d ece m be r 2017
GOLDEN WHISK T H E
F I N E
D I N I N G
M A G A Z I N E
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GOLDEN WHISK
Volume 18 december 2017
Publisher Editor-In-Cheif Creative Director Art Director
Carly Dhein Vanessa Van Den Elzen Jacob Wolter
Photo Director
Aria Peterson
Creative Strategist Web Developer Marketing Manager
Andy Bauer Austin Zajichek Katie Zblewski Emily VanderZanden
Graphic Designer
Jasmin Pulchinski
Junior Graphic Designer
Jasmine Thomas
Business Advisor Distribution and Special Projects Manager Executive Assistants
Contributors
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Ryan Lemmers
Editorial Director
Production Manager
Kevin Murray
Nicholas Brazee Jamie Larsen Karen Drewry Katelyn Kaiser Mackenzie Godlewski Ram Luna Ryan Lemmers Anya von Bremzen Greg Mrvich Meg Zimbeck Prepared Foods
ON THE COVER
Rosemary Braised Tenderloin with Asparagus Himstrodd, Sacramento photo by Ryan Lemmers
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CONTENTS
6 Rising Chef Interview: Talking Bagels With Carly Dhein
by Ryan Lemmers
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8 Featured Article: Should Fine Dining Die?
by Anya von Bremzen
Recipe: Creating the Glamburger
by Greg Mrvich
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16 Behind the Curtain: Examining Haute Cuisine in Paris
World: A Taste of Moroccan Cuisine
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Style Guides
by Ryan Lemmers
by Prepared Foods
by Meg Zimbeck
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Rising Chef Interview:
Talking Bagels With
Carly Dhein
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When it comes to bagels, Carly Dhein doesn’t mess around photo by Ryan Lemmers
She’s taken the culinary world by storm and made a name for herself in bakeries and cafes across the country. I’m talking of course of Carly Dhein, the 21 year old baking phenom from Cedarburg, Wisconsin — a small tourist town a few miles outside of Milwaukee that emanates all the charm of a Hallmark Channel movie. In just 3 short years, Carly has created a staple of most Haute breakfast menus, opened the most decorated restaurant in the Midwest, and successfully written and published 2 books. So the last time I flew out to Milwaukee, I sat down with Carly over a cup of coffee and got to know a little more about her. You gave the world the Bagel D’or, the most luxurious and over the top bagel anybody could ever dream of. What was your inspiration behind making a breakfast item that is just as much art as it is meal? I was listening to Taylor Swift’s latest album in the kitchen one day and I got this idea of making a bagel that was so over the top and glamorous that it would be able to appear in the next big pop song as an item of status and power. I guess you can thank Taylor Swift for the Bagel D’or. You built, own, and operate as the head baker at Spread—the most awarded and critically acclaimed bakery in the Midwest. Did you ever foresee your little bake shoppe getting all the business and fame that it has today? When you open a restaurant, a part of you hopes that you hit it big and that people will line up down and around the block
to get a piece of what you’re making for them, but that usually calms down and you take what you can get. Once Spread opened, however, people came from all across the country to try our creations and we’ve sold out every day we’ve been open. Nobody could have predicted the success we’d get. I’m just really thankful that there are people out there who are as passionate about bagels as I am. This wouldn’t be possible without them. Your second book, Bagels and Barks, hit the shelves last month and made the best seller list. What is it about this book that has everybody wanting to pick up a copy? I wanted to write a book about my two favorite things in life, bagels and my dog, Cassie, regardless if other people were going to buy it or not. As it turns out, there is a large community of dog-lovers who loved the book. Last question: What can we expect to see from you in the future? Can you share anything about what’s next? Ha! I usually just try to take it one day at a time and see where life takes me. I can tell you that I’ve started writing another book. I’m positive that our kitchen isn’t done cranking out fresh new takes on bagels just yet.
Carly’s Bakery, Spread, creates each bagel by hand, making sure each one is perfect. photo by Carly Dhein
by Ryan Lemmers
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Should Fine
Rosemary Braised Tenderloin with Asparagus Himstrodd, Sacramento photo by Ryan Lemmers
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Dining Die? Now that chefs are busy opening burger joints and dumpling houses, the days seem numbered for fancy dining rooms. Writer Anya von Bremzen makes a case for why we need haute places more than ever.
