• Co1
  • Co2
  • Co3
  • Co4
  • Co5
  • Co6
  • Co7
  • Co8
Graphic Design

Luke Hayman: Cosmopolitan redesign

Posted by Rob Alderson,

The chance to redesign a wildly successful, established publication is one that most designers dream about. But with such a fantastic opportunity comes great pressure and a responsibility to the publishers and readers alike. All eyes were on the new Cosmopolitan when it hit the news-stands late last year, and we spoke to Pentagram’s Luke Hayman to find out what it’s like to work on such an anticipated, and scrutinised project…

Tell us about the project came about. What was the brief like? What did Cosmo want to achieve?

We were one of a number of people called in to meet Kate White, the editor-in-chief, Ann Kwong, the creative director and Abigail Green, the managing editor. It was a bit of a leap of faith on their part – we’ve done a lot of magazine redesigns but nothing quite like this before. But with every redesign we focus on finding the appropriate voice for the project rather than imposing a style.  

The brief: we were asked to rationalize the departments, look at reducing the number of sections and make the navigation elements clearer for readers. We had to freshen up the magazine, make it more contemporary and to make it fun to look at – both for browsing and reading.

And most interestingly we were asked to make it not look like a magazine. What they meant is that they wanted to move away from the rigid and formal three column justified text columns that they’d been using for many of their departments, columns and longer text-based stories.

Cosmo has such an established brand – what impact does that have on your ideas and the final designs?

Cosmo is a very established and hugely successful brand. But we realised it was the written voice, the spirit and story ideas that are the essential pieces rather than any particular fonts or graphic devices. So we worked on visually interpreting that particular tone.

When we came to it, the magazine had several different graphic looks across the different parts of the magazine. As often happens at magazines, new sections are added and they get developed on the fly. The new pages are often developed in isolation and start to stray from the original big picture.

Having said that it was also important that this magazine in particular not feel too formatted and rigid. So although we created a set of tools – fonts and graphic devices – they were applied  in quite a wide range of combinations but always with the same spirit to create an over all unity. There was a looseness built into the system.

What for you are the key features of the new-look magazine?

I think the fonts are always a core part of any magazine. We usually use a couple of families but for Cosmo we used four. The spirit needed to be young and lively so for text we used Parry which has chunky serifs, almost typewriter like. The sans we used is Helsinki which like Parry has a bold character across a lot of weights. We deliberately stayed away from overly-refined, pretty and elegant fonts.

The colour palette is bold, feminine but not too sweet and girly. And we added some graphic bars that have an irregular width – we called them chopsticks. There are wiggly rules and captions in thin bars and these were placed off the grid at angles all with the intention of feeling immediate, casual and spontaneous.

We also worked with photography director Liane Radel to evolve the photography. We wanted the spontaneity to come across with more aggressive cropping and a graphic pop sensibility.

How does a design process differ for a publication that has a relatively short shelf-life such as Cosmo?

This redesign embraces the fact that for a lot of the audience Cosmo is a quick read. These women have many other choices for spending their time so the editor was very clear about making the pages feel light and approachable.

We reduced text significantly on many pages and avoided long blocks of grey text. Display copy, sub heads, pull quotes, captions and web touts were deployed to provide multiple entry points.

Ra

Posted by Rob Alderson

Rob joined It’s Nice That as Online Editor in July 2011 before becoming Editor-in-Chief and working across all editorial projects including itsnicethat.com, Printed Pages, Here and Nicer Tuesdays. Rob left It’s Nice That in June 2015.

Most Recent: Graphic Design View Archive

  1. Foreign_policy_brandguidesingapore_itsnicethat_list

    Foreign Policy Design Group, who we featured on the site last year, has nailed the art of collating diverse and sometimes complex ideas into a beautiful, cohesive publication. The first book in its new series, Brand Guide: Singapore Edition is like a beautifully arranged scrapbook of your dreams, rounding up “iconic homegrown brands that attest to the current golden age of design in Singapore,” the studio explains on their Behance page.

  2. Leslie-david-itsnicethat-list

    Leslie David might be one of the busiest women working in her industry. We last checked in with her six months ago, to swoon over the identity and packaging her studio had created for Glossier, and a typeface which looked to be blowing in the breeze, among other things, but this week she’s back with no fewer than three new projects. Three! She never stops.

  3. Studio_storz_itsnicethat_list

    Berlin-based Studio Storz has a portfolio chock-full of visual identities, editorial design and book design that’s varied in style. What differentiates Studio Storz from other design practices is its collaborative approach to design. As part of Spector Bureau, a collection of designers, artists and publishers, it actively works with other professionals in the field. It sees the role of designers as ever expanding and one that can manifest itself as researcher, engineer, craftsman and communicator; and the studio’s relationship with the Heidelberger Kunstverein has been ongoing since 2012.

