ART 341 / Week 5

82 thoughts on “ART 341 / Week 5”

1. 1. Bichler discusses a few special issues of the magazine, what had to be redesigned for the special issue on skyscrapers?

   Bichler told us that the things that had to be redesigned were flipping the entire magazine at 90 degrees and the main page had an opening panel on it. There was a new drawn and simple typeface that featured extremely thin and tall lettering in the magazine. They also had to get all of the advertisers to redesign their logos to fit into the newer vertical format.

   2. How do you understand what is meant by “typographic voice?”

   I understand that the typographic voice is meant to me as how does the font or typeface work with an image or even tell a story with an image. It also means how do words, phrases, letters, etc. fit into a composition and do they bring life to or take that away.

   3. What inspired you about seeing the editorial design process through Bichler’s work? Which issues resonated with you?

   What inspired me throughout the editorial design process was that so much more goes into making typographic fonts and typefaces than I thought. I never really thought deeply about somebody having to actually draw the original arial and times new roman fonts that we use day to day for classes so it was eye opening a bit. I was conscious of the idea but it really set in during the breakdown of the fonts and such they did. I also came to the realization as to why The New York Times isn’t free, the artists and designers go through so much work to get a functioning magazine for print and for websites and it shows through their designs and typefaces as well as the page layouts. The Issues that resonated with me the most were the “High Life” or skyscraper issue and the “25 songs that tell us where music is going”. I really enjoyed the High Life issue because of how well the image goes with the words and the content on the page, and the 25 songs.. the issue stands out a lot to me due to the interactivity of the web designed version and how the music plays as you scroll through as well as how the style of the lettering fits extremely well with the pop singers and rappers that were featured.

   What are the images you found and where did you find them?
   The images are what I call the 2 sides or the duality of the topics that I have chosen, and i found them all on Pexels except for the one picture of Martin Luther King Jr. that was found in the New York Public Library archive.

   What do the images signify/represent and how?
   The images signify Isolation, Depression, Freedom, Distractions, and happiness. With the topic of isolation it shows a guy alone in the rain and another guy in the center of the crowd. This signifies how isolation can literally be the feeling of being alone, or it could be the feeling of not being seen even when surrounded by people. With the topic of Depression it shows a cloudy foggy sky with little amounts of light as well as a black guy smiling. This shows the true raw version of how depression affects some people with a cloudy mind with dark thoughts and on the flip side it shows the smiling black guy being happy as can be to show that you may never even know that somebody is going through things mentally. Next is Freedom. There is a picture of Martin Luther King Jr. waving after giving his i have dream speech as well as a guy sitting on the edge of a cliff. This shows how one wants the freedom to be a part of society and not be scrutinized or be faced with racial injustice, while the other is showing being free and away from that same exact society. Next is distractions. One shows a black man looking off into the distance while the other shows a guy staring at his phone screen. This shows the multiple different ways distractions can be present. Whether it be the loss in your own internal world or being lost in reality or what’s going on in the external world. Finally we have happiness. This shows a cat lying completely stretched out and the group of people jumping into the air. This shows the 2 sides of happiness, roughly. The cat being able to rest due to no conflicts is happiness to it. (because if anything is conflicting around them a cat will NOT go to sleep) The other is the group of people jumping showing an excess of happy emotions. This shows how happiness is different based on the person or cause for it.

   https://uncg-my.sharepoint.com/:f:/g/personal/r_riley_uncg_edu/Es4JDIoWge5MqhQDL5AW8HwBP_0x-LhgLZlImBrWNGuTQw?e=7DbWoa

   1. Hi Jon,

      I agree that the design process for her work is way more in depth than I thought it would be, and her having to draw the original arial and times new roman fonts is an eye opening and unique technique.

   2. It’s a creative way of visually representing such complex emotions, and I think it adds depth to the conversation. Your breakdown of how those images represent different aspects of life, from the inner world to society, is very thoughtful.

2. VIDEO RESPONSE:
   1) Bichler says that for the special issue on skyscrapers, they redesigned the entire format of the magazine from the pages being vertical to being horizontal. They even reached out to the advertisers to send them horizontal versions of their ads to include in this issue, so that readers wouldn’t have to keep rotating the magazine. They also rotated the crossword puzzle.

   2) To me, I think “typographic voice” is all about the feeling that a particular font or design invokes in the viewer/reader. Ignoring the words themselves, what is the design of the font itself “saying” to the reader? A light, curly font and a thick, blocky font give off very different vibes, so it’s important to keep that in mind.

   3) I really liked hearing about how they would take the story’s tone into consideration when designing the page. I feel like that’s something that a lot of people might not even think about, but even something as seemingly simple as what font is used or the layout of the page can affect the overall tone of a design, which can clash with the story’s tone if not done well. I liked the cover for the issue about Lorde, and I also really admired the special issue on skyscrapers. The fact that the editors were allowed to do something so different and ambitious is really inspiring to me and makes me feel like I can afford to take creative risks in my own work.

   1. Hi Simon! I agree I loved hearing about decisions that go into designing the page. I also admired the skycrapper issue.

   2. Your comments about creative risks really resonate with me, I totally agree. I’m excited to see what you do with your chosen photographs.

   3. Hi Simon,
      I agree that Bichler did a good job of taking the story’s tone into consideration when creating her pieces. It made for compelling artwork that she put together.

3. 1) The advertisers for NY Times Magazine had to redesign all of their ads to fit in the new format as the skyscrapers special issue had a new vertical format that required readers to flip the magazine ninety degrees in order to read the text and view the images in the correct orientation.

   2) How I understand what is meant by “typographic voice” is that it is a way for artists and designers to build a bridge/connection between the world of type and the world of visual imagery. I also have an understanding now that a strong enough typeface can serve as a form of imagery based on the information that you are talking about. I think a “typographic voice” is an extension of visual imagery and a way to showcase some of the underlying qualities of you as an artist or of the things that you are depicting.

   3) What inspired me about seeing the editorial design process through Bichler’s work is that it seems as if there are so many different possibilities and a broad range of typographic designs that have been made over time. Despite this influx of so many designs they are all so different from one another and can be made to have such special meaning based on the visual photography/illustrations that they are being paired with. Also, these typographic designs can really pull together an entire design and give these projects unique looks/meanings which I think is super cool and powerful.

   4) I came up with a few themes that I was interested in based on the topic of human experience. The main two that I want to decide between are that of Communication and my favorite theme as of now which is Time. I think that the questions that come up with time over the course of human lives are really interesting and lead many people to different places based on their feelings about it. For my images I have 4 pictures, and I need to select which 2 I want to focus on. These images depict one thing which is a clock with time and the opposite of that which is a casket. I think this idea of death being inevitable and all a matter of time is interesting when it comes to the human experience, and I want to take that into my project. The image that I included of the man holding a clock and looking down at it seems powerful because it could be read as he is either pleased with his life or not content with himself, yet either way these two men will end up in a casket someday.

   Link to my Week 5 Folder in OneDrive:

   https://uncgmy.sharepoint.com/:f:/r/personal/r_riley_uncg_edu/Documents/_Rachele%20Riley/teaching/S25/ART%20341%E2%80%9302/Hayden%20Swoap/Week%205?csf=1&web=1&e=YofI2K

   Links to my images related to the topic of Time:

   – https://www.loc.gov/pictures/item/2016878613/

   – https://www.loc.gov/pictures/item/2016875916/

   – https://www.loc.gov/item/afcwip003765/

   – https://www.loc.gov/item/2011635842/

   1. Hi Hayden! I think your themes are really interesting, especially the one about time. I like the idea of exploring the inevitability of death and how different people react to it; I think it fits well into the project’s concept of two contrasting images.

   2. Hey Hayden I think Communication can be done in a interesting way because of the way images also help communicate. It would be fun to see how you plan on going with the topic. If not communication I think for time it would be cool to do it in a more subtle way.

   3. Hey Hayden,
      I agree with how you view typefaces and the typographic voice. The idea of “a bridge/connection between the world of type and the world of visual imagery” really hits the nail on the head.

4. In The New York Times special edition about skyscrapers, the Vertical format caused the ads to be reformatted, a new custom typeface, and headlines were rewritten to fit in the design. This format was well received by many, but like everything, it still had a few complaints.

