Magazine layout deisgn

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FASHION / ART

Summer 2016 12 zl

CHARLES JEFFREY

X LOVERBOY Jeffery reveals his plans for vamping up the fun and introducing Andy Warhol to the nightclub scene.

SUPER SWEET

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SPRING COLORS Each color has many aspects to it but you can easily learn the language of color by understanding a few simple concepts.

TYLER, THE CREATOR

GOLF

Can you count all the points on his shirt?

They have different colors!

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table of contents

YOU WILL FIND HERE Use A Gradient Sweet and shot. It covers still lifes and is quite beautiful. Check out the rest of the book on Behance.

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one column and accompanied it with a beautiful photograph framed in white space. It’s balanced and elegant, like the rest of its spreads.

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Create a Tabbed System Colorful tabs help you quickly find sections contained in the publication.

Granted, it’s a pretty slim booklet, but an interesting option to explore.

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Combine Type and Images An interesting way to give readers a peek into the visuals of each story.

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Use A Bold Typeface Try a Type-Centric Approach Jeopardy Magazine lists its content and uses a color accent to arrive at a sophisticated Table of Contents.

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Chapter names set in big, bold type. A stunning contemporary solution by The Design Society Journal. If you have longer chapter titles, give it a shot.

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Use a Grid

Use Columns

This is a sweet magazine, worth keeping an eye on!

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Using a column grid might do the trick! Checkout Artworks’ Table of Contents featuring 4 big columns that use an image representative of each section and large.

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Create Icons Each Chapter Thaimani features beautiful, little icons representing the content each section of the book features. Don’t want to create an icon collection to represent each chapter in your own Table of Contents? Try using them as details.

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Feature Beautiful Photography

Spice Up A Conventional Approach Type Spatial airs on the conservative side but does so wonderfully. ItsTable of Contents makes use of tasteful type, set simply. It pairs wonderfully with its lovely stitching.

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Create a Graphic Visual System This report created a sweet visual system. Each chapter has its own graphic, all which stack together to produce the larger one on the counter page.

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Go Retro Le Contact goes slightly retro, with illustrations and type that speak of a time past. Both elements are paired with loads of whitespace to present a classic and elegant Table of Contents.

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Give Readers a Preview Using Beautiful Images Sink details its contents in type but inserts interesting images paired with the page number they are found on. Kind of like a sneak peek. Give it a try.

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Create a Tabbed System Colorful tabs help you quickly find sections contained in the publication.

Granted, it’s a pretty slim booklet, but an interesting option to explore.

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Pure Magazine condensed its Table of Contents into

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Use An Entire Spread How about a Table of Contents that isn’t constrained to one page but uses an entire spread? Orbe Magazine gives its readers a grid with titles and page number on the left and images featured in each chapter on the right. Pretty cool, huh?

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Create Hierarchy Not all chapters are created equal. Try creating hierarchy for chapters in a Table of Contents like Volta does by giving sections with featured articles visual emphasis. You can set them in larger type or even try a color accent.

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Integrate It To Your Cover If you have a small number of chapters, it might be worth exploring integrating your Table of Contents to your cover or an interior title page, like The Outpost.

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Turn It Into Your Cover Here is a second take on creating a Table of Contents that integrates into your cover. Mapping Rua Do Almada contains a few more chapters than The Outpost but still Page 67

At the same time Emap offered her a position as Editor-in- Chief of an as-yet unnamed new magazine.

The first issue of Pop was launched in September 2000. Grand said that her main concept was that „it to be really jolly.

And pink — I was obsessed.

In 1999, the publishing house Emap enticed Grand to leave Dazed & Confused—a magazine founded

by Rankin and Jefferson Hack—and invited her to work on the cult magazine The Face, as the magazine‘s official fashion director. At the same time Emap offered her a position as Editor-in- Chief of an as-yet unnamed new magazine. The first issue of Pop was launched in September 2000.