While scanning the Russian press a while back, I came across an interview with Anatoly Komm, the country’s top chef. Komm is famous for the dazzling avant-garde riffs on black bread and borscht at his Moscow restaurant Varvary. Asked why people need haute cuisine these days Komm had this to say: “Why go to the opera when you can buy a CD? If I don’t wow and regale diners with totally new sensations, I have wasted their money and failed as a chef!”
Of course, as a former Muscovite, I chuckled at Komm’s bluster. But then I couldn’t get
his words out of my mind. As customers around the world abandon white-tablecloth restaurants, haute dining rooms have begun to feel like an endangered species. America’s most elite chefs, like Daniel Boulud, are opening beer halls, and Thomas Keller dreams of launching a burger place. Their disciples, meanwhile, have swapped foie gras for chicken livers at the neighborhood bistros where they cook now. Fed up with elaborate four-hour, three-figure meals, diners aren’t opting for the new sensations that Komm reveres; they would rather go to their local gastropub and order
heritage pork belly. After eating countless multistarred meals around the world, I share—in spades—this aversion to the contrived amuse-gueules-to-petitsfours rigmarole known as fine dining. Yet there I was recently, nearly weeping into my lobster bisque at the unabashedly haute L2O restaurant in Chicago. Why? Well, for starters, the bisque was extraordinary. A pool of decadent chestnut puree surrounding sweet, succulent nuggets of lobster meat (vacuum-cooked in a fancy gadget called a Gastrovac), it had an opulence you just can’t find in a dish that’s ever GO LD EN W H I S K 9
Seasoned Greens with Pork Broth Shifu’s, Seattle photo by Ryan Lemmers
been described as “yummy.” And in a clever conceptual gambit, chef Laurent Gras served the bisque as a nod to his classic French training—a stark contrast to the rest of his ultramodern tasting menu featuring sometimes-esoteric fish, much of it flown in from Japan. But there was more to my revelatory experience at L2O than simply the food. Opened last year by the burningly talented Gras (an F&W Best New Chef 2002), L2O is a seriously luxe seafood restaurant, with the grand gestures of French haute cuisine carefully refined for 21st-century Chicago. “In France, three-star dining can feel like going to church,” declared Gras, who himself trained with
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Michelin-starred chefs like Alain Ducasse before making a name for himself at San Francisco’s Fifth Floor. “For American diners, you need a much more relaxing environment.” For L2O’s serene open space, which references Chicago’s glorious midcentury modernism, Gras opted for bare tables of expensive but under-stated ebony wood, exquisite pure-white German china and service with genuine warmth. In a great restaurant, details are crucial: They add up to what my boyfriend, wryly invoking composer Richard Wagner, calls a gesamtkunstwerk—a complete artwork on all fronts. And, from the first bite of Japanese snapper smoked over cherry-
Dekopon Citrus Mixer Bemmax, Rio De Janeiro photo by Ryan Lemmers
wood to the ethereal salt-cod parfait, everything about the dinner reminded me of what a first-class meal can achieve. The refinement, the rigor, the setting—they deliver a fully articulated aesthetic vision that elevates the restaurant experience to something transcendent. We left L2O with a kind of post-opera glow, back into the real world of stress and uncertainty. I flashed back to Komm and then thought, Do I really want to see such restaurants disappear? Whenever I talk to critics and chefs, they mostly blame France for our current fine-dining phobia. The Gauls did invent haute cuisine—and the
restaurant proper—but these days, their Gilded Age model is seen as an elitist, over-codified relic that doesn’t reflect what we now appreciate most in a restaurant: hospitality and human connection. If you pay an arm and a leg for a meal, shouldn’t it have an emotional resonance and a value that represents something more than the sum of the food and the plush upholstered chairs and the designer-clad waitstaff? No wonder French chefs are sending back their Michelin stars, while the world has firmly embraced Spain’s alternative paradigm. Even at the fanciest Spanish places, the experience never feels redundant or fusty, thanks to the immediacy and excitement that Spain’s avant-garde chefs have brought to their food. Dissatisfied with the label “molecular gastronomy,” the country’s most famous cook, Ferran Adrià, prefers to call Spain’s futuristic cuisine “techno-emotional,” emphasizing the sense of connection, of diners’ engagement. At its very best, an avant-garde Spanish meal is a piece of whimsical, interactive performance art. And yet. Why sink fortunes into a degustation menu from a multistarred chef, whether he’s from Spain or not? Why not enjoy downsized versions of those same dishes cooked by the chef’s disciple at a
convivial tapas bar? Recently I suggested to Adrià that the future of Spanish cuisine might not lie with his restaurant El Bulli, located outside Barcelona, but rather with Barcelona’s new wave of casual gastrobistros—pared-down storefront restaurants where young chefs are channeling
“...a great restaurant creates an illusion of a life where everyone is happy to see us, every need is met and everything tastes better. And we need this now more than ever...”
cutting-edge inspirations into earthy, affordable food. “Oh yeah?” Adrià replied, cocking an eyebrow. “And who supplies them with their ideas?”