   From my understanding typographic voice is in a way the branding of your work. For example, The New York Times strives to have a consistent typographic voice so it is easily recognizable at a glance. For example, the typography used in The New York Times today is modern fonts rooted in history with distinctly different typefaces that complement each other. The goal is to be able to see a stray page on the street and know it came from The New York Times.

   I thought it was interesting to learn about the set of typography tools The New York Times has at its disposal. I like how they work inside the box until the box isn’t working, then they branch out and try to get a new typeface that fits the brand of the magazine. I enjoyed looking at all the different layouts The New York Times has produced throughout the year. They were all very different, but all felt like they belonged to the same artist.

   1. Hello Victoria! I also loved learning about the different tools New York Times has and uses. It’s nice to see how much hard work they put into designing the magazines.

   2. Hey, Victoria It’s good that you acknowledged the importance of typographic voice and how typography helps The New York Times preserve its distinct character. Their ability to strike a balance between tradition and innovation is what makes their design fascinating. The vertical format is a wonderful illustration of how they push boundaries while remaining true to their identity.

5. IMAGE FOLDER 1 LINK: https://uncg-my.sharepoint.com/:f:/g/personal/r_riley_uncg_edu/Eo1ipkmYOA5PpgLTG8aPbiIBjL5WHigWx6By1l8ocZH-Iw?e=jJDzyh

   IMAGE FOLDER 2 LINK: https://uncg-my.sharepoint.com/:f:/g/personal/r_riley_uncg_edu/EnVd24sBDqpJk-Hs8oBBywkBc3oNhZqPDjYltIywuw2Gzg?e=TVvjl2

   IMAGE FOLDER 3 LINK: https://uncg-my.sharepoint.com/:f:/g/personal/r_riley_uncg_edu/Eq9sAJt0NYtDuCBJyW9_k1oBtCuh96kLX2ntkJd_LCJHkw?e=kAPzVS

   I found these images all through the website Unsplash. I looked through other archives, but I wasn’t able to really find what I was looking for. My three groups of images focus on the themes “Isolation,” “Division,” and “Corporate.”

   The “Isolation” group focuses on the specific feeling of isolation that comes from being online and communicating with other people via the internet rather than face to face in real life. I used a lot of images of people looking lonely, staring at screens, and hands reaching for each other, juxtaposed with images of people hanging out in real life and hands actually making contact.

   The “Division” group focuses on how social media and other online spaces often encourage arguments and pitting two sides against each other. I chose an image of two opposing sides in real life, and then images of computers to make the connection between these two ideas.

   The “Corporate” group focuses on how corporations and advertisements have taken over the internet. I chose images of brand ads, a phone surrounded by IRL advertisements, and pictures demonstrating capitalistic greed.

   1. Hi Simon,

      I like your idea of Isolation. I think that could be a really cool concept to work with, and the photos you chose really illustrated the idea nicely.

6. What had to be redesigned for the special issue on skyscrapers?

   For the skyscraper edition, the entire magazine was rotated 90 degrees into a vertical format to match the subject matter. This made the magazine itself feel as tall as the buildings being featured. The typography itself was also adjusted. Bichler mentioned simplifying the type so it could be stretched along the margins in a way that worked with the new layout for this specific issue. Even the advertisements had to be reworked to fit the flipped design, which showcases the effort put into making this issue.

   How do you understand what is meant by “typographic voice?

   I understood “typographic voice” as the way type choices shape the personality and feel of a piece. It’s not just about picking a nice font but making sure the typography fits with the brand and the story being told. That includes thinking about the structure of the text, how the font interacts with images, and how the layout guides the reader through the page. It’s about making type an active part of the design rather than just a functional element, which The New York Times definitely demonstrated very well.

   What inspired you about seeing the editorial design process through Bichler’s work? Which issues resonated with you?

   I really liked how Bichler described the push and pull of designing new typefaces for The New York Times Magazine: how there’s room for creativity but also the need to make things functional. The Scrum issue stood out to me the most. I loved how bold the type was and how some of the letters seemed to spill off the corners of the page, making the whole design feel really dynamic. I also really liked the Music issue, especially how the artists’ pages looked like they had been personally signed. That little detail made the issue feel way more personal, like each musician had left their own mark on it.

   1. Hi Ava, I also agree with Bichler’s statement about staying creative, but making sure to keep it functional with the content. It’s easy to get carried away with creative ideas, but also just as easy to overthink it and make something too basic.

   2. Hi Ava, i found it really difficult in my own response to properly pin down the idea of “typographic voice”, but i think you explain it beautifully in your own response. I’m excited to see what you do with your pieces.

   3. Hi Ava! The “push and pull” process of designing typefaces was definitely fascinating to see and a very exciting component of being a designer. It’s a dynamic field and I love the experimentation that comes with each different project.

   4. Hi Ava,

      The music issue was one of my favorite issues as well; it was super cool to hear the music as you were reading about it. I agree that it gave a personal touch to the artist.

7. 1.In the few special issues that Bichler discusses, she explains how a few parts had to be redesigned. The issue about skyscrapers had to be redesigned by making the magazine layout vertical, opening up and down instead of side to side. A new font was made for this issue, as well as all of the ads being reworked, making quite a few much more visually appealing, like the ad with the construction worker and his helmet.
   2.“Typographic voice” refers to the emotion, context, and ideas behind a font, and how that is portrayed when the font is used. An example of this is in the RESIST issue, using the pink, frayed fabric as not only nods to wardrobe but also to feminism, and using the fray as symbolism as well.
   3.When seeing Bichler’s work, her process inspired me because of her thought behind her give and take, she thinks deeply about the relationship between the text and image, and how the two play together. Her issues really resonated with me because of her ideas surrounding pushing the magazine while understanding time and place. Her understanding of when an article could use more creativity, and then when it was too serious to be playful.
   (Word count: 203)
   The images I found are all portrait style photographs of women throughout history. I want to explore the presentation of femininity throughout history, and how the differences all relate back to similar things.

   1. Hey Lucio! I also found it to be really interesting that Bichler was super concerned with the relationship of text and images and I think that helps me personally to attach some physical as well as emotional qualities to certain letter forms. Being able to form a connection between images and text can be a powerful tool and it was really cool to see how Bichler and her team handled that! Great work!

8. Gail Bichler’s presentation, Typographic Voice and the New York Times Magazine, provides an insightful look at how design plays a crucial role in storytelling. One of the most interesting aspects was how the magazine adapted its design for the special issue on skyscrapers. The team had to rethink the layout to emphasize verticality, ensuring that the design itself reflected the theme. This shows how editorial design is more than just arranging text and images, it’s about creating an immersive experience that enhances the reader’s understanding.

   The concept of “typographic voice” refers to how typography conveys tone, emotion, and personality beyond the words themselves. Different type choices can change the way a story feels, making typography an essential tool for shaping meaning. Bichler’s work highlights how typography isn’t just a background element but a key part of visual storytelling.

   What inspired me most was seeing how much thought and creativity go into each issue. Bichler and her team constantly push the boundaries of editorial design, making each issue unique while maintaining clarity and purpose. Her approach reinforces the idea that good design is not just about aesthetics—it’s about making content more engaging, meaningful, and impactful for the reader.

   1. Hi Tre! I like your take on what the typographic voice and I agree that typography is key to visuals. I also like your comment for the 3rd question. I really do find inspiration from their special issues and how much work they put into it.

   2. Hey Tre, I agree whole heartedly on how Bichler and their editorial team really pushed the limit of their brand and editorial design. I think its good that news companies as big as the New York Times really still push the envelope and not remain so stationary.

   3. Hi Tre! It’s so important as a designer to understand that text/type isn’t just used to literally convey information. The exact typographic choices the designer makes determine how viewers perceive their work. I agree that typography goes beyond and conveys emotion and personality as well as a literal message; it does tell a story!

9. Discussion:

   1) For the skyscraper issue, the typography itself was drastically simplified in appearance. The reduction of details in the font allowed for easier manipulation, such as shortening or lengthening as needed. The enlarged text was then stretched vertically across the page, breaking through the traditional grid structure of the magazine itself, properly resembling a skyscraper. The typography was both bold and tall, as well as vertically posed to fit the skyscraper theme. I would say that this particular typography redesign was essential in order to ensure the typography fit the subject matter. Ultimately, the typographic served its intended purpose of guaranteeing quality engagement with excellent presentation.

   2) From what I have come to understand, the “typographic voice” refers to the tone or mood produced by the text rather than the meaning of the words themselves. Typography can vastly influence how people interpret any given message. Ideally, the typography should provide a visual setting for which the reader may use to convey their thoughts around the subject matter.

