Changing Faces – Editorial Outcomes


Moving back to “subject” from “field”, David introduced us the Changing Faces brief. This new assignment was meant to let us exercise and apply everything that we did and learnt during the first academic year at Cardiff School of Art and Design, that including typography, image making, story telling. The idea of this project was that we would be given several articles, and have the possibility to choose the one that stands out to us and use it as content for our magazines that being 3 double page spreads or two double page spreads and 2 single pages, a total of six pages. However, once we have selected the article, we had to research and learn the topic back to back in order to understand and be able to create a consistent and effective communicative language for our final editorial piece.

“Can a French Frier End the 21st Century Slave Trade” being my article of choice, I have researched into slave trade and slave issues around the world in order to gain a bigger understanding of the topic. Then, I have looked at what other artists and designers had to say about it, I looked at things like campaigns, posters, online videos, documentaries, lots of artwork based around the genre, photography, but also deconstructed the article itself in order to fully understand what is going on and how to stop it.


After the deconstruction of the article and all the research done on the genre, I started to do my own sketches of ideas based around various movements such as Constructivism, Impressionism, Dadaism, German Expressionism, Modernism, etc… I was looking at elements of abstract and powerful messages as well as explicit and implicit interpretations of real life events that happened in the past and still do today. My idea was that I could come up with a mixture of things such as powerful implicit and sharp explicit images or I could have abstract shapes representing and telling a story through colour and dynamic abstract marks illustrating feelings such as pain and agony. Or maybe I could just simply create symbols that represents genders and youth being forced to cheap labor and hard work followed by different reasons, like the male and female symbols or the yin and yang and many more examples.



While doing my research on different styles and magazines layout designs I have also sketched out some own ideas of layouts and compositions for my editorial piece drawing inspirations from several interesting magazines that I have found through primary and secondary research. Again, I was looking at being different, looking at new styles and trying to get ideas to create something rather more unique and creative.


After sketching I have started to refine the ideas and decided to create digital illustrations keeping it to a more contemporary standard where images depict an aspect of some nowadays environments. My initial idea was photography as the modernist approach to photography it is essential and it was mostly adopted by Swiss designers as photography became more accesible tool it has also become their favourite media for creating their works. Although I wanted to use a slight different approach and create a style of modern illustrations representing the nowadays society, which co-relates to the main article.

Each of these illustrations are linked to different section of the article and are meant to communicate a message in relation to the main body. For example; The bar code suggests different products that are created based on slave labour and it also suggests that some people have no choice or even born and raised into the slavery that they do not have or know more in life than just being part of another working number. The man in the suit is meant to represent the bussines side of slavery and the slave trade, or the companies out there being involved in this kind of business as means of saving and boosting their earnings. However it could also be the “french firer” himself being there to help these people in a way or another. So it is a flip of scenarios with this one, that it can represent the bad guys but it can also mean that the guy himself is fighting for the good. That is to the audience to decide what it really represents, and that was the point of the illustration. On the other hand, the city-scape and construction sights are to talk about the type of slavery you’d find in bigger cities where foreigners with minor language skills arrive into these cities in hope of a better life where later they find themselves being trapped in the modern slave labor where they are being forced to work extreme hours in exchange for nothing but, poorly maintained shelter, restricted amounts of food and a good amount of threats. The idea of this is that these people have their documents confiscated upon arriving and do not have the access to any form of communication or contacts in order to find themselves out of the situation. So, the colours were thoroughly selected in order to communicate sorrow and isolation, where big cities aren’t always as pretty as they might seem at first but there are also issues such as this one that needs attention. So the illustrations are meant to draw the audience into reading it as well as allowing the audience to freely experience feelings and being creative with it while reading throughout the magazine spreads.



Here are some initial designs, playing around with the composition deciding where everything fits best and negative spaces and also what format to choose, either portrait/landscape or even a square book. At this stage background colours were not decided yet. Text was roughly set and organised in order to come up with a final style that I would use throughout the design process. I have got inspired by the Swiss style approach and decided to base my book around the style.


