[caption id="attachment_138869" align="alignright" width="290"] The November cover, captured on a Google Pixel 3 by Michael Graydon and Nikole Herriott.[/caption] “It’s not necessarily a redesign,” cautions Bon Appétit creative director Michele Outland. “We’re calling it a refresh.” Terminology notwithstanding, almost a year after returning to Condé Nast to take on her current role, Outland's most significant aesthetic alterations to date debut with the magazine’s November issue—on newsstands Tuesday. “I walked into a super strong brand, and there wasn’t a whole lot I wanted to change,” she adds. “I think [editor-in-chief Adam Rapoport] and the previous teams that were here have done a great job to establish the voice and tone of BA, so I just wanted to give it a couple of enhancements.” That means you won’t be seeing many of the typical facets of a magazine redesign, such as the introduction of new typefaces—Paul Renner’s Futura remains the star player—or any significant adjustments to the magazine's trim size or paper stock. Similarly, the Bon Appétit logo has been “redrawn” by Commercial Type—the studio that recently designed new fonts for The Guardian and T: The New York Times Style Magazine—but not altogether reimagined. “We added a few more thicks and thins, which I felt gave it a little bit more elegance,” says Outland. “It’s super subtle, and most people probably won’t notice, but for us design nerds it’s kind of exciting.” [caption id="attachment_138889"... Continue reading at 'Folio Magazine'
[ Folio Magazine | 2018-10-16 00:00:00 UTC ]
[caption id="attachment_138869" align="alignright" width="290"] The November cover, captured on a Google Pixel 3 by Michael Graydon and Nikole Herriott.[/caption] “It’s not necessarily a redesign,” cautions Bon Appétit creative director Michele Outland. “We’re calling it a refresh.” Terminology... Continue reading at Folio Magazine
[ Folio Magazine | 2018-10-16 00:00:00 UTC ]
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