   3) I found it very inspiring how Bichler utilized the typographic language in her design process to help establish a strong narrative in each of her projects. Her vast knowledge surrounding typographics allows her to create works that have special visual effects to match their respective themes. Bichler’s typographic voice is able to provide any content with a profound sense of depth. The issue that I personally resonated with is when Bichler was talking about the text “Twice as Vulnerable.” It was a struggle for the designer to pick which text to choose. Ultimately, they chose the more simple design, as they felt it was more appropriate for the serious topic. I understand how it can be difficult to allow the image to bear most of the weight. The process of allowing the subject matter to be fully represented through minimalistic typography can be much harder than one might think.

   Studio:
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10. Gail Bichler is someone I have studied in the past, she is the creative director for the New York Times Magazine and I particularly liked the piece of work that she did with Matt Willey for the 800ft issue. They redesigned this edition by making it to be read portrait when the magazine was opened which implied the idea of the tall skyscraper buildings that the issue talked about. The typeface that Matt Willey developed for the issue reinforced the idea of the life above 800ft in these tall skyscrapers as the type was tall, it was made to stretch tall across pages both paining a image of tall skyscrapers and efficiently acting as headlines too. ‘Typographic Voice’ to me is the way that type is expressed to give the idea of something without having to read the word. The design of the type needs to act as a first line when someone looks at it so they can understand the tone and idea behind the words. For example when Gail Bichler stretched that type from the top to the bottom of the page for the sky scraper edition of the magazine, at first glance without reading the word a viewer can understand the type is tall, blocky and has presence on the page which created a subconscious idea in the viewers mind of what the edition is about before reading the actual words. I find myself very inspired by the New York Times Magazine as the covers are always very well thought out, they are incredibly effective. I also like to look at the layouts inside the magazine for inspiration when I am working with editorial design as I think they create such unique and interesting layouts, this inspiration helps to expand my ideas.

    I had a couple theme ideas for this week including streets, communication of transport to work, and forms of communication both modern and in the past. I found my images on Unsplash and Pexels.

    https://uncg-my.sharepoint.com/:f:/r/personal/r_riley_uncg_edu/Documents/_Rachele%20Riley/teaching/S25/ART%20341%E2%80%9301/Hannah%20Hind/Week%205?csf=1&web=1&e=J0z6d5

    1. Gail Bichler’s work, especially the 800ft issue collaboration with Matt Willey, is a great example of how typography can visually communicate a theme beyond just words. The way the type was stretched to mimic skyscrapers perfectly aligns with your definition of “typographic voice”—where design itself conveys meaning before the text is even read. The New York Times Magazine is definitely a strong source of inspiration for editorial design, as their covers and layouts are consistently innovative. Your theme ideas for this week, especially around communication and transport, sound interesting and offer a lot of creative potential. Looking forward to seeing how you develop them!

11. Themes that I will be representing will consist of nostalgia and misery. The images for nostalgia were all taken by me, and the photos are supposed to evoke feelings of a happier or sweet moment in time. For example, I love the fair and I have beautiful memories there o I decided to include aesthetically pleasing photos that were taken there. The photos for misery were downloaded from upsplash and they are to represent a feeling of complete stuckness, yearning to experience something better.

    https://uncg-my.sharepoint.com/:f:/r/personal/r_riley_uncg_edu/Documents/_Rachele%20Riley/teaching/S25/ART%20341%E2%80%9302/Chris%20Pierce/Week%205?csf=1&web=1&e=Hk1ai3

    1. Hi Chris! Your images are really cool, especially the ones you took yourself. I think they really get across that feeling of recalling an incredible place or event from the past, and how it can feel sort of abstract and dream-like. (Also I noticed that you say the theme is nostalgia here, while the folder is titled “Euphoria” – not sure if that’s intentional or not but I thought I’d point it out just in case.)

12. Bichler explains that the redesign needed to happen because the director really wanted to showcase the height of the New York skyscrapers. By making the magazine flip to reveal the full height of the building. While also having the ads turned so that readers would not have a struggle too much while reading the issue. Spreading the magazine so that it was completely different from their regular issues.

    How I understand the typographic voice is that it can be really critical of what fonts, colors, sizes, etc that are chosen to communicate. When Bichler discussed one of their special issues regarding Black women and pregnancy she talked about how they did not want the text to be flashy. Or the text to overshadow the initial important story. That the typographic voice can be almost invisible to help a story unfold. Or at times the voice should be loud to go with the design, the typographic voice could be dependent on what the message is meant to convey. And how the voice needs to aid in that message and how it looks overall with the design.

    What really inspired me was just the really amazing images Bichler was showcasing. There was a mix of different designs and stories, so to see the process of what designs go with what story was really impactful to see. And in a lot of the designs, some of them seem simple. Which for me was interesting to see that even simple designs can be very impactful and needed. She discussed how the story or the message can change the typographic voice. How important it is to let it aid in the story rather than over power. I can definitely see myself taking inspiration from how they layout their issue spreads.

    loneliness

    memory
    https://uncg-my.sharepoint.com/:f:/r/personal/r_riley_uncg_edu/Documents/_Rachele%20Riley/teaching/S25/ART%20341%E2%80%9302/Sarah%20Hines/week%205?csf=1&web=1&e=S7jXRq

    For my project I wanted to tackle themes or topics of loneliness and memory as I believe it relates to the text that goes with this project. I selected images from the NY archives, The Korean Classic Film channel, and Pexels. I am sure to add more images but for loneliness I want to have images that capture people by themselves or surrounded by others. But there is this feeling of isolation still even though they are around others. For memory I want to have images that capture a feeling of loss and fog. As of writing this I want to get more images for these topics as I think these are interesting to think about regarding our example text.

    1. Hey Sarah!

       I really liked how you brought up how sometimes the text needs to also allow for the story to shine through, which sometimes means allowing the text to take a backseat to the big picture. I also really enjoyed all of the examples of designs she and her team have made though out the years. They all capture your eye in unique ways.

13. Gail Bichler’s talk about the New York Times Magazine was super interesting to listen to. It was interesting especially when she talked about the special issue on skyscrapers. For that problem, they had to redesign the whole magazine layout by flipping it 90 degrees to make it vertical. This way they could really show off New York’s super tall buildings. They even had remake the ads to fit the new vertical format, which sounds like a huge job. They also made a new condensed typeface just for that. That made it easier to fit text in tight spaces.

    I also really liked the idea of typographic voice. It seems like it means using different fonts and sizes to help tell a story. Its like how people have different voices when they talk. Magazines use different typography to show different moods or ideas. They used bold, condensed fonts for serious topics, and softer, simpler fonts when the story needed to feel calm or respectful.

    What inspired me most about Bichler’s work is how much thought goes into every little detail. It showed how sometimes less is more. Seeing how much effort goes into making each issue unique was really inspiring. It made me realize how important design is to telling a story, not just the words.

    1. Hey Clint! I like how you highlighted the uniqueness of each individual issue that was published within the magazine. I think that each issue’s individualized feeling shows just how much creative energy Bichler has on her team and how many ideas are floating around their workplace. Great work!

    2. Hi, Clint I like how you explained the breadth of Gail Bichler’s work and the level of attention that goes into each design decision. The skyscraper issue is an excellent example of how form follows function the vertical format was more than simply a creative choice; it was also a method to visually enhance the content. It’s interesting how something as seemingly insignificant as a condensed typeface can have a significant impact on how content is displayed and used.

14. Bichler goes into depth about the redesigns needed for the skyscrapers special issue. One of the major redesigns is the orientation of the magazine. Since skyscrapers are large vertical structures, the design team chose to make each page a vertical spread. This also meant that they need to make a typeface that complemented the verticality of the magazine issue. Even the ads needed to be changed to fit the vertical theme of the piece.

    How I understand “typographic voice” is by the identity certain typefaces and how they interact with images and aesthetics. For example, the website I’m currently working one uses Rosarivo as the main typeface. I chose this typeface because I wanted something rustic and whimsical to complement the absurd but charming aspects of my website.

    What inspired me about seeing the editorial design process through Bichler’s work was how collaborative it is. I really like working on projects with a group of creatives where we all can contribute creative ideas to your collective project. This process reminds me of short documentaries Cartoon Network would put out showing the “behind the scenes” of animation production. Some issues that resonated with me would be the number of moving parts required to produce a project. Communication, time, and energy are all barriers that impede progress on a project.

