• Wired-ft-serkis

    WIRED UK: August 2014 (spread)

Behind The Scenes

Creative director Andrew Diprose talks about the WIRED redesign

Posted by Rob Alderson,

Whenever we sit down and discuss magazines that we admire here in the studio, WIRED is a title that comes up again and again; revered and respected for its content, its design, its agenda-setting and its remarkable consistency. But change is in the air and the August issue which hits newsstands this week sees a major redesign led by WIRED UK creative director Andrew Diprose. We caught up with him to chat through some of the changes…

Why was it time to redesign the magazine?

WIRED has been published in the UK for a little over five years, and although we’ve been evolving the design (and section by section it’s been reworked) it was time to get down to the grid and template for a redesign over the whole title, on all platforms. There were aspects of the layout that needed work and only taking things back to basics would really work.

  • Wired-cover

    WIRED UK: August 2014 (Cover)

What are the key features of the new look and feel?

Our template and grid has changed, really the bones of the look. The grid runs bigger on the page, with more columns allowing for floating columns. The word count is pretty much as before, but we hope to run our images bigger; the look is a little cleaner and just slightly more mature.

It was of upmost importance to have a look that ran over all platforms – I think our iPad edition for August is up there with my favourite of all our previous editions. The way we’ve approached space on the tablet edition is one of the most important aspects of this redesign.

What were the biggest challenges you faced?

Time. Doesn’t everyone working in publishing imagine disappearing for a month or so, into some kind of zen-like room to fixate on small detailing? I was keen that although we were still working on the July editions, as soon as we had something we were happy with, we’d get it out there. There are aspects we’d still like to finesse of course, but getting past the time constraints were key.

What part if any did reader feedback play in the redesign?

We are privileged in that we have a clever and design-conscious audience. Innovating with the look of WIRED is important; when the magazine is so full of new ideas, disruption and clever thinking, it’s our DNA and it’s important to me that the design mirrors the content. I was keen that regular readers are treated to something we consider fresh and modern.

  • Wired-fr-contents

    WIRED UK: August 2014 (spread)

  • Wired-ft-space

    WIRED UK: August 2014 (spread)

  • Wired-ft-spacesp2

    WIRED UK: August 2014 (spread)

  • Wired-ft-spacesp3

    WIRED UK: August 2014 (spread)

Tell us about the new typefaces; what was the thinking/process behind them?

We worked with Henrik Kubel at A2Type on a display typeface and Jonathan and Rob at Sawdust for the custom type for the section openers.

It was really time to freshen up the display type, to give new identities to the sections and to redefine the section openers too. I also wanted a display typeface that could run big in three weights and importantly widths; something that can run on a cover or as a small header in a section and something very versatile.

We worked with Matt Willey as a consultant in the early stages of the redesign and he introduced us to Henrik at A2. We wanted to take their already brilliant Beckett and soften it slightly. 

I’d worked with the guys at Sawdust on custom type before and they’re always a pleasure to work with. I’m over the moon with the results on the section headers. We were keen to come up with something that was a lot more photographic, a lot more textured and illustrative than the bold vector typography elsewhere.

How will you monitor/measure the success of the redesign?

It’s tough to quantify really. I guess with copy sales, subscriptions and brand loyalty. Commercially I hope I’ve also created a good environment, and a feel that embodies WIRED as a brand. Personally I hope the regular reader will find it exciting, surprising, easy to navigate, a straightforward reading experience and the perfect platform for our photography and illustration.  

  • Wired-ge-opener

    WIRED UK: August 2014 (spread)

  • Wired-st-opener

    WIRED UK: August 2014 (spread)

  • Wired-ft-office

    WIRED UK: August 2014 (spread)

  • Wired-ht-opener

    WIRED UK: August 2014 (spread)

  • Wired-pl-galaxy

    WIRED UK: August 2014 (spread)

  • Wired-pl-opener2

    WIRED UK: August 2014 (spread)

  • Wired-st-venice

    WIRED UK: August 2014 (spread)

  • Img_0173

    WIRED UK: August 2014 (iPad Edition)

  • Img_0174

    WIRED UK: August 2014 (iPad Edition)

  • Img_0175

    WIRED UK: August 2014 (iPad Edition)

  • Img_0177

    WIRED UK: August 2014 (iPad Edition)

  • Img_0179

    WIRED UK: August 2014 (iPad Edition)

  • Img_0187

    WIRED UK: August 2014 (iPad Edition)

  • Img_0192

    WIRED UK: August 2014 (iPad Edition)

Ra

Posted by Rob Alderson

Editor-in-Chief Rob oversees editorial across all three It’s Nice That platforms; online, print and events. He has a background in newspaper journalism and a particular interest in art, advertising and photography. He is the main host of the Studio Audience podcast.

Most Recent: Behind The Scenes View Archive

  1. List

    A couple of weeks ago, Channel 4 aired a documentary (below) which saw photographer Giles Duley (himself a triple amputee) meet some of the disabled victims of the war in Syria. It was a difficult watch but an extremely important story to tell, and one that meant a lot to Giles. He got in touch to say that although The Guardian ran an in-depth piece on the same theme, he had some photographs which weren’t used that he was really keen to get out there.

