In its aboriginal above redesign back 2000, The New Yorker has revitalized its brand: acclaim afterlight its layout, redrawing its 88-year-old typeface, and recruiting a abreast book to break today's architecture problems. But don't worry—Eustace Tilly is not about to go all Gap logo on you.
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For abounding readers the changes will be about imperceptible—as editor David Remnick tells the New York Times, if the annual "fell on the attic and were three anxiety away, it would still be identifiable to longtime readers." But architecture types (and my, they do like to accomplish a big fuss about this affectionate of stuff, don't they?) will apprehension the updates adapted away. Creative administrator Wyatt Mitchell talks added about the action in this video.
The bigger changes are begin in the "Goings On About Town" department, with new blazon treatments, atom illustrations and layouts that bigger board photography (which was alone aboriginal alien to the annual in 1992). The new beheld cant will gradually be broadcast to added sections and be chip beyond all platforms, Mitchell tells Gizmodo. "Ultimately we are searching to abate the printed annual and its beheld tradition, accompany new activity to its agenda ancestors members, and acuminate the cast that unites them—while anxiously cultivating its connected legacy."
It was anniversary that bequest that was key to the redesign, says Mitchell. "Without able account for the altered history and weight of this admired magazine, and a able affecting compassionate of its pages' aesthetic, a redesign could do irreparable accident to a admired acquaintance for a ample and loyal audience," he notes.
Indeed, they don't assume to boggle with it much. Artist Massimo Vignelli (who advised the aboriginal New York City alms map and the above American Airlines logo) was amenable for the endure redesign 13 years ago, introducing analogously ablaze touches like a added structured filigree to the blueprint and the accession of red blazon to the front-of-book sections.
Perhaps a lot of notable for the accepted brace (maybe mostly to architecture nerds) is a awakening of The New Yorker's custom typeface. Rea Irvin, the magazine's founding art director, was typographically aggressive by the illustrations in a 1915 book alleged Journeys to Bagdad and accomplished out to its artist, etcher Allen Lewis, to actualize an absolute alphabet of the block type. Lewis angry down the job so Irvin advised the book himself, which became accepted artlessly as Irvin.
Refreshing Irvin for the redesign adapted redrawing some of the letterforms, a archetypal assignment if modernizing actual typefaces. The centralized aggregation redrew the book in affiliation with typographer Ben Kiel of blazon branch House Industries. (The book is not accessible for bartering use, although many brands try their best to archetype it.)
For 88 years Irvin served as the affectation blazon for the magazine, with Caslon (an 18th aeon book reimagined for the agenda age by Carol Twombly as Adobe Caslon) as the physique text. But today the clear needs of the annual are different, says Mitchell. "As we body circuitous agreeable hierarchies beyond assorted platforms, the New Yorker's primary celebrated typefaces—Irvin and Caslon—prove to be accoutrement too bound for the problems we charge to break regularly," he says. "So we've added addition apparatus to aftermath the typographic astriction we charge to acquaint added clearly, added consistently." Ladies and gentlemen, accommodated Neutraface.
Neutraface is now getting acclimated for the magazine's headlines, but you ability accept apparent a adaptation of it on your neighbor's house. The belletrist are based on signage advised by modernist artist Richard Neutra for abounding of his barrio about Southern California—not actual "New Yorker." But Mitchell says it's added about the time aeon Neutraface evokes than the place. "Because the cast is still so acerb abiding in the Art Deco tradition, Neutraface—a avant-garde circuit on a deco theme—offers us a new type-style that doesn't feel confused or afar from our clear tradition," he says.
Type artist Christian Schwartz, who created the book for Abode Industries in 2002, calls Neutraface a plan of "historical fiction." By analysis the barrio that Neutra designed, he was able to extrapolate a allegorical typeface. "I took the bound amount of uppercase belletrist and numbers we were able to acquisition in photographs of Neutra's buildings, abounding in the missing letters, and again looked at geometric sans serifs from the aboriginal 20th aeon to advice me alpha to brainstorm how this would accept looked if it had been a book rather than just architectural lettering."
But even the best typographic intentions can't behest what happens with a book is appear into the wild. "The New Yorker is one of the added adapted places I've apparent it used," says Schwartz. "There was an Italian cine alleged I Am Love that acclimated it in the titles, accumulated with admirable calligraphy—that was one of my admired uses." He, too, sees it on abounding residential projects, generally affairs affluence address developments in New York. And again there are the uses that Schwartz finds absolutely baffling: "Scotch Pet Hair Removal Tape. Advertising for Wendy's and the Olive Garden. Toothpaste. Lena Dunham's Girls."
As a attestation to its cultural relevance, there's aswell a Lady Gaga-inspired video accolade to "Neutra Face," although acutely the architect of the video butchers the name (it's "noy-tra" not "new-tra"). Perhaps that is the amount that blazon pays for ubiquity. Says Schwartz, wistfully: "I ambition he had arresting the name of the book right."
[Top image: Spread from The New Yorker, photograph by Christaan Felber. All added images, address The New Yorker, except Neutraface, which is via House Industries]
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