    Studio:
    https://uncg-my.sharepoint.com/:f:/r/personal/r_riley_uncg_edu/Documents/_Rachele%20Riley/teaching/S25/ART%20341%E2%80%9301/Mar%20Alvarado-Escobar/Week%205?csf=1&web=1&e=r5aXsN

    What I’m exploring is the cause or modivation on what brings people together. I chose the concept of harmony as a generalized word for this idea. The two aspect of harmony I chose to represent as oposite are rallying and amity. My other theme, tranquility, relates to ideas of rest verus calm. Rest being passive or inactive and calm having some sense of awareness.

    1. The way you worded your response is really nice and I think it’s interesting that you highlighted the collaborativeness of a project like this. There definately can be a lot of communicaiton and collaboration when it comes to editorial work.

15. What had to be redesigned for the special issue on skyscrapers?
    There was a desire for the entire issue to be read sideways to mirror the fold-out cover. In order to keep readers in this orientation, the magazine had to reach out to advertisers to deliver materials designed for this special format. A new simplified typeface was also introduced in order to translate accordingly when elongated.

    What is meant by “typographic voice?”
    Bichler mentions that the objective of a well branded magazine is that if you found a page on the ground you should be able to identify it. I believe to have a typographic voice is to have this same essence as it would apply specifically to type. The great care that was taken in the rebranding to make sure the type adhered to the legacy of the magazine speaks to this. When the clip was played of all 52 issues in succession, the thing really tying them all together was the type.

    What inspired you about seeing Bichler’s editorial process?
    I appreciated the risk taking involved in some of the editions. The madness of trying to take so many different topics, artists, and assets and make them feel cohesive seems formidable. I enjoyed seeing some of the unpublished iterative ideas of some of the pages. Its good to know that even at that level, there is a element of trial and error.

    With the assumption that we will extract a portion of the quote from Jan Van Toorn. I chose the phrase ‘vis-a-vis’, which can have many meanings including to meet or confront face to face. I interpreted this in images as how social togetherness has been affected in a variety of ways. 3 themes I arrived at include the advancement of technology/convenience at the expense of social isolation, the erosion of romance/intimacy in the face of consumption, as well as the theme of living vicariously through others as virtual proxies rather than experiencing life for yourself. I sourced my images primarily from Pexels due to the ultra modern subject matter, but chose the two vintage photographs for contrast from the New York library public collection:
    https://uncg-my.sharepoint.com/:f:/g/personal/r_riley_uncg_edu/Eq5ROXAACSxBnrrwlbCYPyQBwvLSJCa-y15WPgWA08ckjw?e=mT3YfR

    1. You highlighting the trial and error of taking on a project of this scale is why I was interested in hearing about all the individual steps necessary to publish and issue like this. It’s all about identifying a problem and coming up with a solution.

    2. Hi Zeus!
       I really liked that you chose to interpret the phrase “vis-a-vis” and how you were able to create multiple themes from it! I absolutely enjoyed all the images you chose for each theme, and they definitely helped represent them. There’s a lot of variety and depth to the pictures you chose, and the contrasts between modern and vintage between the photographs was a very nice touch. Can’t wait to see what you come up with!

16. Discussion:
    1) Bichler discusses a few special issues of the magazine, what had to be redesigned for the special issue on skyscrapers?
    Both the font used and the format of the magazine had to be redesigned for this issue. The font so that it could be lengthened to illustrate the theme of the issue, as well as the format for similar reasons; being rotated to a vertical position.

    2) How do understand what is meant by “typographic voice?”
    As I understand it, “typographic voice” means the themes/emotions typefaces can evoke using the letter form. As Bichler described when discussing the redesign of the magazine’s typefaces: the goal was to reference previous typefaces used for the magazine while also presenting a more modern look that could be manipulated for various issues. This allows the magazine to maintain its “brand” while introducing an interesting new typeface as well.

    3) What inspired you about seeing the editorial design process through Bichler’s work? Which issues resonated with you?
    To be extremely honest I was a little disheartened by this week’s speaker. The work shown in the new york times is really interesting, and it’s a great example of how typeface can be used to express different ideas- especially in tandem with graphic design! However, I really dislike the focus of these changes being primarily founded upon maintaining the company’s image as a “brand”. Our speaker even admitted themselves that these changes aren’t often drastic, and they don’t take any of these changes/experimentations lightly because of their “brand” as a magazine. I find that uninteresting. I, personally, think experimentation is the joy of expression, and if the magazine didn’t care about how many people read it, I think they would experiment a lot more and their structure/covers/typefaces/everything about it would probably be more intriguing. However, I also completely understand getting people to consistently purchase the magazine is their goal.

    Studio:
    https://uncg-my.sharepoint.com/:f:/r/personal/r_riley_uncg_edu/Documents/_Rachele%20Riley/teaching/S25/ART%20341%E2%80%9301/Johnny%20Monroe/Week%205?csf=1&web=1&e=7xixXz

    For my images I chose the theme “Advancements in Mass Communication Divide/Unite Us”. I got all of my images from the US National Archive and for “Divide” I chose images depicting single human subjects in tandem with advanced (partially destructive) machinery, I’m still debating between two of these images. And for “Unite” I chose an image that displayed a crowd of people forming around a group of headline posters.

17. 1. The magazine was drastically altered for the “High Life: The City Above 800 Feet” issue to reflect skyscrapers’ vertical nature. Readers had to turn pages upwards because the conventional horizontal layout had been turned 90 degrees, creating a vertical orientation. All sections, including features and ads, had a thorough overhaul that engrossed readers in the soaring cityscape of New York City. Matt Willey, the art director, created unique typography for the issue’s new vertical format, ensuring unified and powerful images.
    2. The term “typographic voice” describes the intentional choice and change of typefaces to express a certain personality, tone, or feeling within a publication. Typography in The New York Times Magazine is not only readable; it’s a narrative tool that captures every nuance of the subject. The magazine makes sure that the visual presentation of each story is in line with its subject core by creating unique typefaces and using creative typographic elements, which strengthens the reader’s emotional and logical bond with the material.
    3. What inspired me about seeing the editorial process through Bichler’s work was the emphasis on how typography is not just a design element but a crucial storytelling tool. The way typefaces, spacing, and layouts are selected to reflect the tone of each issue was fascinating. Working behind the scenes with artists, photographers, and designers demonstrates how collaborative editorial design is. It is admirable that they are prepared to try new things, especially when there are strict deadlines.
    .
    .
    .
    https://uncg-my.sharepoint.com/:f:/g/personal/r_riley_uncg_edu/EkvGNIOG4t1GvTv9NJrnvCEBhvCrhonbjtMgKtHGltU9Bg?e=dkJxgi
    I went with the theme of self-expression. I wanted to find photos of people expressing themselves, whether through dance or just a smile. I found some vintage photos from the Library of Congress and The New York Public Library.

    1. Hey Taylor! Your theme and images are really interesting! I’m excited to see what you do with those images as well. I also agree that it is admirable that Bichler is not shy to try new things and how collaborative that process is. Getting other peoples mediums, designs, and ideas to make these really interesting issues.

18. For the issue on skyscrapers, the magazine was redesigned in many ways. The entire issue was produced in a vertical orientation with a vertical fold out cover. Even the ads were done vertically. A new typeface was drawn in which it was easy to lengthen and shorten. The editor, Jake, went with it and things were written & rewritten to fit in with the new design.
    Typographic voice is the mood and tone created via typography; essentially, it is the visual and creative essence imbued in typeface. A unique typographic identity succeeds in utilizing the best mediums to tell a specific story. With this in mind, you can decide if working on a project with your usual style is beneficial or if changing course to better tell a story or reflect a change is the best course of action.
    The spread I really responded to was the man who overlaid images to convey a sense of motion. In art I really enjoy transparency, opacity, and soft looking/ ghostly or ethereal elements. I was also inspired by the quote “If a magazine is well branded, you should see a page of a magazine in isolation and know what magazine it came out of”. This quote highlights that a unique visual identity can cause people to connect with that and stand out against other competitors.