That was Gras’s line, too. Topend restaurants, he insisted, are like creative laboratories; from them, experimental ideas trickle down to more casual places. Case in point: my lunch in Chicago the day after my L2O meal. The place was Urban Belly, a hipster noodle joint opened recently on a very small budget by Korean-American chef Bill Kim. After working with some of the country’s fanciest chefs, like Charlie Trotter and David Bouley, Kim decided, like most of us, that four-star dining wasn’t his thing. His amazing, labor-intensive seven-buck dumplings, however, tell a different story—delicate squash pouches, for instance, with intricate background accents of kaffir lime and passion fruit. Would this sophisticated layering of flavors be possible without Kim’s training? No more than a $60 Zara knockoff of Prada could exist without Prada. Thanks to such trickle-down effects, the salmon on the crostini at Spur gastropub in Seattle is cooked sous vide for ultimate silkiness, while the fried chicken at Washington, DC’s Art and Soul undergoes two complex stages of brining—that “simple” bird takes two days to prepare.
Intellectually, then, I conceded the need for serious restaurants. But I still wasn’t sure (L2O notwithstanding)
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that a dazzling dish really requires a setting to match. To expand my research, I went to Corton in New York City, which ace restaurateur Drew Nieporent recently opened to rave reviews. The minimalist, stunningly comfortable all-white room won me over the minute I walked in. Twenty-four years ago, Nieporent took the pretension out of linen-tablecloth dining with his groundbreaking Montrachet. Having recently revived the space as Corton, he has reenergized the allure of fine dining. No fan of what he calls “carpetbagger” Continental-style imports, Nieporent, like Gras, stresses the need to redefine haute cuisine for specific times and places. “I wanted my restaurant to feel right for downtown New York today,” he insists. As I scanned the room, I could see what he meant about the “subliminal luxury” he was after. The banquettes’ perfect curves, the flattering lighting—you can’t get that carefully streamlined vision of downtown chic at a Michelin-all-star-Euro-chef franchise. And I’ll certainly miss it the next time I fight for an uncomfortable stool in the sonic blast of a gastropub. The food at Corton does its part, too, of course. Nieporent has smartly installed British-born wunderkind chef Paul Liebrandt at the stoves. Liebrandt is the kind of chef who will accent the saline twang
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of an oyster with the earthy crunch of toasted buckwheat and a hint of nutmeg oil—a dish with mysterious layers of flavor that unfold, evoking a dozen different taste memories. He brilliantly smokes— smokes!—the flour for pasta, which he then accentuates with dusky slices of black truffle and the barest suggestion of Gouda cheese. And he gives a classic foie gras torchon a haute-couture twist with a gorgeous pink gelée of hibiscus and beet. Personally, I don’t need those totemic luxury foodstuffs—truffles, foie gras—but indisputably, Liebrandt’s playful, sometimes challenging riffs lend a sexy frisson to the stylish room. (Imagine a killingly glamorous supper club where Miles Davis might play.) Is fine dining dead? Not at Corton. The place does almost a hundred covers a night with a $79 three-course prix fixe.
Herb Cheese & Roasted Tomato Salad Corton, New York City photo by Ryan Lemmers
I began to wonder if haute cuisine done right was the answer. I became convinced of it the following week, when I dined at Coi in San Francisco. This subtly experimental 29-seat restaurant is powered by the passion, intelligence and disarming humility of chef-owner Daniel Patterson (an F&W Best New Chef 1997). If for Liebrandt, beet is an accessory to foie gras, Northern California chef Patterson brilliantly spotlights the actual vegetable. The beets
were presented on a plate like three small M&M’s. My first reaction—ingredient worship—gave way to the childish pleasure of popping the delicious, vibrantly colored root-vegetable “candies” into my mouth. Later I learned that the beets, topped with shiny jellies made from a blend of their roasted juices and citrus oil, took Patterson hours of intense work to prepare. “It’s an idealization of a beet,” he explained, then added, “And who’s to say that beets can’t be as valuable and exciting as caviar?” Not I. Similar thought and exquisite craftsmanship went into the rest of my meal at Coi. A dish called Abstraction of a Garden in Winter combined local, seasonal root vegetables, aromatic herbs, cocoa nibs and smoked oil in a dark still life that evoked a barren cold-weather landscape. There was supernally buttery beef from a boutique ranch that supplies loins almost exclusively to Patterson, paired with a classic wild mushroom duxelle and gently transmogrified roasted bone marrow. Liquefied and re-formed into its natural shape with gellan(a gelatin that can withstand heat), the marrow tasted like a delicate yet luscious distillation of offal, jolting my complacent taste buds, which had been numbed by a gastropub pork-belly overdose.