  2. List

    Lawrence Zeegen has never been one to mince his words. The illustrator, writer and dean of design at London College of Communication has recently launched his new book Fifty Years Of Illustration which he co-wrote with Grafik editor Caroline Roberts. It’s an impressively ambitious undertaking with the duo condensing five decades into 1,000 images by 240 illustrators from 30 countries. Lawrence admits it’s a “pretty personal selection” but one that aims to “represent the movers and shakers across each decade according to the work I believe was instrumental in shaping the discipline.”

  3. List

    In December last year we received a zine in the post from Yorkshire-based photographer Christopher Nunn that documented a small selection of images he’d gathered in Ukraine. Kalush offered a unique perspective on a region that was thrust suddenly and violently into the public consciousness, showing us the quiet, everyday side of a place that – from television coverage at least – you’d have been forgiven for assuming was razed to the ground.

  4. Main

    Victoria Siddall has worked at Frieze for just over a decade and two years ago was made Director of Frieze Masters. Excitingly, just a few weeks ago she was appointed Director of Frieze Masters, Frieze New York and Frieze London. As well as being one of the most powerful women in the art world, Victoria is also my sister, so I was curious to find out how she’s feeling on the dawn of her new career.

  5. List

    Forget what you think you know about surfing; the “gnarly dudes” on the hunt for “tubular waves” (I’m basing most of this language on Sean Penn’s character in Fast Times At Ridgemont High, but you catch my drift). Finisterre’s latest surf film is more in line with Jonathan Glazer’s legendary Guinness ad than any piece of footage you’re likely to see for O’Neill or Billabong. For one thing it’s not set in an exotic location – there are no bikini-clad babes – as they’ve traded warmer waters for the icy depths off the coasts of northern Scotland and Ireland.

  6. .jpg?1413390909

    All too often these days we stumble across a jaw-dropping example of set design, only to discover the impressive final image is actually the result of some clever visual trickery and digital manipulation. That’s an impressive art unto itself, don’t get me wrong, but pure CGI can leave me feeling a little shortchanged.

  7. List

    When David Mckendrick told us he was leaving Esquire and setting up a new venture with Wallpaper* art director Lee Belcher, we were fascinated to see what the fruits of such a top-notch collaboration might look like. Last week we got our answer, when a copy of the new Christie’s magazine came dropping through our letterbox.

  8. Main

    Ever see those massive billboards of ice-cold beverages and think “who actually photographs those?” Well now we know, it’s Nick Rees, a still-life photographer who specialises in drinks. From pints of Guinness as black as night, to a mouthwatering, fizzing glass of ice cold Coca-Cola, Nick manages to fill your mouth up with saliva with every image he takes. Want to know the best bit? He doesn’t even use CGI – he states that each of his images is “100% a photograph.” We caught up with Nick to find out the ins-and-outs of this niche branch of photography…

  9. List

    Flickr is one of those magical treasure mines of the internet that’s sure to yield gems if you just look hard enough, and every now and again on our travels we stumble across a great hunk of uncut diamond. To continue the metaphor, Dave Glass is one such treasure.

  10. Main

    London-based brand Heresy presented its new collection this week in the guise of its Autumn Winter 2014 lookbook. Entitled Forming, the collection is a quiet amalgamation of illustration and traditional workwear, combining illustrated elements and hand-drawn type with carefully crafted structural staples made from loop-back jersey and felted wool.

  11. Main

    Photographer John Kilar was born in Istanbul, grew up in California and then settled in Los Angeles, for a bit. He now lives a nomadic life, traveling round with his point-and-shoot camera documenting the world as he sees it with an honesty and pathos and humour which strikes us to the very core. He also has a great way of talking about art and life which is inspiring without being patronising or cheesy; it’s just him doing what he does and calling it as he sees it. Particularly enamoured by his pictures of festivals, we tracked him down in Texas to ask him a few questions…

  12. Sblist

    For his new single New Dorp. New York featuring Vampire Weekend’s Ezra Koenig, SBTRKT released his first animated music video yesterday; a smoky, surreal trip to New York featuring one swaggering, mask-wearing dog. It’s a weird and unsettling trip as we follow this creature stalking through a city that may or may not be New York, and it marks an interesting new visual direction for the artist. We caught up with SBTRKT, director Fons Schiedon and his creative collaborator A Hidden Place.

  13. Main

    It can’t be every day that a UK studio gets approached by a leading Russian bank after a brand identity for their new app. So when we heard that NB Studio have created Zhuck, a banking app with a brilliantly satirical edge – an app which actually jeers at the user, goading them into working a bit harder, like a personal trainer who helps you gain pennies instead of losing pounds – we had to learn more. Nick Finney, creative director, answers my questions and reassures me that no smart-phones were harmed in the making of this app.