similar style for the new Abduzeedo. The biggest challenge for me is, of course the technology (Drupal) and CSS. In addition, we need to think of how the design will adapt for the different screen sizes (tablet, mobile and desktop). The work that Wedge & Lever did here is a great example of a solid grid system and the flexibility it gives to experiment with different typography styles. Vertical text is often present and it gives a very stylish look. In late 2011, we were hired to re-design TransWorld Surf magazine. Our objective was shifting the creative direction to support a photo-driven editorial model while breathing new life into the magazine format. The intended result: sophistication that does not take itself too seriously. An immediate increase in market-share proved the re-design was successful and it continued gaining until May of 2013 when the publication was purchased by its main competitor and subsequently shut down. For more information check out http://wedgeandlever.com/
The talented people over at Wedge & Lever never cease to impress and inspire me. Every project that they share on their Behance profile has something worth sharing. The View From A Blue Moon Book is a great example of meticulous attention to detail and, visually, a level of craftsmanship that make me envy them, in a good way of course. Without further ado, check out this stunning project. What is cool about this project is the beautiful outcome, with a wide variety of layouts and compositions. They were also very generous to share a bit more of the behind the scenes with the grid, and also how they came up with several of the images, like the one with water ripples over text. Before production of View From A Blue Moon began, we knew that a print piece would be just as critical to the project’s success as the film. A plan was developed to have photographers on hand to meticulously document every moment of the production process. Between these photographers, John Florence’s personal images, and terabytes of 4K footage to pull framegrabs from, there’d be more than enough visual content to create the in-depth documentation of the three-year project. When production wrapped for View From A Blue Moon, nearly 50,000 images were cataloged. After three rounds of photo editing, we got the image selects down to a much more manageable amount: 2,000. These selects ranged from decades-old family photos to RED framegrabs shot from helicopters flying over desolate stretches of African coastline. We then collaborated with CR Stecyk III and the Hurley team to craft the written content, which ranges from unguarded interviews with the cast and crew to long-form essays. Wedge & Lever is an independent design studio based in San Diego, California. For more information check out http://www.wedgeandlever.com/
Editorial design has become almost an addiction to me. I used to spend most of my time checking illustrations and photo-manipulation but in the past few years I noticed that compositions, grid and typography were gaining traction. Every time I see someone posting about this subject on Behance or Dribbble I dig deep trying to learn a bit more about the project and how the designer came up with that solution. For this post today I will share the work of Max Winter. Max Winter's project is titled Buff - Exhibition Catalogue, 2015 and it was created for his bachelor degree final project. It's a catalogue for a fictional exhibition, which would focus on the aesthetics of graffiti removals. Visualizing three facts of those removals was his main task. The layer, that ordinarily hides graffiti, is symbolized by the paper itself. Because of the japanese binding the paper is covering some content which is only printed on the inside. A graffiti removal piece is also influenced by accident which i visualized by using a script that was placing the content randomly. For the cover i used the look of a washed out tag. The result is a catalogue that is also functioning as a navigation tool while visiting the exhibition and offers gimmicks like posters to take the exhibition home. For more information about Max, check out his work at http://www.wntr.de/ Max Winter does not earn the rights of the used images and they were just used for the presentation at the university of applied sciences Potsdam.