Grand said that her main concept was that „it to be really jolly. And pink — I was obsessed with it being pink.“ Grand left Pop in 2008, along with creative directors Swillingham and Spalding, to establish a rival magazine, Love, published by Conde Nast.

Pop relaunched in an online digital format

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as THEPOP.COM. and the first issue under new management was released on 1 September 2009.Dasha Zhukova was hired as editor-inchief with Ashley Heath as the Editorial Director and David Girhammar as an editor.

On 1 September 2010 Britney Spears graced the cover of the magazine for her first time.

In 1999, the publishing house Emap enticed Grand to leave Dazed & Confused—a magazine founded by Rankin and Jefferson Hack—and invited her to work on the cult magazine The Face, as the magazine‘s official fashion director.

At the same time Emap offered her a position as Editor-in- Chief of an as-yet unnamed new magazine. The first issue of Pop was launched in September 2000. Grand said that her main concept was that „it to be really jolly. And pink — I was obsessed with it being pink.“ Grand left Pop in 2008, along with creative directors Swillingham and Spalding, to estab-

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introduction

MIAMI JEREMY SCOTT Popsicle

inspirations

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inspirations

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inspirations

Moschino 2016 x Jeremy Scott

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inspirations

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“I can see it as being part of a movement:

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the visuals of going out.”

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meeting people

C H A R L E S J E F F R E Y

L O V E R B O Y

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&

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meeting people

We meet chares

“I CAN SEE IT AS BEING PART OF A MOVEMENT: THE VISUALS OF GOING OUT.” jeffry in his place in London

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meeting people

Jeffery reveals his plans for vamping up the fun and introducing Andy Warhol to the nightclub scene.

CA: So Charles, tell us about your night at Vogue Fabrics?

collaborate and help with it. I can see it as being part of a movement: the visuals of going out. “I want the night to be associated with them. I want to bring the magazine to the party.”

CJ: LOVERBOY is a monthly club night that I hold at Vogue Fabrics and it is coming up to five months old. It has been an excuse to put energy into something other than fashion design. When I first moved to London the nightlife was amazing; like Ponystep, there was this whole fashion scene - but no one dresses up anymore, and I wanted to bring that back. My aim was to create an environment where people could express themselves. It’s a night out for fun and friends are happy to collaborate and help with it. I can see it as being part of a movement: the visuals of going out.

“I want the night to be associated with them. I want to bring the magazine to the party.”

CJ: Next I’m doing a film. I want to push people to go wild and become showstoppers. I’ve been talking with photographer and friend Dexter Lander to do a series of portraits of people who are doing something in London.

I want the night to be associated with them.

I want to bring the magazine to the party. This will include polaroid photographs of the guests, giving them instant fame. Similar to the Warhol portraits, CA: What direction do you see LOVERBOY moving in?

I want to interview them and use an odd pull quote as the header. So it will CJ: Next I’m doing a film. I want to push people be like LOVERBOY and I will be stopping to go wild and become showstoppers. I’ve then ‚my favourite fruit is LOVERBOY for two been talking with photographer and friend apple‘ or something. I have months to do my Dexter Lander to do a series of portraits of been inspired by so many people who are doing something in Lonelements of Andy Warhol’s Masters in Fashion don. I want the night to be associated with work, especially with the Design at Central Saint them. I want to bring the magazine to the promotional images for Martins, but it will have party. This will include polaroid photograLOVERBOY. The first night phs of the guests, giving them instant fame. a comeback! was inspired by Andy WarSimilar to the Warhol portraits, I want to inhol; the second, [Richard] terview them and use an odd pull quote as the header.