By this point I have already started to consider colours, type detailing and composition a lot more. At this point I have decided the magazine format, where the illustrations are going to sit on the page and the overall composition for all three spreads. However, I was still at the development stage where I was still playing around with the typography and type detailing in order to make sure that I have a good pace, a strong hierarchy and other details in order. I have looked at things such as drop caps, left justified text, the positioning and different grid systems that works best for my layout and least but not last the rivers, orphans and widows within the body of text.





I choose to follow this path, it seemed to be the most consistent of all my designs and it also stood out from the rest, although there were some little things that needed further edits. Things like font consistency, type setting and drop cap issues seemed to be a bit of a problem on this outcome. So, after looking back at the research and the workshops we did in the past I have realised that there was some mistakes in terms of type detailing that needed to be adjusted.

However, once we had our draft final design in place we had to submit our work to David that he would have a thorough look at our otcomes and give us formative feedback followed by some extra time to fix it prior to the exchibition deadline. The feedback played a big contribuition to my final piece as it helped me to fix some mistakes that I have not yet observed.


Final Magazine Design Ourcome:

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My design was missing something and realised that later after the feedback that it was 2 dimensional. By means, my text needed to speak out loud as well, I needed to select some quotes that would make the design stand out more. For the quote I was targeting words related directly to the illustrations so that it gives a minimal understanding of what the article is about, and what the main problems of the article are as well. However, followed by a tutorial with David talking about my draft final, he helped me to spot out some issues such as, the justified text and the rivers, font choice issues, and the main important the quoting which played an important part of the type detailing in this project and that I decided not to include in my previous outcomes.

So for my final adjustments I have decided to work with left aligned text rather than left justified as I realised it feels more free and looks good with the style. The drop caps on the last spreads in the previous draft outcome did not make much of sense as the drop caps in this context are meant to represent the starting of a new chapter, as on the last 2 pages weren’t a new chapter but just the continuation of “The Bondage Industy” chapter it was a bit confusing regarding the legibility. So, following that I have moved the text at the top as it will read more naturally and show the continuation of the chapter moving onto a new page. Also, I have selected the quotes in order to make the main issues of the article to stand out. And, I have also shorten the amount of columns, changing it from an 12 column grid and a gutter of 6mm to a column grid of 8 with a gutter of 6mm as there was too many columns for the amount of text.

The modernist approach to composition, imagery and negative spaces seems to be a very controlled but eye catching way it really inspired me so I have tried to create negative spaces that pushes the boundaries allowing the audience to have a moment of pause from the article and allow their minds to be creative with it.

Overall, this project was a great opportunity to work with text and image together and it gave me the opportunity to have more freedom with the work I produced that of the editorial piece as it allowed me to choose what I wanted to do as well. It was also a good way of improving the skills that we have developed throughout the year. I believe that there could be improvements to be made and that I can be more creative with the text, creating a more expressive and creative typography. Personally, I am quite happy with the outcome as I was looking to keep my design fairly simple and eye catchy. However, I was quite happy with the fact that we were given the chance to finally print our work to a professional standard and exhibit along side our Design as Activism projects as well.

Transparency – The Literal and The Phenomenal

Workplace-Transparency-1000x487.jpgTransparency is part of the constellation module and it is designed to help us through our studies by bringing up new concepts and ideas and different subject that we can take further into our projects and help us think more openly and conceptual about our work. In this subject, I have learned a lot about different dimensions and how to look at the things through the back doors. By means, the different dimension meant that one object or thing can be seen through many aspects and it can only become possible by applying the all four dimensions. This project was a good opportunity to learn new things. Transparency helped me to look at things from many perspectives and create new ideas in a different and more efficient way. We have had the flexibility to work in groups and discuss ideas throughout, more important we had to create presentations based on the different works of art either flat work or 3d sculptures. The tutor gave us a defined explanation on the literal and the phenomenal, she has also given us different examples of each and made sure we fully understood what they meant and what do they represent in the context of transparency.

