So I have big news to announce. I have recently joined the Vhcle Magazine team! I have always admired the Vhcle vision and I wasn’t going to let this opportunity pass me by. During the process of hopping on board I also brought my friend, colleague, and fellow JetstreamProjector contributor Bruce Mai.
We were given the incredible opportunity with Issue 7 to break down and reconstruct the entire magazine to give it a new and refined look. What really helped us gain a true understanding of the essence of the magazine was doing research and analyzing the past issues with a critic’s eye. Right off the bat, some of the important changes we decided to make were to establish a new grid and to update the typography of the magazine while maintaining the sophistication and independent feel of previous issues.
Another important layer we wanted to introduce was storytelling. Photos can be arranged and cropped in a strategic manner in order to tell a story and we wanted to use this as a tool to engage readers at more than just a contextual level but to bring a level of nostalgia or story discovery aspect. This is not to say that every section of the mag has blatant stories. The photos and other visual elements were arranged in a way to tell simple stories of multiple interpretations and develop a mood using the rhythm. Disregarding the cookie-cutter technique each spread is unique on its own and works in harmony with the other spreads to create a magazine that is not only viewed but experienced.
The cover and spreads featured above are from Issue 7 which was released on September 11th. As from this point forward we will be bringing nothing but progress of the magazine to you. Vhcle Magazine is only available online but with our team stronger than ever we plan to be in print very soon. This is just the tip of the iceberg of the evolution of Vhcle.
Get on over to Vhcle.com to check out the full issue and drop a line because we love feedback.
Check out the Bruce’s previous post on the magazine here.
Here is splendid ad for Gant Rugger. I found out about video by doing a little digging on the work of art director Albin Holmqvist who is also the man behind the amazing typography of the EF – Live the Language videos. Holmqvist really did a great job at creating the typography to complement the subject matter in a nostalgic manner. It really has that old fashioned feel which was achieved by the vintage filmography and type style and most importantly the fashion.
Perhaps by paying attention to this quick tutorial, the viewer may adopt a few pointers on how to gain an impeccable sense of style.
Commercial for Gant Rugger
Directed by NEWNEW by Fashion Tale.
Typography by Albin Holmqvist.
Lavafilm is a film company based in Oslo, Norway. What caught my attention to the branding of Lavafilm was the emphasis of a body of visual elements in creating an identity system in lieu of a standard logo. This collaboration between Henrik Wold Kraglund and Ludvig Bruneau Rossow implements a strong palette of custom typography and photography, as well as heavy use of a grid structure and grayscale color palette. The custom typography used for the identity is a striking exploration of merging a serif with a sans-serif typeface.
The concept for Lavafilm’s identity is inspired by natural disasters, such as volcanic eruptions and earthquakes. During an earthquake, solid objects will divide and move to random positions. This has been the basis for the development of our solution.
Via the Behance Network.
Bad design sucks, let’s face it. We made a cultural manifesto about it. About how much it sucks, how much could it suck less, and, more importantly, how much we could do to change it. Change the way design is perceived. Change it with heart, passion, attitude and intelligence.
That’s the real revolution, baby.
I ran across this genius of a site today and I swear it was like I struck gold! Wordmark allows you to preview all of the fonts that are installed on your computer…just type in whatever word you wish. Check out the sample above! We can thank Fahri Özkaramanlı for designing such a wonderful resource. I’m thinking about keeping this a secret from my fellow designers at school unless they are a regular on the blog in which they will find out anyways. Muahahahaha. One of my goals for my last semester in the design program is to explore new typefaces and using wordmark.it is a wonderful way to do so. I will definitely be utilizing this site. I guess I can share it with them if they give me good, honest critiques.
Here are some really nice pieces by Gottschalk + Ash who I previously introduced onto the blog a few posts ago. Once again, I am impressed by their extremely dynamic compositions. What we have here is a severe case of Swiss precision! Check out my previous post on the Galileo Poster.
Demi S Camera
New Bauer C-1 Super 8
Modern Photography – October 1965 / Cover
1965 Interchangeable Lens Guide – Insert / Cover
Here are some of the highlights from Modern Photography magazine, Vol. 29, No. 10 from October 1965. Amy over at Aqua-Velvet put together a lovely post and provided some really nice shots from the magazine. What attracts me most to these advertisements and brochure covers is the very prominent use of Typography. Herbert Keppler, who was Modern Photography’s designer for 37 years, wasn’t afraid to go bold with his usage of type in the designs for the magazine. I just can’t take my eyes off of the Interchangeable Lens Guide. The grid use, bold type, and simple monochromatic images just do it for me. Now that is sexy!
I’ve been meaning to post this for quite some time. I ran across it a few months back while I was getting my daily AisleOne fix. I found the Galileo poster after digging through the resources. The design is by Gottschalk + Ash Ltd. for The Theatre Company at the St. Lawrence Center. What captivated me about this poster is the simple grid use and the hauntingly enthralling symbol in the center of it symbolizing Galileo’s vision of space. Absolutely brilliant!
Here are some really amazing vintage book cover concepts by Norwegian designer Morten Iveland. So believe it or not these are not actually vintage book covers but were created to visually look as if they were. Iveland did a great job of achieving this effect with his wonderful attention to color and especially paper texture.
I was really shocked to come across this the other day on AisleOne. I was drawn to the dynamic sequence design but when I looked at the bottom and found ‘J.C. Penney Company Convention’ I was stunned. After looking into the history of the poster I found that it was a one-off design for JC Penney and that the poster was designed during the late-1970s during a transition from an American general merchandiser to a to a streamlined department store with a closely integrated catalog business (container list). What a great way to find out about the influential designer George Tscherny.