    For my Week 5 collection I settled on three topics: cultural fragmentation, ignorance is bliss, and homogenization. I collected at least two images for each topic, making sure each set of images compared and contrasted. The first image for each topic expresses that topic, followed by a photo representing the opposite concept.
    Link: https://uncg-my.sharepoint.com/:f:/g/personal/r_riley_uncg_edu/Eu_kTZNMtYFLsCdGoTqApc4BCBN5i8dAbIwl8JlZgKykFw?e=U38yZX

    1. Hey Autumn!

       I also loved how the speaker spoke about having a “image” that is recognizable just from one page, which I think goes hand in hand with visual branding. I also love the topics you’ve chosen and the images you’ve selected to go with them. I am exited to see how your project progresses!

    2. Hi Autumn, I think you have a really interesting topic for the project, specifically “ignorance is bliss”. I think there are so many possibilities for this topic.

19. For the special edition of New York Times magazine on skyscrapers, Bichler described how it had to be elongated and enlarged to compensate for the vertical orientation of the issue. It was redesigned in this fashion to convey the sense of the subject of monumentality within this specific issue, specifically living high in the sky. For the digital version of the magazine, the text actually stretches with the page. When it comes to typographic voice, I understand it as a type of design in the typography that captures the emotion and tone of the subject that it speaks about. For example, for the skyscraper issue, there were bold, tall letters, which matches the mood of the towering, large skyscrapers. Something that inspired me thorough Bichler’s process of work is how she would sometimes just go with her gut in her design choices. She explained how in one (or more) of her issues, that if a editor saw the choices, they would most likely get rid of it or change it. To me, it’s important to take criticism of others, which could help you better achieve what it is you are trying to do, but its also important to keep at least some elements that you like about it. If you take too much criticism and change every little thing about it to adhere to what they believe is right, can it really be called your work at that point?

20. https://uncg-my.sharepoint.com/:f:/g/personal/r_riley_uncg_edu/ElDDhUyqRyhAgMWW88lDBx8B1h8HtSc2057wtQM1bFPm7g?e=B5FV2X

    The two themes that I want to explore in the next project is Division/Unity and Connection/Disruption. The photos that I found were either from Getty Images, The New York Public Library, Library of Congress, and The Times. The images I have under my Division folder are those of the Civil Rights Unrest of African Americans in the 1960’s and prior, as well as photos of Gay Rights/Liberation movement and the AIDS crisis. As a contrast, I also included photos of Desegration, and Black people enjoying their lives, and well as photos of people fighting for gay rights. For this theme, I wanted to show the contrast of fighting for civil rights, both for black people and those in the LGBTQ community (containing moments of pain), as well as the happier moments and more unified moments.

    In my second folder for Connection, I have a few photos of mid 1900’s photos of women on telephones, as well as the contrasting image of a man in the 1910’s using a telephone while visibly fighting in a war like environment. For this second theme, my thought process was to collect photos of a similar item, in this case a phone, and showing the different uses of them. How sometimes they are used to capture happy moments, and also can be used during times of unrest to spread more horrific images.

21. For my project, I plan to do the theme of Social Validation. The two photos I chose, the one with the very colorful outfit is the one that is not worried about what others think, while the other one is in a more socially recognized outfit.

    https://uncg-my.sharepoint.com/:f:/r/personal/r_riley_uncg_edu/Documents/_Rachele%20Riley/teaching/S25/ART%20341%E2%80%9301/Ethan%20Heggins?csf=1&web=1&e=jWSop3

22. Discussion:
    1. The entire format of the skyscraper issue had to be designed to look extra tall. The font was specifically made to be simple, but tall so it could be easily moved to fit into each page. Sometimes the lettering was seen as an illustration versus being legible. This shape mimicked an actual skyscraper and the feel of New York City – made up of tall buildings like skyscrapers. The entire magazine can be read in the same format instead of switching back and forth. Even the ads within the magazine had to be redesigned to fit inside the format.

    2. Typographic voice refers to the style, size, and design of the text that describes a feeling, energy, or tone. This possesses its own individual personality. It’s not just what the words say, but the feelings they give off to set a mood or relay the message of each story.

    3. It was very inspiring to see how much creativity goes into making a magazine visually match its content. This magazine particularly stands out by either stepping outside of the norm to convey a message or dialing everything down to give the story its own power. Bichler’s designs show how typography can tell a story of its own. It’s talked about how even though each week has a different story, they still work with similar design options, and they have to figure out how to relate to each story. The Olympic issue stood out to me because it is eye-catching. The photograph on the front heavily displays motion as well as the font inside, and that carries throughout the whole magazine. Finally, the issue of love in NYC resonated with me. Each cover represents different ages, ethnicities, sexualities, and genders, and so much variety that reflects NYC as a whole. It’s super empowering to see.

    Studio:
    I’m exploring two themes, the main one being how technology has changed how children grow up, play, and interact with the world. The second one I researched was about authenticity vs. perfection through social media. The images I found for the first one were of children playing outside houses in the 1960s in the national archives, compared to the image of a child being consumed by the screen on Getty images. The other photographs I found for the second theme were a child not caring about how they looked vs. a model posing in front of a very saturated ocean from Unsplash. Food is prepared aesthetically, contrasting with a family enjoying a meal in an intimate setting, both from Unsplash.
    https://uncg-my.sharepoint.com/personal/r_riley_uncg_edu/_layouts/15/onedrive.aspx?id=%2Fpersonal%2Fr%5Friley%5Funcg%5Fedu%2FDocuments%2F%5FRachele%20Riley%2Fteaching%2FS25%2FART%20341–02%2FChristina%20Kibler%2FWeek%205&sortField=Modified&isAscending=true&ga=1

    1. Hi Christina!
       The issue of love in NYC also resonated with me! The diversity shown with each cover was incredibly heartwarming and empowering and serves as a reminder that love can be represented and given in so many ways. I enjoyed your studio work and the themes you chose as well! They’re very strong themes and the images you chose definitely help support them. Can’t wait to see how it turns out!

23. What had to be redesigned for the special issue on skyscrapers was that the entire issue was turned ninety degrees, from the cover to the ads they were turned to showcase the life at such a high height. It was great that they had a way for people to be immersed in the special issue with something that is not as loud as a photograph. The redesigned and the way they stretched the typeface was refreshing and exciting. Bichler did say they were nervous about the criticism but for the brand that they’re going for now, which is more artistic, it suits the magazine quite a lot to take such a leap every one in a while when it comes to design changes.

    I understand the “typographic voice” by the way to font can highlight not only the brand but the content of the magazine presents to the viewers at the time. I think that is why it is really important when the font matches the issue. With the skyscraper issue the font made another connection with the viewer to ensure that the immersion was there.

    I love how there is variants in Bichler’s work and it runs on an essence of collaboration. An issue that resonated with me was the history of Arab spring, it was a very hard hitting topic and magazine companies constantly want to put advertising but for them to have no ads and focus on the gut wrenching story was respect in the topic and I enjoyed it. A lot of people in western media don’t pay attention to other parts in the world and so having that be so solid was great to see.

    1. Hey Roqui, I really enjoyed your definition of “typographic voice”. Making the connection between the content represented in the issue of the magazine and the font choice was mentioned in Bichler’s presentation. I also liked that you mentioned the fear of criticism that Bichler and their team were expecting because of the vertical format of the special issue. I also mentioned my appreciation for the collaboration in Bichler’s work. I also liked the issue your brought up the issue on Arab Spring. Bechler’s team really does know how to present their information in a tonally appropriate way.

24. Here is the link to the images I have chosen for my project 🙂
    https://uncg-my.sharepoint.com/shared?id=%252Fpersonal%252Fr%255Friley%255Funcg%255Fedu%252FDocuments%252F%255FRachele%2520Riley%252Fteaching%252FS25%252FART%2520341%E2%80%9302%252FJackson%2520Highshaw&listurl=%252Fpersonal%252Fr%255Friley%255Funcg%255Fedu%252FDocuments

25. What had to be redesigned for the special issue on skyscrapers was a new editor, Jake Silverstein. In 2014, it was claimed he had a different vision, content he introduced, and want to make the magazine more literary. They emphasized that they did not want to add any drastic changes to the old logo. They went for a more modern and elegant approach, she mentioned. The new design is more spaced out and a hint lighter than the old design. A typographic voice is essentially the personality of how a message gets across while using fonts in letters of words and messages. Generally a typographic voice conveys a personality and is capable of creating and establishing a mood. A few examples of this could be how you envision the word relaxation or tranquility. One most likely wouldn’t think the font would be all intense and complex. Words that share said calm feelings would look more mild and simple. But words like excitement or thrilled would captivate more visual energy. What inspired me seeing the editorial design process of Bicher’s work was the style. I enjoyed seeing the wide variety of designs in fonts and images, browsing the colors, series of movements, and more.