The entire meal at Coi bridged nature and culture, past and future, while the intimate service, the idiosyncratic wine list and the tactile, slightly irregular handmade ceramics on the table all brought home the idea—again—that a great restaurant is a total environment. Best of all, like Corton and L2O, Coi spoke to its time and location, delivering that crucial sense of emotional authenticity. If this is the haute cuisine of the future, we’d be mad to abandon it. After I finished my meal I needed no reassurances, but I asked Patterson anyway why he thought fine dining mattered. “Because a great restaurant,” he replied, “creates an illusion of a life where everyone is happy to see us, every need is met and everything tastes better. And we need this now more than ever.” Knock off the very top level, he went on, and the next level down becomes the top. Keep “democratizing” like that, and eventually, a five-buck burrito will be the new standard. So what would be lost then? I asked Patterson before I left. “Risk-taking, inspiration, the sense of discovery.” wIn short: the transformative power of cooking.
Anya von Bremzen is a New York City–based food and travel writer. Her latest cookbook is The New Spanish Table.
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reci pe:
Glamburger At $1,770 it’s the World’s most expensive burger, called the Glamburger. Created by Honky Tonk Head Chef Chris Large, it is definitely more than just a burger. This recipe will walk you through creating this spectacular burger at home. 14 GO LD EN W H I S K
Ingredients: • • • • • • • • • • • • • • • • • • • • • •
1 mango 2 small blood oranges 8 T salted butter 2 T minced shallot 1 C champagne 1 bay leaf 1 piece of star anise Some Brie cheese 1 C Japanese mayo 1 Matcha tea powder 1 Miniature black truffle 220 grams Wagyu beef 60 grams of venison beef Brioche hamburger buns Clarified butter Edible gold leaf 1 Duck egg Himalayan sea salt 3 strips of Bacon Lettuce 1 Heirloom tomato Butter and saffron poached lobster • Some caviar First dice up one mango and put it in your food processor. Add the juice from two small blood oranges, and liquefy it as much as you can. When this is done, use a wire strainer to extract as much of the juice as you can into a glass bowl. Moving on. Get your skillet going and add 3 tablespoons of salted butter, 2 tablespoons of minced shallot, 1 cup of champagne and the puree from the mango you made
earlier. Mix well, and add 1 bay leaf and 1 piece of star anise. Bring it up and let it reduce. When it starts looking good, lower the flame and remove the bay leaf and the anise. Add about 4 more tablespoons of butter and a little bit of salt and pepper. Mix well, and leave it on the side to cool down. When it has cooled down put it back into the food processor to break down the shallot. The next component of the burger will be a Matcha green tea mayo. This consists of one cup of Japanese mayo and one teaspoon of Matcha tea powder. Mix until it looks uniform. Cut the rind off some Brie cheese and soften it up a little bit. Add some miniature black truffle using a grater and get blend it into the cheese. Time to make the patty. The meat that is used consists of 220 grams of American Wagyu beef and 60 grams of venison beef. Divide the meat into two pieces and flatten them out. Put some of the Brie cheese mix on the center of one piece, and cover it up with the other half of the meat. The original Honky Tonk uses Brioche hamburger buns. Coat the top with a thin coat of clarified butter. Then go
ahead and coat it with the edible gold leaf. Get a duck egg and Sous Vide it while in its shell. The trick is to Sous Vide it long enough to set the egg white, while keeping the yoke at about the consistency of custard. Then smoke the egg, and when it is done coat it with edible gold as well. While smoking the egg also smoke some Himalayan sea salt and the bacon strips that you will use in the next step. Time to start cooking on the pit! Add some of the smoked Himalayan salt to both sides of the patty and put it on the grill. On the side of the pit that has no briquettes, utilize the radiant heat to get a nice toast on the buns. Be careful not to burn the patty or the buns. Lay some of the Matcha sauce on the bottom bun. Add some lettuce, the patty on top of that, and then some heirloom tomatoes. On top of that some smoked bacon (we recommend Benton’s bacon). Then some butter and saffron poached lobster, mango jus, and some caviar. Put the “golden egg” on top and grade some white truffle (you can also use the black truffle you used before). Enjoy! by Greg Mrvich GO LD EN W H I S K 15
Behind the Curtain:
Examining
Haute Cuisine in Paris
Caramelized Truffle Oil Burbon Corn Alain Ducasse at the Plaza Athénée photo by Ryan Lemmers
More than 100 years ago, a tire company named Michelin began telling people about their best options for eating while motoring around the country. Travelers wanted to know what was worth a detour or a special journey, and that’s still the case today. The question I’m most frequently asked by our readers is where to go for a special blow-out meal. You want to celebrate a birthday, an anniversary, a victory. You want to seal a deal, whether business or pleasure. You’re willing to drop some cash, but you don’t want to feel like a fool.