Throughout the time of the project, most of the seminars happened to take place at the National Museum in Cardiff where we learnt a lot about dimensions and we have engaged in group tasks and individual tasks around the Museum. Each week we have been given sections of text from books closely chosen by the tutor where we were given the task to find pieces of artwork in the museum of a 1-D, 2-D, 3-D and eventually, 4-D form as well and associate it with the meaning of the given text and explain our understanding. However, the idea was to think phenomenal rather than literal where we were meant to look and identify different dimensions related to the found piece of art. I found this subject extremely helpful and fun at the same time. It allowed me to open my eyes when working on my graphic design projects, it has also allowed me to think more before coming up with a concept as it helped me to come up with innovative brand new work for my projects. In preparation for the final paper, research tasks took a big contribution in the development of ideas for the essay. We were asked to go and pick up two art related books where we had to extract information and decide what we were going to write about. It was, however, a very flexible project as we were permitted to choose our own path and what subject to pick for our final essay. Yet, for this essay, I have chosen to write about the Swiss Graphic Design as it is closely related to my area of expertise but also as I am very enthusiastic about this modernist style. The Swiss graphic design inspires me a lot and I believe this was a great opportunity for me to go ahead and learn more about it. However, I practised and applied what I have learned during this module to research learn about new concepts and influences on what makes this style such an amazing approach within the graphic design culture. As I researched I tried to learn enough to be able to apply the Swiss style techniques to the different dimensions that I have learned about throughout the exercises we undertook during the time of this module. Now, that I understood more about the different dimensions I tried to see how other fields like Science or Photography can relate to my subject. Throughout reading, I found that science has a close impact on the style and that it could also be a source of influence for the reason why this style was created. I believe that photography has its place of influence as well as science although it can relate a lot more to the artistic elements rather than the physical elements of Swiss Style of design.

I think this project was an absolute gold mine as it helped me to discover new things about my influences and it allowed me to think more about my concepts when engaging on my own design projects. With every experience, there come fundamental challenges as well. As with the deciding of my topic I have experienced a few problems coming up with the initial ideas of what I was going to base my essay ideas on. Although after doing some research I have fully decided and planned what I was going to say in my essay. After doing this subject I believe I would enjoy taking the idea of “Literal and Phenomenal” further and that I would like to apply it to my future assignments.

Photography – Modern Day Slavery

Lisa Kristine:

This body of images documents the pain of modern day slavery and the hope of freedom, allowing us to bear witness to the most horrible abuses imaginable and the most astonishing glimpses of the indomitable human spirit.

Stratum – Nepal


Cave Mine – Ghana


Blue Red Black – India


Enslaved – Ghana



Can a French Friar End the 21’st Century Slave Trade? Deconstructing the Article & Further Resarch.

Starting this project David provided us with 10 articles, we needed to select one topic of interest of which we would eventually use it as the content of our editorial magazine design project. Most of the articles sounded very exciting and somewhat intriguing, however, “Can a French Friar End the 21’st Century Slave Trade?” seemed to be the one that really stood out to me. I liked the idea of working with something different and relatively big for a change. I felt that this article was the big issue that the nowadays society faces, something that needed more attention.

As a designer, I believe I can help to spread the word using the visual language of design. This topic feels very similar to the last project “designing like activism” which we needed to design for people who do not have the knowledge and the necessary tools to speak out loud to the world, and the world giving them the attention required to make a change. So that’s when I come in, putting together everything that I have learnt in the past and since the start of this course to come up with the best graphic language for my chosen topic for the editorial piece.

Now I have studied the article and I have deconstructed it in order to learn more about it and its background, tones etc.

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Full text —–>

What is forced labour?