Avedon’s Versace campaigns, and the most recent So it will be like LOVERBOY and then ‚my favourite images were inspired by Ryan McGinley’s work. fruit is apple‘ or something. I have been inspired by so But for the next one we are going to start with many elements of Andy Warhol’s work, especially with a film and interviewing people. the promotional images for LOVERBOY. I will be stopping LOVERBOY for two months to do The first night was inspired by Andy Warhol; the my Masters in Fashion Design at Central Saint Marsecond, [Richard] Avedon’s Versace campaigns, and tins, but it will have a big juicy comeback! the most recent images were inspired by Ryan McGinley’s work. But for the next one we are going to start CA: So Charles, tell us about your night at Vogue Fabrics? with a film and interviewing people. I will be stopping LOVERBOY for two months to do my Masters in Fashi- CJ: LOVERBOY is a monthly club night that I hold at on Design at Central Saint Martins.

Vogue Fabrics and it is coming up to five months old. It has been an excuse to put energy into CA: So Charles, tell us about your night at Vogue Fabrics? something other than fashion design. When I first moved to London the nightlife was amazing; like CJ: LOVERBOY is a monthly club night that I hold at Vogue Ponystep, there was this whole fashion scene - but Fabrics and it is coming up to five months old. It has no one dresses up anymore, and I wanted to bring been an excuse to put energy into something other that back. bring the magazine to the party.” Next than fashion design. When I first moved to London the I’m doing a film. I want to push people to go wild nightlife was amazing; like Ponystep, there was this and become showstoppers. I’ve been talking with whole fashion scene - but no one dresses up anymore, photographers. and I wanted to bring that back. My aim was to create an environment where people could express themselves. It’s a night out for fun and friends are happy to

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CA: What direction do you see LOVERBOY moving in?

S S

U P W E

E E

R T

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S P R I N G C O L O R S

super sweet spring colors

Green is the color of balance and growth.

It can mean both self-reliance as a positive and possessiveness as a negative, among many other

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meanings.

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super sweet spring colors

The color psychology of pink is unconditional love and nurturing.

Pink can also be immature, silly and girlish.

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super sweet spring colors

ndigo is the color of intuition.

In the meaning of colors it can mean idealism and structure as

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well as ritualistic and addictive.

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super sweet spring colors

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super sweet spring colors

Orange is the color of social communication and optimism.

From a negative color meaning it is also a sign of pessimism and superficiality.

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super sweet spring colors

Purple is the color of the imagination.

It can be creative and individual

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or immature and impractical.

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super sweet spring colors

In the meaning of colors, magenta is a color of universal harmony and emotional balance.

It is spiritual yet practical, encouraging common sense and a balanced outlook on life.

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Upcoming

FASHION A ND FREEDOM: Bespoke designs by Vivienne Westwood,

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JS Lee and Sadie Williams, films

by Phoebe English, Craig Green and Gareth Pugh, and impressive student work from London.

You could be forgiven for being bored of war history. A frequent focus of both history and English curriculums at secondary school, the First World War is also the subject of the four-year-long 14-18 NOW centenary season, and is just about everywhere.

Of course we should never forget the horrors of warfare, but attending the exhibitions set up to remind us often feels like a chore.

Not so at Manchester Art Gallery, where a fresh perspective focuses not on the many men whose grim fate in the trenches we have all been

MANCHESTER ART GALLERY EXPLORES THE FEMINIST taught about before, but on the women who went to work in their place, taking on jobs from bus conducting to munitions manufacture, roles that eked out a new social place for women, eventually winning the right to vote in 1918. The ambitious exhibition, titled Fashion and Freedom, is compiled of almost all newly-commissioned work, with just one exhibit on historical dress -- mapping the dramatic change in silhouette from the trussed-up and tied-tight 1910s to the free and easy styles of the postwar‚ twenties.

Vivienne Westwood, J JS

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Lee, Sadie Williams, Holly Fulton, Roksanda and Emilia Wickstead have all created bespoke designs for the exhibition, taking influence from women‘s workwear of the periodfor factory work, Red Cross nurse jobs, and munitions work with toxic chemicals that turned women‘s skin yellow and earned them the nickname ‚canary girls‘.

These topics are also reflected in the impressive creations by students from fashion schools in Manchester, Salford, Leeds and London.