26. 1. Bichler discusses a few special issues of the magazine, what had to be redesigned for the special issue on skyscrapers?

    – Bichler describes how the issue revolving around skyscrapers had to be redesigned in a way that captured the full height of the buildings while maintaining a smooth reading experience for subscribers. The team came to the conclusion of flipping the magazine 90 degrees and commissioning specific photography that captures the skyscrapers vertically, instead of forcing the buildings into the magazine’s originally horizontal format.

    2. How do understand what is meant by “typographic voice?”

    – By typographic voice, I understand it as meaning the messages, themes, personality, and ideas that a designer intends to share through their typography; it’s their typographic identity. For example, Bichler describes the specific typographic decisions of the designers behind a story on the tensions within the feminist movement during Trump’s first election as decisions made to emphasize the tensions going on, as well as to nod to the dress of protestors. Typographic voice is, in a way, how we as the viewers/readers perceive the typography.

    3. What inspired you about seeing the editorial design process through Bichler’s work? Which issues resonated with you?

    – I loved how collaborative the editorial design process is. I love working with teams, so seeing how Bichler’s can come together in such a creative, collaborative way is so inspiring. I also find it inspiring how her team comes together to target very specific issues and find unique ways of solving them (such as the case with the skyscrapers).

    1. I agree that typographic voice has perception component. We can try very hard to convey and evoke with our intent as designers, but ultimately its up to the viewer to interpret it.

    2. Hello Callie! I enjoyed reading your response. I 100% agree with you, it’s so cool how Bichler’s process shows that the best design came from her whole team working together. Collaboration can push ideas further and allow different perspectives to be included that may not have been considered!

27. The particular redesigned New York Times issue Bichler mentions was New York above 800 feet, an issue about New York and its tallest buildings that was flipped horizontally. It featured a fold out cover on the front of the magazine of a specially commissioned cover image flipped 90 degrees to make the piece vertical. For the new issue of the New York Times, they even wanted the advertisements to be flipped, so they had to reach out to each advertiser to get a newly designed ad as well. They also had to create a new typeface for the text in the magazine, they created a font that was relatively simple and easy to stretch or shorten when needed, though the new text was a bit harder to read. The final problem they ran into was complaints from viewers about the new design, text, and soreness in their necks from having to read the issue sideways. I understand typographic voice as the tone or character/personality of a text or font. In Bichler’s presentation, she shows texts and issues with many different tones. She shows examples of issues that utilize text to set the tone or mood, whereas others use simpler text to allow the images to share the story. Seeing the design process has inspired me to experiment more with my typography through size and shape.

28. During the video, the special issue was on skyscrapers, and the New York magazine was flipped 90 degrees to a vertical format. The redesign helped and allowed the magazine to better showcase the tall, narrow nature of skyscrapers. This allowed it to be more immersive. They explained that the shift required a complete rethinking of the layout and typography. This maintains the composition to ensure the ability to stay with a cohesive design while also taking advantage of the new orientation.

    In the video, they made it understandable that “typography voice” refers to how typography conveys tone, emotion, and, most importantly, personality in the design. This is so interesting because a person’s voice can be expressed in different ways/moods. Some examples of this can be playful, elegant, happy, sad, bold, and even serious. This is almost the exact same thing when it comes to typography. Typography can give a sense of expression. Some examples are font choice, size, weight, spacing, and layout. When it comes to designing typography, we can capture a voice that helps shape the reader’s perception of the story, reinforcing its message visually.

    Seeing Bichel’s work was inspiring because it demonstrated the editorial design, both creative and design. The most important way typography brings you a perspective of layouts that are used in storytelling and that design is not about aesthetics. It plays a crucial role in how stories are perceived and understood. The blend of classic and custom typography in each issue also demonstrates how type can shape the reading experience in a meaningful way. After all, I believe this is the best and my favorite part of photography.

    I chose these two images to explore the theme of solitude and authenticity in contrast to structured environments. The first image, featuring a woman sitting by a river in a colorful dress, captures a moment of quiet reflection, individuality, and connection to nature. It feels spontaneous and personal, untouched by external influences. The second image, a charming but empty street in Palma, represents a different kind of solitude shaped by human-made structures and cultural history. While both evoke a sense of stillness, one is organic and free, while the other is shaped by architecture and urban design, creating a contrast between natural and built environments.

    https://www.pexels.com/photo/brunette-in-colorful-dress-sitting-by-river-26088691/

    https://www.pexels.com/photo/charming-street-in-palma-balearic-islands-29803591/

    1. Hi Cindy,

       Layout in design it’s an interesting thought. Especially when it comes to blocking out space for text, images, and illustrations within a magazine. I love your theme idea working within individualism and collectivism.

29. For the special issue on skyscrapers, Gail Bichler and her team had to change the whole layout of The New York Times Magazine. Since skyscrapers are tall and narrow, they decided to flip the magazine to a vertical format instead of its usual horizontal one. This made it better fit the theme and helped readers feel the height of the buildings just by looking at the pages.

    Bichler describees typographic voice as the way words can visually show emotion and tone. She explains that typography isn’t just about making words readable—it can also add meaning and feeling through different design choices like size, shape, or even distortion. By changing how text looks, designers can help tell a story in a more engaging way.

    What I found most inspiring about Bichler’s work is her team’s creativity and attention to detail. Every design choice they make is thoughtful and serves a purpose. They don’t just decorate the magazine,they use typography and layout to bring stories to life. Seeing how they push creative boundaries while still keeping things clear and readable makes me appreciate how much effort goes into editorial design. I think in the life of a designer, it is important to approach these conflicts in a way that no one else might thnk of, the creativity is what stands out to the audience.

    1. This is my link to Week 5.

       https://uncg-my.sharepoint.com/:f:/r/personal/r_riley_uncg_edu/Documents/_Rachele%20Riley/teaching/S25/ART%20341%E2%80%9301/Debora%20Guevara/Week%205?csf=1&web=1&e=ggHhy7

       My Theme is “Privacy”.

       I got the images from Getty.

       The first photo of a bathroom and the second photo of paparazzi. I chose these photos to contrast the theme because the bathroom as a dramatic telling of having the space and time to yourself. Meanwhile, the second photo is of the paparazzi with the cameras in your face. Just by looking at these photos side by side, I feel an invasion of my privacy. These days on social media and for celebrities, there is little to no sense of privacy and security. There are people who will decide to stalk your pages and take photos/videos of you without permission. Also, children and babies are exposed to the world at an early age which is dangerous for their private life.

30. Skyscrapers magazine ads had to be revised in addition to the text due to the change in the magazine’s layout. A special simple adjustable text was made. The font user interface for the designers working in the magazine made it easier to play around with both vertical and horizontal manipulation. Photos within the magazine were also specially made to fit within the vertical space.

    Typography, just like any other voice, is set up to display an idea to the audience. My interpretation of the phrase “typography voice” is a mixture of specific design choices in fonts to help display a theme or function.

    Three separate factors of the process through Bichler’s resonated with me. Historical content of the font to the brand. The redesign of the original font to The New Yorks was done to keep its historical content while simplifying parts of the font. The second Process that inspired me was the attentiveness of the content material behind each design. Some magazine designers were able to be more creative with their fonts depending on the topic. On the other hand, with more serious topics a simpler design would suit better for the magazine design. In the past, I have purposely simplified my designs due make art that has more serious themes.

    1. Hey Karla, I like your comparison of “typographic voice” to and actual voice. Addressing an audience also helps me visualize the concept better as well. I also agree your appreciation for the historical context of the font to the brand. The way they chose to design their new font felt refreshing especially since many brands feel very monotone when it comes to of revisions of their brand’s idenity. I also agree that the attentiveness to detail within the content shows their level of skill and craftmenship.