Forced labour is any work or service which people are forced to do against their will, under threat of punishment. Almost all slavery practices contain some element of forced labour.

It affects millions of men, women and children around the world. It is most often found in industries with a lot of workers and little regulation. These include:

  • Agriculture and fishing
  • Domestic work
  • Construction, mining, quarrying and brick kilns
  • Manufacturing, processing and packaging
  • Prostitution and sexual exploitation
  • Market trading and illegal activities

Forced labour is the most common element of modern slavery. It is the most extreme form of people exploitation.

Although many people associate forced labour and slavery with physical violence, in fact, the ways used to force people to work are more insidious and ingrained in some cultures.

Forced labour often affects the most vulnerable and excluded groups, for example commonly discriminated Dalits in India. Women and girls are more at risk than boys and men, and children make up a quarter of people in forced labour.

Migrant workers are targeted because they often don’t speak the language, have few friends, have limited rights and depend on their employers.

Forced labour happens in the context of poverty, lack of sustainable jobs and education, as well as a weak rule of law, corruption and an economy dependent on cheap labour.

Five Forms of Slavery:

Chattel slavery is the most common form of slavery known to Americans. This system, which allowed people — considered legal property — to be bought, sold and owned forever, was supported by the US and European powers in the 16th – 18th centuries.

Today, most observers agree there are five major forms of slavery occurring in the world. Each form represents the basic truths of enslavement: The victims are forced to work involuntarily or are unable to leave once they have started.

The enslaved face the threat of physical, mental or emotional punishments and are deceived and abused daily. If a person’s labour is exploited by such means, any previous consent to work for the enslaver becomes irrelevant as they are now being held against their will.

Thankfully, slavery is no longer legally protected anywhere in the world. Yet, the control and exploitation of one human being by another still remain.

  • Forced Labor — Describes all types of coerced work that an individual must provide against his or her will. Contemporary forced labourers are treated as property to be exploited commercially, much in the same way African Americans were regarded during the antebellum period in American history.
  • Bonded Labor or Debt Labor — Describes slavery in which an individual is compelled to work in order to repay a debt. It differs from other forms in that, oftentimes the labourer and the employer initially enter into a mutual agreement. However, contract conditions may be illegal and/or vastly more beneficial to the employer than the labourer. These workers become slaves when they continue working, but cannot pay off their initial debt because of exploitative contract terms and, thus, cannot leave.
  • Sex Slavery — Describes women, men or children that are exploited in the commercial sex industry, which may include: pornography, prostitution, erotic entertainment, strip clubs, online escort services, residential brothels, hostess clubs, fake massage parlours or any exchange of a sex act for something of value. Money may or may not be exchanged; other things that may be traded for sex acts are drugs, shelter, food or clothes. A person’s initial consent to participate is irrelevant if that person is held in service through psychological manipulation or physical force.
  • Child Slavery — Describes all child labour obtained from individuals under the age of 18 through the means of force, deception or coercion. Children can be enslaved in debt bondage, forced labour, prostitution, armies, domestic work and other forms of hazardous work. Today, forced child labour exists in nearly every industry around the globe.
  • Domestic Servitude — Describes slaves that are forced to work in extremely hidden workplaces: private homes. Domestic workers become slaves when their employer uses force, fraud or coercion to control or convince an employee that they have no choice but to continue working. Isolating environments, unfamiliar languages, confiscated travel documents and restricted mobility are often connected to this form of slavery.

We all have seen, heard or even came across the big brands like Apple, Starbucks, Tesco or even consumable products like shrimp, coffee, chocolate, tobacco and many others that have been fabricated and cultivated through using child slavery, forced labour etc. This video shows a better insight on how these products were produced through this type of labour and how it works.

Anti-Slavery Campaigns:

Slavery is closer than you think

Hidden In Plain Sight


CIOB Report

Recommendations from the report centred on the need to create an all-encompassing approach to the issue of modern slavery, with contributions from government, industry and NGOs.