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Until now, I’ve had a hard time answering this question. I know well the landscape of the city’s classic bistros, modern French restaurants, and food loving wine bars, but this class of two- and three-star tables is a different terrain entirely. There’s an obvious barrier to understanding these restaurants: the staggering, outrageous, almost immoral price of a meal. Prior to this project, in which I anonymously tested every three-star restaurant in Paris over a period of twelve weeks, I had only visited a handful.
Writers, who earn very little money, rarely have the means to spend several hundred euros on a single meal, much less a repeat visit. Publications are no longer willing to reimburse this expense. With the exception of a small number of independently wealthy bloggers, the overwhelming majority of articles about haute cuisine are based on free meals. A recent example: when Alain Ducasse reopened his gastronomic restaurant at Le Plaza Athénée (ADPA) this fall, he invited nearly every food writer in Paris to come with a guest and dine for free. This has long been happening at the level of major publications (both French and international), but this sort of full-court press to seduce bloggers is something new. For writers who are struggling to be taken seriously, it’s hugely flattering to be asked. And really, who’s going to turn down the opportunity to be hosted in this manner? I don’t know anyone who declined the offer. I myself accepted, but only after I had first booked and dined anonymously, paying the entire bill of 1084€ out of pocket. It was the most expensive and by far the worst meal I experienced during this project. The free meal, which I returned for three weeks later, wasn’t much better. Unsurprisingly, nearly all of the published press about ADPA has been positive. Some critics have opted to remain silent about their negative experiences as a friendly gesture to the hand that feeds them (and in some cases lodges them). This is a problem because it doesn’t help our readers decide where to spend their money. I don’t say this to disparage writers who accept free meals. The publications we work for are no longer paying for these experiences. We’re supposed to know something about a tier of restaurants that the rest of the world holds up to be the pinnacle of haute cuisine, but we can’t afford to go on our own dime. Out of this frustration and inability to confidently advise our readers, I decided to put our dimes – the profits from our Paris food tours – toward a serious study of haute cuisine in Paris.
“...these restaurants, which are usually treated as one uniform category because of their Michelin starred status, display radically diverse approaches to cooking and to the overall dining experience...”
In a single season (September-December) I visited sixteen of the top restaurants in Paris, including all nine that hold three Michelin stars, six that hold two Michelin stars, and one (ADPA) that previously held three stars but lost them when they closed for renovations.
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For each visit, I booked and dined anonymously under a false name. I brought a different guest each time and, for the sake of comparison, we always ordered the lunchtime tasting menu if one was available. We did not skimp on wine, water or coffee. There were no allergies or other dietary considerations to worry about. In total, we spent a whopping €7150 on this experiment. I tasted more than 200 individual compositions during more than 65 hours at the table. Prices for the lunch menu varied dramatically. At 380€ per person, the most expensive restaurant Alain Ducasse at the Plaza Athénée was more than five times the price of Astrance, the least expensive one. The number of dishes per meal (including amuses and mignardises) also varied widely from a modest 8 tastes at L’Ambroisie to 29 different offerings at Pierre Gagnaire. From a more qualitative perspective, these restaurants, which are usually treated as one uniform category because of their Michelin starred status, display radically diverse approaches to cooking and to the overall dining experience. What’s more, the settings are completely different. One is housed in a glittering palace, and another more closely resembles a conference center. Over the next few days, in anticipation of Michelin’s newest rankings for France, we’ll be publishing a series online about the following: • Which of these is best right now (for you)? If you’re going to spend the money, which of these is most likely to deliver? • What are the most exciting dishes being served in these restaurants right now? • Is this really where the action is? Do these Michelin stars represent what’s most interesting in Paris dining right now? Of course, the opinion of one writer is never the full story. We trust you’ll share your own experiences and notes about dazzling and disastrous meals on our social media pages.