31. For the skyscraper issue had to be flipped 90 degrees in order for the viewer to see how tall the New York builders actually were. Because of this change, the team thought it would also be a good idea to keep this format to not make it difficult for the viewers to look at, so the ad sales team had to go to the advertisers and ask them to redesign their ads to fit the new format. They also created a new font which would make it easier to lengthen and shorten so it would fit the new format.
    For me typographic voice is what I think the font is trying to convey, not what the word says but how the font is being used in that word. For example if I read a word with a sharp and bold font I’ll assume the person is screaming. It doesn’t matter what they’re saying, the font speaks for itself.
    After seeing the design process of Bichler’s work all I can say is that it takes a hard working person to be able to do what she does. I personally loved the issue with the skyscrapers. I feel like even though most of the decisions to change the format of the magazine was because of the skyscraper, I think it made the rest of the articles and photos more impactful as well.

    https://uncg-my.sharepoint.com/shared?id=%2Fpersonal%2Fr%5Friley%5Funcg%5Fedu%2FDocuments%2F%5FRachele%20Riley%2Fteaching%2FS25%2FART%20341%E2%80%9302%2FXimena%20Perez%2DChavarria%2FWeek%205&listurl=%2Fpersonal%2Fr%5Friley%5Funcg%5Fedu%2FDocuments

    My theme was phone awareness. In the first photo it shows a guy with two phones in his hand trying to make rescue calls during a disaster. In my second photo it shows the inside of a cyberattack investigation. I wanted to show the differences in ways someone decides to use their phone, in a positive way or a negative way. I used Library of congress and National archives catalog.

32. This redesign was a very well thought out idea overall. Matt, who was the magazine art director, decided to turn the magazine 90 degrees and have a fold out cover. This created a cool effect which was meant to show just how tall New York’s buildings were. Fold out covers are unusual and very eye-catching, and as a result created a dramatic effect. This issue also had all of the ads in the issue to be turned as well. This involved the sales team to go and ask all of the advertisers to redesign their ads in this different format. Throughout the issue, the type-face was used in a unique way. Some of the pages included titles stretched across the pages to signify building. This magazine was used as a unique experience that brought some criticism, however the creators thought it was worth it.

    We understand the typographic voice by understanding what kind of personality, energy, connection, and message that we want to convey. This is important when designing any type-face.

    Overall I really enjoyed seeing the creative process in how this world famous magazine comes together. The different designs, type-faces, and graphics all come together beautifully. The amount of unique elements in each issue takes time, collaboration, and creativity. I have never read The New York Times Magazine before, so this was my first look into what some of the issues looked like. I have found a great interest in these issues now, and want to look at more of them.

    My project folder contains images in a theme of comparison. This comparison is comparing the life of countrymen compared to the life of city citizens. I found these images in the New York Public Library. I hope to bring out this theme as this project progresses.

    https://uncg-my.sharepoint.com/my?id=%2Fpersonal%2Fr%5Friley%5Funcg%5Fedu%2FDocuments%2F%5FRachele%20Riley%2Fteaching%2FS25%2FART%20341%E2%80%9302%2FAlex%20Gentry%2FWeek%2DFive&listurl=%2Fpersonal%2Fr%5Friley%5Funcg%5Fedu%2FDocuments&remoteItem=%7B%22mp%22%3A%7B%22webAbsoluteUrl%22%3A%22https%3A%2F%2Funcg%2Dmy%2Esharepoint%2Ecom%2Fpersonal%2Fwagentry%5Funcg%5Fedu%22%2C%22listFullUrl%22%3A%22https%3A%2F%2Funcg%2Dmy%2Esharepoint%2Ecom%2Fpersonal%2Fwagentry%5Funcg%5Fedu%2FDocuments%22%2C%22rootFolder%22%3A%22%2Fpersonal%2Fwagentry%5Funcg%5Fedu%2FDocuments%2FART%20341%E2%80%9302%22%7D%2C%22rsi%22%3A%7B%22listFullUrl%22%3A%22https%3A%2F%2Funcg%2Dmy%2Esharepoint%2Ecom%2Fpersonal%2Fr%5Friley%5Funcg%5Fedu%2FDocuments%22%2C%22rootFolder%22%3A%22%2Fpersonal%2Fr%5Friley%5Funcg%5Fedu%2FDocuments%2F%5FRachele%20Riley%2Fteaching%2FS25%2FART%20341%E2%80%9302%2FAlex%20Gentry%2FWeek%2DFive%22%2C%22webAbsoluteUrl%22%3A%22https%3A%2F%2Funcg%2Dmy%2Esharepoint%2Ecom%2Fpersonal%2Fr%5Friley%5Funcg%5Fedu%22%7D%7D

    1. Hi William,

       Love your idea if working with Comparisions with country versus city citizens. For whatever reason I could not seem to look at the images you collected. Side note, I definitely agree with you regarding the collaborative effort within the design team. Especially with a large corporation like The New York Times listening about how each designer carved out a space within the company to create.

33. For the skyscraper issue of The New York Times they included a fold out cover, the ads had to be redone so readers would not have to flip the magazine back and forth, they created a new, simple typeface that would be really easy to lengthen and shorten in relation to the space they had, the headlines had to be rewritten

    I feel that typographic voice has to do with not just a font’s attributes but how they are organized in a piece. For instance, for the rugby cover, the font was really bol,d but the arrangement of the letters added a more playful feel. But in contrast, for the sex ed issue the font and layout were more simple.

    I was really inspired by the wide range of design and how it always ends up fitting the theme
    I really liked the Twice as Vulnerable issue because it was a good reminder of how when the tone of an issue calls for it simple is better. I feel like a lot of times I get lost in making the design the main feature, but it is good to have some restraint and think about how impactful a simple design can be at times.
    The High Life issue of The New York Times I found to be super innovative with how much thought went into it especially when it came to thinking about the consumers

    For my images, I was just thinking about general differences between people like age or where someone lives, which could influence their interpretation of things
    https://uncg-my.sharepoint.com/:f:/r/personal/r_riley_uncg_edu/Documents/_Rachele%20Riley/teaching/S25/ART%20341%E2%80%9301/Maria%20Mendoza-Regalado/week%205?csf=1&web=1&e=LsYL1z

34. The Black and White misconception of domestic violence in media. For a while now I’ve been having this constant image in my mind. Of a portrait image of both couples and families with collages, blurring, and text. The collage plus design features would display hidden abusive components of different relationships. Rather than working with black, white, monotone colors I would like to play around with different colors. This idea came from the thought of an individual choosing to stay in an abusive relationship for a multitude of purposes. Originally, I wanted to make this idea into a painting or sketch rather than working with photography. However, Plans have changed I am interested in working with a new medium. I chose this theme since the Idea of silenced domestic violence often have a very strange form of visual display in media.

    https://outlook.office.com/host/377c982d-9686-450e-9a7c-22aeaf1bc162/7211f19f-262a-42eb-a02e-289956491741

35. 1. Bichler discusses a few special issues of the magazine, what had to be redesigned for the special issue on skyscrapers?

    It was vertically oriented, which would help visualize the immense height of New York’s skyscrapers. However, because it was vertically oriented, all the ads had to be turned vertically as well, resulting in the advertisement department redesigning them in a vertical format instead. As for the typeface, they chose to use a simple design so that it would be easier to either lengthen or shorten to fit in certain spaces in the magazine. This then led the editorial to rewrite all the headlines to fit in the design. They also redesigned a map that was initially supposed to show all the buildings that were over 1000 feet in Manhattan but instead changed it to over 800 feet as there weren’t enough buildings to demonstrate that in an interesting matter visually.

    2. How do understand what is meant by “typographic voice?”

    A typographic voice is essentially the voice of a typeface, and what it can convey and invoke. How different typefaces communicate messages, as it has the power to change the way we read it. The font can appear playful, serious, elegant, modern, etc., as it depends on the different weights, sizes, lengths, and other techniques used to emphasize certain texts. Think of it as if a font could have a personality and express different emotions and tones.

    3. What inspired you about seeing the editorial design process through Bichler’s work? Which issues resonated with you?

    I was very interested in the redesigned process, as it made me realize that not every issue of a magazine was originally designed to appear as it is now. The amount of detail and thought they put into the editorial design process is incredibly well thought-out, especially when Bichler stated how several departments like the advertising or editorial department would also be affected by the redesigning process. There weren’t any specific issues that resonated with me, as the entire range in general between all the issues made me see the New York Times Magazine in a different light. I wasn’t familiar with their editorial department, as instead, I’ve seen more of their political, business, and advertising magazines, and not so much their arts, cooking, and pop-culture issues. I think to be able to have so much range and work with different styles is what stood out to me the most, as that’s certainly an ability that I’m envious of. It serves as a reminder that one doesn’t have to stick to a certain style, if anything, one should continuously explore and dive deeper into different styles, going beyond the norm.