Operation Magnify, an enforcement initiative launched by the Home Office, targeted businesses that employed or exploited illegal migrant workers. The CIOB supported the campaign and cited that migrants without the right to work become vulnerable, and, as our industry tells us, are at serious risk of injury, exploitation and human rights abuses.


Examples of Posters about Anti-Slavery


Swiss Style & Modernims

Swiss Style Design:

Often referred to as the International Typographic Style or the International Style, the style of design that originated in Switzerland in the 1940s and 50s was the basis of much of the development of graphic design during the mid 20th century. Led by designers Josef Müller-Brockmann at the Zurich School of Arts and Krafts and Armin Hofmann at the Basel School of Design, the style favored simplicity, legibility and objectivity.

Of the many contributions to develop from the two schools were the use of, sans-serif typography, grids and asymmetrical layouts. Also stressed was the combination of typography and photography as a means of visual communication. The primary influential works were developed as posters, which were seen to be the most effective means of communication.

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If you’re a designer in the 21st century, chances are you’ve studied the International Typographic Style (more commonly known as ‘Swiss Style’). Let’s take a moment to honor some of modern design’s most influential principles, typefaces and artists who started this central-European trend.

The Typefaces:

Appreciating Swiss Style means appreciating the typefaces that started it all. Those grid systems wouldn’t be anything without the classic sans serif typeface that so seamlessly folds into Swiss Style. Those who taught Swiss Style argued that design should focus on the content and not decorative extras. By stripping away the embellishments, Swiss Style eliminates distractions for the viewer and allows the information-heavy design to be read and studied rather than merely seen and admired. Because of this, the typefaces chosen to represent Swiss Style are those that really hone in one the movement’s key principles:


Probably the most influential typeface for this movement, Akzidenz-Grotesk was released by the Berthold Type Foundry in 1896 and was arguably the first of its kind. It soon became one of the most widely used typefaces and was even sold in the U.S. under the names “Standard” or “Basic Commercial.” If that doesn’t shout “FIRST!” I don’t know what does.


Adrian Frutiger, one of the most influential typeface designers of the 20th century, created Univers in 1954. Pulling elements from Akzidenz-Grotesk, Frutiger created one of the first typefaces that formed a font family, allowing documents to use one typeface (instead of several) in various sizes and weights, creating a beautifully simple uniform via text alone. Originally released by Danberry & Peignot in 1957, the family passed through the hands of the Haas Type Foundry before being purchased in 2007 (along with all of Linotype) by Monotype.


When Max Miedinger and Eduard Hoffmann created Helvetica in 1957, did they know their work would result in what is arguably the most ubiquitous sans serif typeface in the world? Probably not. Did they think, for just a moment, their typeface would inspire a film? Again, probably not. But here we are, nearly 60 years later, with an 88% fresh rating on Rotten Tomatoes, and Simon Garfield regarding Helvetica as “ubiquitous because it fulfills so many demands for modern type.”


Modernism refers to the broad movement in Western arts and literature that gathered pace from around 1850, and is characterised by a deliberate rejection of the styles of the past; emphasising instead innovation and experimentation in forms, materials and techniques in order to create artworks that better reflected modern society

The terms modernism and modern art are generally used to describe the succession of art movements that critics and historians have identified since the realism of Gustav Courbet and culminating in abstract art and its developments in the 1960s.

Although many different styles are encompassed by the term, there are certain underlying principles that define modernist art: A rejection of history and conservative values (such as realistic depiction of subjects); innovation and experimentation with form (the shapes, colours and lines that make up the work) with a tendency to abstraction; and an emphasis on materials, techniques and processes. Modernism has also been driven by various social and political agendas. These were often utopian, and modernism was in general associated with ideal visions of human life and society and a belief in progress.