The design of dazzle camouflage warships; the restriction of corsets

Upcoming

Fashion and Freedom

Manchester Art Gallery.

A fourth film by Luke Snellin focuses on a woman‘s first day of work as a shool bus senior conductor.

Bespoke designs by Vivienne Westwood, J JS Lee and Sadie Williams, films by Phoebe English, Craig Green and Gareth Pugh, and impressive student work fills this refreshing exhibition on a women’s history of war. You could be forgiven for being bored of war history. A frequent focus of both history and English curriculums at secondary school, the First World War is also the subject of the four-year-long 14-18 NOW centenary season, and is just about everywhere.

Of course we should never forget the horrors of warfare, but attending the exhibitions set up to remind us often feels like a chore.

Not so at Manchester Art Gallery, where a fresh perspective focuses not on the many men whose grim fate in the trenches we have all been taught about before, but on the women who went to work in their place, taking on jobs from bus conducting to munitions manufacture, roles that eked out a new social place for women, eventually winning the right to vote in 1918.

The ambitious exhibition, titled Fashion and Freedom, is totally compiled. of almost all newly-commissioned work, with just one exhibit on historical dress -- mapping the dramatic change in silhouette from the trussed-up and tied-tight 1910s to the free and easy styles of the postwar‚ 20’s. A fourth film by Luke Snellin focuses on a woman‘s first day of work as a bus conductor.

Vivienne Westwood, J JS Lee, Sadie Williams, Holly Fulton, Roksanda and Emilia Wickstead have all created bespoke designs for the exhibition, taking influence from women‘s workwear of the period; for factory work, Red Cross nurse jobs,

is free and open from today, Friday 13 May– –27 November 2016

The exhibition, titled

Fashion and Freedom,

compiled of almost all newly commissioned work, with just one exhibit on historical dress code. garb and medical dressings, respectively. A fourth film

by Luke Snellin focuses on a woman‘s first day of work as a bus conductor.

Where other exhibitions dealing with the grave subject of a major war get bogged down with what it feels important to educate future generations about, the exhibition at Manchester Art Gallery follows the path of natural curiosity and wonder to illuminate fascinating, and genuinely enlightening details. Having allowed contributors to follow their personal interests and research paths means that visitors are able to enjoy the same freedom of discovery, and to take a fresh vantage point on a muchmulled period. Fashion and Freedom is free and open from today, Friday 13 May, until 27 November 2016 at

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and munitions work with toxic chemicals that turned women‘s skin yellow and earned them the nickname “canary girls”.

These topics are also reflected in the impressive creations by students from fashion schools in Manchester, Salford, Leeds and London.

Responding to the theme of ‚Restriction / Release,‘ student research uncovers the history of women‘s lunchtime football clubs – intended to build strength for manual labour; the treatment of women in workhouses and asylums during wartime; the design of dazzle camouflage warships; the restriction of corsets and crinolines; and the martial arts training undertaken by the amazing Suffragettes.

A screening room shows three short films made by SHOWstudio in collaboration with designer-filmmaker teams of Phoebe English and Rei Nadal, Craig Green and Marie Schuller, Gareth Pugh and George Harvey -- poetic meditations on the restricted bodies and lives of women; perceptions of a woman‘s capacity to work; and military garb and medical dressings, respectively. A fourth film

by Luke Snellin focuses on a woman‘s first day of work as a bus conductor.

Paths means that visitors are able to enjoy the same freedom of discovery, and to take a fresh vantage point on a much-mulled period.

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and crinolines; and the martial arts training undertaken by the Suffragettes.

A screening room shows three short films made by SHOWstudio in collaboration with designer-filmmaker teams of Phoebe English and Rei Nadal, Craig Green and Marie Schuller, Gareth Pugh and George Harvey – poetic meditations on the restricted bodies and lives of women; perceptions of a woman‘s capacity to work; and military

Souces used: photos dazeddigital.com interview petrieinventory.com text wikipedia.org exhibition text i-d.vice.com/en