    1. I also enjoyed seeing the trial and error process in some of the pages. Its nice to see the struggles as well as the finished work.

    2. Thank you for your response, Cindy! The redesign process is so interesting and it’s crazy how it impacts every department. I also love how the New York Times Magazine switches styles, it’s a reminder to continue exploring styles and not just stay where you’re comfortable.

    3. As for my project, I wanted to explore the theme of consumerism and its after effects. I mainly used images from unsplash and pexels.
       https://uncg-my.sharepoint.com/:f:/r/personal/r_riley_uncg_edu/Documents/_Rachele%20Riley/teaching/S25/ART%20341%E2%80%9302/Cindy%20Pham/Week%205?csf=1&web=1&e=uEDczI

36. In the presentation, Bichler discusses a few special issues of the magazine. She explained that for the special issue on skyscrapers, they had to redesign the format of the page by switching it from vertical to horizontal. They formatted it this way so the reader could read it the right way and see the image. How I understand what is meant by typographic voice is the way you make your brand or artwork stand out by giving it a unique look that is specific to who you are or what you are doing. The typographic voice in my opinion also refers to how each of the letters in a work connect with each other and how they are organized or formatted to accomplish a certain goal in whatever work the artist is trying to make. For me personally, what inspired me the most about seeing the editorial design process through Bichler’s work was that she made her typefaces unique and bold which helps make her issues stand out so much more. I think that she had a lot of great ideas that she wanted to try, and she really put them on display in her works that she made in the magazine.

37. 1) Bichler had to change the format of the magazine so it could properly express and convey the message that the editorial was trying to send, that New York skyscrapers are like, totally tall, like far out extended into the sky. The best way of expressing this of course is by turning the paper onto its side so that the consumer is interacting with something longer, despite having the same mass and dimensions as a magazine would normally.

    2) I personally perceive Typographic voice as something twofold. Part of it is what you as a designer or artist would wish to communicate through type and text, and the various ideas you have about how to execute upon those ideas. The second portion however is in the execution itself or how you’ve actually utilized your ideas and how effectively or ineffectively your ideas were communicated via the text. In a sense the first part is your ingredients, the second part is the cake you have baked. Sometimes you have to use different ingredients or bake it differently to get a result that you like and is easily digested by others. I would like to state that I do think voice is more personal and it’s more like, what you’re willing to take away for the audience you’re working for and not what other people tell you to take out for the consumers.

    3) I do like the idea of a collaborative effort offered by this week’s story. Moreso fitting art and design into the world alongside editorial instead of building a world around the art. It’s a good reminder that art is and can always still be a job that exists alongside other jobs and that it isn’t always so separate.

    For the studio portion of this week’s assignment, I’ve collected images from one of my favorite sources, Wikimedia Commons. The theme I want to work with concerning media and modernity is how new media, primarily fandom culture, draws people together around a given subject. I feel like it’s more common in artist spaces to see critical or even negative looks at how technology changed communication. Still, as someone born and raised at the end of the Y2K crisis, I have some inherent positive views on the benefits of technology. So I have collected images using the keyword “connection” in my envisioning, connection via electronic means, and connection brought on by surrounding a central figure.

38. Bichler informs us that they had resigned their entire magazine to accommodate their special issue on skyscrapers by flipping the magazines horizontally and making the type tall and condensed.

    I perceive typographic voice as the way type evokes a particular feeling in me. It’s the unique interpretation of its design beyond its literal meaning. Each type possesses its own distinct voice, setting it apart from others. Just as an unserious-looking type wouldn’t necessarily be the most suitable choice for an important text.

    I was most inspired by the diverse range of designs and their creative use of type. I gained a deeper appreciation for the creativity involved in creating these magazines and the innovative ideas like the skyscraper concept. It’s crucial to strike a balance between uniqueness and clarity, ensuring that the magazine’s message remains unambiguous despite its distinctive style.

    The theme I’m exploring looks at how the ocean and space represent the unknown, one full of deep personal emotions and the other endless and mysterious, showing how they reflect our fears, curiosity, and search for meaning.

    1. You make a great point about typographic voice—it’s more than just words; it’s about how type makes us feel. Bichler’s skyscraper issue is a perfect example of using design to reinforce meaning while keeping things clear. Your theme of the ocean and space as symbols of the unknown is really interesting. Both are vast and mysterious, making us reflect on fear, curiosity, and meaning. Excited to see how you bring this to life!

39. https://uncg-my.sharepoint.com/:f:/r/personal/r_riley_uncg_edu/Documents/_Rachele%20Riley/teaching/S25/ART%20341%E2%80%9301/Callie%20Roberts/Week%205?csf=1&web=1&e=PX8hPW

    The theme that I am most interested in exploring is that of texting culture encouraging people to communicate with each other through personas rather than through their own authentic voice. I believe that we often fall into the trap of communicating through a persona when we text (since texting gives us the ability to edit and proofread our thoughts before we make them known, allowing us to present the most curated/”perfect” versions of ourselves) and that we fail to recognize the importance of authentic communication (that being, making genuine connections with others), which is most easily accomplished through face-to-face.

    My images, which I mostly obtained from Unsplash with the exception of one photo from the New York public library:
    https://digitalcollections.nypl.org/items/5e0c7f30-464b-0136-609d-01f8cc085328
    Martha Swope, 1982, photo of Andrew Lloyd Webber talking to director Trevor Nunn.

    https://unsplash.com/photos/man-in-train-holding-smartphone-oqY09oVTa3k?utm_content=creditShareLink&utm_medium=referral&utm_source=unsplash
    Raheed Kemy, City Living

    https://unsplash.com/photos/a-group-of-poles-that-are-next-to-a-body-of-water-iMhPfUs3wK4?utm_content=creditShareLink&utm_medium=referral&utm_source=unsplash
    Luke Scarpino, digital cherry blossoms

    https://unsplash.com/photos/a-boat-is-going-down-a-canal-at-night-kn4Cvh1HeGI?utm_content=creditShareLink&utm_medium=referral&utm_source=unsplash
    Mos design, Japanese cherry blossoms

    To emphasize my theme, I wanted to use an image of a person on their phone combined with an image of digital cherry blossoms to contrast with an image of two people talking face-to face, combined with an image of real cherry blossoms. I wanted to place emphasis on the artificial nature of communication via text and the natural beauty of in-person contact.

40. Bichler highlights several key design changes in the skyscraper-themed issue, most notably the shift to a vertical layout to reflect the theme of towering structures. Special permission photography was used to adapt the images, and all articles were rotated to align with the new orientation, improving readability. The ad sales team secured approval from sponsors to rotate their ads as well, maintaining consistency across the issue. A custom typeface was also chosen to allow flexibility in text length, ensuring the layout remained balanced and readable.

    “Typographic voice” I believe refers to the personality or mood conveyed through typography’s design and placement. It can express a range of tones, from formal and serious to playful and bold. The typeface’s style, size, and interaction with other elements such as photography and issues on the page all contribute to its voice. For formal topics, typography tends to be minimal, while for creative topics, it can be dynamic and expressive. Ultimately, typographic voice enhances the message and complements the content’s tone.

    What truly inspired me about seeing the editorial design process through Bichler’s work was the innovative use of graphics and fluid design elements that brought a fresh perspective to the editorial layout. The “25 Songs That Tell Us Where Music Is Going” issue, in particular, resonated with me because of its visually dynamic approach, blending graphic design and fluidity in a way that made the content feel vibrant and immersive. I found myself drawn to the seamless integration of graphic elements that spoke to the overall theme while maintaining a clear and engaging structure. As someone who is passionate about expanding my skills in graphic design and photography, this issue inspired me to embrace more creative freedom in my projects. I’ve always admired the balance between art and functionality in editorial design, and this example pushed me to pursue more fluid, imaginative projects that combine the technical aspects of design with artistic expression. It encouraged me to think outside the box and push boundaries in my own creative work.
    STUDIO:
    When looking for photographs, I was going in blind and not necessarily with a theme in mind, just waiting for something to speak to me then I came across this family portrait of a Latino family. So I kept that one along with some others, completely different in topic or tone of that family portrait until I came across another family. So I chose to contrast those two because of the different demeanor of both families but one seems to be living a very fruitful life of wealth, whereas the other doesn’t seem to be but they are still smiling as they continue to do what can to smile with what they have.

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