By the 1960s modernism had become a dominant idea of art, and a particularly narrow theory of modernist painting had been formulated by the highly influential American critic Clement Greenberg. A reaction then took place which was quickly identified as postmodernism.



Magazine Spreads – Good and Bad Practices

Magazine spread is two pages that are next to each other. Each spread works as one unit. It is not two pages separated but two pages that work together to create one unit. When designing magazines it is vital to look at these two pages as one single element even if those pages are going to contain two different stories. Even if one of the pages is containing an ad or even if one story is ending on the left page and another is starting on the right page (if possible you should avoid situations like these but sometimes they are unavoidable).

Readers see a spread as one unit. Since magazines are smaller than newspapers, magazine spread can be “digested” in one view because our peripheral vision encompasses the entire spread at normal viewing distance. On the other hand newspaper, especially large format broadsheet newspapers are scanned in several takes.

Because of this, you have to consider what will be on the other side of your spread. Will it be an ad, will it be the beginning of another story or maybe a full bleed image.

The grey areas represent the most visible areas of the spread. The Darker shaded area is more visible than the lighter shades. Readers eye is drawn to the upper parts that are why those areas have the most impact.

Elements of the spread:

Not all areas of the spread are equal. Some have more importance, some have less. For example, when you go to the newsstand, you pick up some magazine, you grab the magazine by the spine with your left hand, and with your right hand, you flip through the pages.

The most visible area at that point is the outer part of the right page. Another example is if you put the magazine on the table and start flipping the pages, the lighter (left part) of the magazine will be flipped and folded but the heavier (right part) will stay flat on the table, hence more exposed to the viewer’s eye. The process is reversed if someone is flipping magazine from the last page, then the outer left area of the page is the most visible one.

The most visible parts of a spread are outer upper parts

You should place your best content on the outside parts of the spread. These are the areas that are most seen. This is the place to put most provocative images and words. Put the best stuff where it will be most visible and where it will make the best impact. Most valuable areas of page spread are top left and top right parts because when you skim through the magazine these are the areas where you look the most. Make the most of them.

On the other hand, the bottom part of the spread, inner corners near the gutter are less important. Have you ever noticed how designers place footnotes and some credits in those parts of the spread? Now you know why.

Bad example of placing headline and intro text. It is not a natural way of skimming through the story.

Readers eye direction:

When influencing on the reader your design should have meaning. Readers concentrate on the top parts of the spread. This is the first place where their eye will stop when they skim through the pages so you cannot start your story by placing headline on the bottom right page. This is not a natural starting point.

I have seen this in so many examples, but try to avoid it. It is not good design if the reader has to search through the page to find the most important thing (if there is no image on the page), and that’s the headline. It is even worse if you put the headline at the bottom and you put the beginning of the story on top of it.

This is not a natural way of reading the story. Everything should have flow. You should work your way from the meaningful top left and then continue to the bottom. The headline, intro copy and then the main copy. That should be your guide.


In this case, it is OK to place the headline at the bottom. The readers will have no problem following the story, besides, it would be awkward to place the headline on top of the model’s head.

This is the natural way of viewing things unless designer pulls his attention away by placing elements on the page that will attract the reader’s eye. Sometimes the headline can go on the bottom part of the page if this page has a full-page image that bleeds out of the page.

This is an example of bad text flow. You can see how the flow of the story is not natural and the reader will have a hard time following the text across.

Image and body text arrangement:

When placing big blocks of text, try not to break them up. You should not throw elements on a page just for the sake of throwing them around. Let it have a meaning. A flow. If you put barriers on the page, reader will have a hard time following the flow of the story. Keep the flow of the text columns tidy and even.

Things should be simple, and you should simplify the design by aligning the columns at the top and placing images above them. In this way, reader will have no problem to follow the text part of the story.

This is a good example of text flow. Text and images have their own place and importance. Flow is natural and the reader will have no problem following it.

