Design reboot for Art Republik magazine (2017)
Not so much a reboot/revamp, but a logical evolution of its visual language. In its sophomore iteration (after four years on the dramatic, diversity-embracing design framework), and coinciding with a new editorial scope and tone from the new tenure of incoming Managing Editor Nadya Wang — together with the editorial team (and input from sales), we went back to the drawing board to re-map the aesthetic and ideological framework for the magazine.
The new editorial direction expanded its focus, to include more diverse voices from Southeast Asia, and to refine the academic rigour of its content, while retaining the magazine's primary goals of being completely accessible. We retained the good parts of Art Republik; kept its DNA while allowing its aesthetic to mature.
Instead of demolishing the existing look (and alienating readers like New Coke), I shuffled the preexisting suite of typefaces used, and fine-tuned the weight of elements, for a leaner, sparser look that is intended to create tension with the vibrancy and vigour of the artworks. The new framework allowed design to look dramatic still, but at the same time, took a backstage to the visuals. A new grid was drawn, force-including a thin movable gutter-column for captions (and whose secondary purpose was to create more space). Also, in terms of a refresh, all the preexisting "rounded" typefaces were replaced with condensed versions.
Section openers as well as front-of-book were switched to a white version, with adjustments; back pages were changed from ever-changing seasonal hues to a concrete grey. Parts of the magazine — under the purview of sales — were also re-engineered to a hot-swappable modular-function, facilitating easier workflow and functional mechanisms for selling.
The "meat" of the magazine — its hard-hitting feature stories, still retains its signature, renowned open-platform for boundary-pushing, editorial and visual experimentation.