Tomate Alfredo Astrance photo by Ryan Lemmers
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World: A Taste of Moroccan Cuisine by Prepared Foods Due to its unique geographic location, Moroccan cooking has both Mediterranean and African influences
Morocco, located in the northwest region of Africa, is considered the crossroad between Europe, the Arab world and Africa. Its population is 27 million, with 55% under the age of 25 years old. Morocco’s industry is mainly in food (fresh fruits, dates, nuts, spices and canned fish), textile and leather. Moroccan cooking is very popular in the Western world, especially Europe. It usually ranks in the top five of the most popular ethnic cuisines in countries such as France, Belgium, the U.K. and Germany. However, in the U.S., Moroccan cuisine is not yet familiar to many people. And, in large cities such as New York and Chicago, there are only a handful of Moroccan restaurants. A few prepared foods, such as sauces, condiments, herbs and spice mixes are sold in America, and they mostly are found in ethnic and specialty stores. Although Moroccan cooking is influenced by many culinary traditions, Arab, French and Spanish
cuisines have had the biggest impact on ingredients usage and cooking techniques. Like in most cultures, the Moroccan housewife usually does the grocery shopping and makes most of the meals at home. In a typical Moroccan house, the kitchen would be stocked with lentils, chickpeas, dried fruits (such as dates), dried nuts, vegetables and fruits, non-salted butter, skimmed milk powder, fresh apples, fresh pears, mutton, frozen and halal-style beef (bone in), popcorn, candy, honey (during the Islamic holy month of Ramadan), wine and beer (with restrictions for Muslims) and cereal. With about 55% of the Moroccan population under the age of 25, many of the young household wives and young families are adapting to Westernized, quick and convenient cooking methods. On the other hand, some young American chefs in large urban cities are experimenting with Moroccan cooking. And the gourmet cooks and food lovers in
America are snatching Moroccan products off the store shelves. At the upscale kitchen retail chain, Sur La Table (Seattle), sales continue to increase with the tagine, a Moroccan-style slow-cooker used to cook vegetables, poultry, lamb, beef and seafood dishes. At Trader Joe’s (Monrovia, Calif.), there is a Moroccan Tagine Simmer Sauce, made of tomatoes, onions, green olives, green peppers, raisin paste, red vinegar, pimientos, sea salt, parsley, olive oil, cilantro, cumin, black pepper, crushed red pepper, paprika, cinnamon, bay leaves and saffron. The sauce can be used as a cooking sauce for poultry, fish or tofu (vegetarian). Or, it can be used as a finishing sauce for pasta, such as couscous, which is widely eaten throughout Morocco almost everyday.
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style guide
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‘Golden’ is tracked closer together so it takes up space more closly to the Whisk ‘Whisk’is tracked out to individually between each letter so that the ‘I’ is more visible single-color/black
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M A G A Z I N E logo reversed (single-color/ white)
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GOLDEN WHISK T H E
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color use
Pantone: 125C C:0 M:22 Y:100 K:22 R:206 G:162 B:10 Hex#: cda20a
Primary color: Golden Whisk Gold This is used in the magazine to help identify the brand as well as for primary elements including the logo and as part of the visual scheme in the magazine. The primary color is not diluted, tinted, shaded, or darkened in any way. It is used in congruency with strict black and white photo policy in order to establish a look of simplicity and develop a minimalist feel
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style guide grid structure for the print magazine: margins: .5in at the top, 1in inside, .875in at the bottom and inside a three column format with gutters spaced at .25in
Typefaces + Styles Section Heading: Elegant Light- Regular 45-101pt Feature Heading: Elegant Light- Regular 155pt Subheads: ITC Avant Garde Gothic- Book 22pt Body Text: ITC Avant Garde Gothic- Book 10-12pt Captions: ITC Avant Garde Gothic- Book 8pt Restaurant Location: ITC Avant Garde Gothic- Demi 8pt Photo Credits: ITC Avant Garde Gothic- Extra Light Oblique 8pt Running Footers/Page: Elegant Light- Regular 10.75pt
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web layout the design layout is optimized for mobile users. a single column scrolling format is followed with global navigation that stays along the top of the screen.
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Golden Whisk december 2017
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