Layouts n' that

32C goes beyond the conventions of magazine cover design. Several images, of different size and theme layered on the cover is quite unorthodox and strangely effective. The vagueness of the photos creates a sense of mystery while their disconnection incites curiosity in the potential reader. Unlike mainstream commercial publications like Vogue, Cosmo, etc., 32C is not trying to desperately sell us concepts of beauty, gossip and image; rather it hides its contents (save for a single, small caption) and therefore conveys a sense of integrity and maturity.

This poster is innovative in the way that it employs repetition as its main technique of communicating the message, as well as the varied selection of typefaces. The way the text is angled and the way it continues beyond the borders of the page reminds us of street poster culture and how they are usually applied by the dozen to the exterior of buildings. The different typefaces have been selected for each important identity, at varying sizes, in this case the bands playing at a party that is sponsored by Wrangler (which also has its own typeface).


This poster I like because both the text and the image are given equal scale and occupy the same space on the page, yet both are clearly legible and effective. The image is doubly effective because it presents another form of type, in this case the letter 'S'. Furthermore, having the main text occupy so much of the poster runs the risk of it appearing static and lifeless; however the dynamic nature of the flying liquid combats this, and effectively communicates the essence of the poster, that being real-time art.

This layout is visually quite dense - the heading is heavily decorated to the point of becoming ilegible. The vertical wording of 'one' is very rich: the image becomes the text which becomes the image. It is very well balanced: for the most part it is designed around a central vertical axis, yet additional elements are placed so as to lead the eye in a natural direction: left to right and then down and left to right again. The contrast in diagonal pattern and space imagery aids in this balance, as well as establishing harmony between light and dark.

This layout nicely connects and integrates the caption text with the image, through the recurring visual motif of the black circle which occupies the same central space on both pages. The main image has been repeated on itself which creates a sense of unease, or even a distorted reality. It is heavily bordered by the edges of the page which further adds to a 'window' effect, distancing the image from real life. The justified paragraph and intentionally disordered tracking lends itself well to the subculture-aesthetic.