Take a look at these images above and you will see how the flow of the text is better in the second image. Red lines represent the direction of the eye. You will see how harder is to follow the text flow in the first image.

Ad pages:

Advertisers prefer right pages. Since advertisers want the great exposure that’s why they insist on being placed on the right page. Again, as you skim through the magazine you will notice their ad much easier. Especially if the ad is in vertical half a page format. Placing that ad in the inner part of the page, near the gutter, would be a great mistake. Costly mistake.

Always look at a spread as a unit

Left pages are great for editorial content. It is always good to know which ad will go on the opposing page. In this way, you can design editorial page in a way that will correspond with the ad. It is best to make a contrasting design on your editorial page. For example, if the ad is in blue shades, you should not use blue as central colour on your page. If the ad has emphasised image that bleeds out, you should design your page with more text and very few images. In this way, reader will have no problem to distinguish what is editorial and what is an ad. Of course, sometimes this is hard to carry out but try to make your editorial pages different from ad pages.

Try to remember these rules and follow them, once you are familiar with them you can start to break them, but only if it will bring something interesting and make the design better. Do not do something different just for the sake of making it different. Always have meaning for whatever you do.

This is a reblogged article used for research purposes, This article was written by Nikola from



Double Page Magazine Layouts & Editorial Design Examples

Double page magazine and book layout examples:

1: The Lonely Road book

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This magazine’s layout is mostly based on negative space and very limited in terms of page content. Although it is a very consistent design layout, the composition seems to change slightly from portrait imagery to landscape text. The design it is also based on a limited colour pallet and it seems to be quite eye catching. Some of the elements of design in this magazine tend to overlap each other creating a rather abstract style.

2: Atlas


Looking at this poster the first thing that drew my attention was the lady in the picture then the title, then the text on the right spread page which makes the layout flowing and easy to read the content. The composition of this design seems to work quite effectively despite the fact that the title is separated by the image in the middle which creates a little pause when reading the title, however I think it still works pretty good as the title is referring to the girl in the photograph. The hierarchy of this magazine spread is very central and still follows the rules of design, good spacing and very interesting use negative spaces here as well.


This double spread is one of my favorites that because of its amazing hierarchy. I love the use of text and image here, the colours seem to make a big impact as well, it is a lovely looking design, very clean and well spaced. The layout seems to be flowing from left to right as it should be, and the use of path of the eye, the first thing I look at when I open this magazine is the right page, however the bold and big title tells us exactly where we should start reading and where the article ends.


In this example it is a mixture of text and image working together in order to communicate the message. The first thing I looked at was the 3 dimensional ring which creates the illusion of that the text is also becoming 3d by looking at it making them both equally important. The hierarchy of this design is very centered and well spaced on both pages.


3: The Freaked Out Issue

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4: Portraits of Power

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5: Futu-Magazine


6: Hydration in Winter via Luciana Ruivo


7: Ef Style – Fones via Luciana Ruivo


8: Healthier via Luciana Ruivo


9: Magazine Design Spreads via Kristina Ushakov


10: Making Inroads via Guacamole Goalie


11: Computer Arts Magazine


Editorial design examples:

1: Do You Remember When This World Was Ours?


2: Visual identity concept / Strassenfeger


3: MAID IN CHINA – The story behind your stuff


4: Bachelor Thesis


5: Oscar Wilde Retrospective


6: Our Dying Forests” by The Salt Lake Tribune: Focus The Eye


Was your eye drawn to that white box cutting through the main photo at the top? If so, design goal achieved.

7: Off the Shelf” by Times of Oman: Create Visual Interest And Intrigue


8: Off the Shelf” by Times of Oman: Create Visual Interest And Intrigue


Primary Research

David allowed us to have a look at his design magazine collection and showed us good examples of different magazine styles and good layouts, where we had the opportunity to talk to each other about them and shared opinions. These like many others magazines are great work, they all have remarkable aesthetic elements to them that make every one of these examples unique and beautiful.