This project was nominated to the international design award ADC YOUNG ONES 2019.
This publication was developed responding to a briefing made by Maria Fernanda Antunes for the discipline of Editorial Design (Escola Superior de Educação de Coimbra). It was demanded that it should be a magazine in Portuguese, it should include a barcode, a price, a title and existing articles (picked from other magazines, p.e.) of different dimensions, and publicity. It was also demanded us to choose between a couple of areas of study such as cinema, music, illustration, photography, etc. We chose it to be a magazine about photography, and we restricted its scope to erudite photography.
Back in 1826, Joseph Nicéphore Niépse exposed a plate of tin to the sun-light for eight hours, obtaining the one that may be considered the first photograph of the world. Homaging the creator of the photographic era, Niépse is now the name of this publication.
The magazine meant to play two important roles: The first is to support the reading of relevant articles about both the past and the contemporaneity of the world of erudite photography; and second is to perpetuate formats of photo-albums that may fall into disuse -- in the case for this first issue, the format “catalogue-bags” for photographs 10x15cm. Thus, old photo-albums are reused and rethought in order to provide the reader/observer with these two functions.
For maximize this concept of reviving the formats, we keep the album's layout intact, displaying important photographs in the bags. Each photograph refers to a photographer, but no articles are display by defoliation the album. That allows the observer to observe the images at a first step.
All the photographs are followed by a sticker with a respective label. That is not only important because it gives information about the images (title, author, date), but because it slightly covers them. So that, an observer that is really interested in seeing the whole photograph must remove it from the bag. By doing that, articles about the photographer as well as them biography will show up behind the photos, turning the observers into potential readers.
The visual identity of the magazine is marked by several factors. We choose a typeface for relating to photographers (names and biography) - Courier -, a referenceable typeface for the text body - Adobe Garamond Pro - and a type for main titles and some highlights - Arial. For providing the best reading experience possible, a careful typographic work was made for obtaining the best balance between space economy and readability, as well to create a sufficiently distinguishable but not reading-disturbing layout - we did not mean the layout to draw the attention from the article; however, we wanted it to have its own identity.
Because it was demanded for us to use a code bar, we took a party of it and assumed it as a main element in the cover, playing also an important role in the visual identity of the magazine.
It was also demanded that the magazine included a price so, despite this is not a commercial project, we included a price in the back cover.
Finally, we choose to include publicity (also demanded) in a camouflaged way, by making it appear in the form of an article, only marked with a discrete “sponsored” side by its author. In this case, it is an article referring to an exhibition (last article).
Joseph Niépse, Louis Hauron, José Maçãs de Carvalho, Nan Goldin, Spencer Tunick, Helena Almeida, Norman Parkinson, Jemina Stehli, Paulo Catrica, João Tabarra, Shuffle, Joshua Benoliel, José Luís Neto, António Bracons.
José Barradas, Turismo de Lisboa, Óscar Faria, Pedro Gomes, Lara Pires, Terra Explêndida, Hugo Pinheiro, Luís Baptista, Paulo Melâneo, Guy Amado, Miguel Rodrigues, Fascínio da Fotografia