  4. List-ashley-stephenson-new-york-times-its-nice-tha

    Designer Ashley Stephenson seems to be a shy chap, perhaps explaining why he prefers to go by his creative pseudonym G/tr, and why it took a friend of his to get in touch singing his praises. We’re not sure why, as Ashley’s certainly talented: this project was created while interning at the New York Times, and looks to show the publication’s prestigious heritage while also celebrating its move into the digital era. For each of the images, Ashley has imagined what the stars of yesteryear might get up to if they were as preoccupied as we are today with the likes of Snapchat, Vine, Instagram, Periscope, Twitter, Facebook, What’s App, Club Penguin, Habbo Hotel…you get the picture.

  5. Alexandre-pietra-for-noise-festival-its-nice-that-list

    A good identity isn’t necessarily one with a mega logo – though it doesn’t hurt – but one that looks great and is instantly recognisable across any touchpoint, be it a coffee cup or huge stretch of hoardings. When we saw this festival identity looking bloody brilliant on a balloon, we knew it passed the test. This simple blue and white look for French festival For Noise was created by Swiss designer Alexandre Pietra, and aims to convey the festival’s new, less rock-orientated approach. “The concept of this 2015 edition is to let the music speak for itself,” says Alexandre.

  6. Byop_int_list

    Earlier this month, the Serpentine Pavilion opened to the public. The beguiling, multicoloured woven structure designed by Spanish architects SegnasCalgo sits in Hyde Park like a more grown-up version of a fort you might have built when you were a child. Over the last decade and a half the annual architecture commission has become a much-anticipated beacon of design, and to celebrate 15 years of the Summer Pavilion, the Serpentine Galleries have teamed up with Kidesign, Marina Willer and the team at Pentagram to launch a digital platform and national campaign to foster the aspiring young architects of tomorrow.

  7. Song-haein-itsnicethat-list

    I’m just going to come right out and admit that there’s an inherent injustice in trying to explain how beautiful a printed book is through digital images. This is especially true in the case of Haein Song, whose painstakingly bound publications go one step beyond plain old riso-printing and saddle-stitching.

  8. Lust_typedynamic_itsnicethat_list

    LUST not only has a great name, but is a studio covering a huge range of disciplines in an extraordinary way. Based in The Hague, Netherlands, it’s this project the studio did last year at the Stedelijk Museum in Amsterdam that demonstrates the studio’s unique and varied approach. An interactive installation for the exhibition Type/Dynamics, the show aimed to comment on the work of experimental graphic designer Jurriaan Schrofer.

  9. List-its-nice-that-mtv_premium_collage_300dpi_iam

    MTV is launching a new “louder, shorter and hyper-visal” look and feel, incorporating user-generated content for the first time. The positioning has been reworded to “I am my MTV” from its former slogan “I want my MTV,” aiming to celebrate its audience and “bring new video art to audiences worldwide,” according to the brand. MTV says that the new design work was created in house, and it seems very much in the vein of the bright, brash and rather brilliant work of its senior vice president of visual storytelling and deputy editorial director (snappy!) Richard Turley.

  10. Penguin_design_awards_2015_list

    Today Penguin has announced the winning covers for its 2015 Penguin Random House Design Awards. The awards are an opportunity for art and design students to get involved with design for publishing. Entrants are given a detailed brief from the publishing house and are invited to submit designs in one of three categories. This year Scott Kooken’s Freakonomics takes the Adult Non-Fiction category, Kate Gamet wins Adult Fiction with Oranges Are Not the Only Fruit, and Lucie Williams’ Carrie’s War wins the Children’s category.

  11. List-eric-hu-talk-magazine-its-nice-that-

    We’re longtime, long-distance admirers of the work of Eric Hu, so the news that he’s recently launched a new magazine, Talk, is pretty damn exciting. And from what we’ve seen of the spreads, young Eric’s not disappointed us. The mag is the product of a collaboration with art director and writer Harry Gassel, former art director at The Fader, and is described as “a style-driven magazine on design focused on emerging culture.” And style-driven it damn well is: we’re digging the cover typeface, which seems to be formed of gloomy balloons, while the spreads show some innovative approaches to layout and image size. The first issue features the likes of David Brandon Geeting, Maxime Harvey, Simon Whybray and Raf Rennie, and we’re keen to see how Talk’s dialogue continues in future issues.

  12. Bond_web_moominfont_a_small_optimized-1

    Tove Jansson was a one-woman phenomenon. Last year Finland celebrated the centenary of the much-loved Moomin creator and children’s uberauthor and illustrator, and you might remember we spoke to C-G Hagström for the Autumn issue of Printed Pages about photographing her throughout her life.

  13. Kino_xenix_it's_nice_that_list

    We all got quite excited about this book of film posters from Kino Xenix, the underground cinema that has become something of a cultural institution in Zurich. Starting as a nomadic student film club back in 1981 with little more than a super 8 film projector, it’s been upheld as a bastion of Zurich’s youth culture since setting up shop in a former school barracks several years later.