Brigitte wir, issue 3, 2016

Juliane Kess, new art director of Brigitte wir magazine, introduced a redesign in spring 2015. The magazine focuses on women over 60 and wants to value this growing — but marginalized in the social environment— age group.

For the sans serif role, Lato was dropped and Brandon Grotesque introduced. For text — and some large italic headlines and quotes — an unidentified Garamond-like typeface was replaced with FF Franziska. Still in use — but much less prominent — is ITC Binary, a quite unbalanced face.

Brigitte wir, issue 3, 2016 2 — Photo: Jakob Runge. License: All Rights Reserved.

Brigitte wir, issue 3, 2016 3 — Photo: Jakob Runge. License: All Rights Reserved.

Brigitte wir, issue 3, 2016 4 — Photo: Jakob Runge. License: All Rights Reserved.

Brigitte wir, issue 3, 2016 5 — Photo: Jakob Runge. License: All Rights Reserved.

Brigitte wir, issue 3, 2016 6 — Photo: Jakob Runge. License: All Rights Reserved.

Brigitte wir, issue 3, 2016 7 — Photo: Jakob Runge. License: All Rights Reserved.

Brigitte wir, issue 3, 2016 8 — Photo: Jakob Runge. License: All Rights Reserved.

Brigitte wir, issue 3, 2016 9 — Photo: Jakob Runge. License: All Rights Reserved.

Brigitte wir, issue 3, 2016 10 — Photo: Jakob Runge. License: All Rights Reserved.

Brigitte wir, issue 3, 2016 11 — Photo: Jakob Runge. License: All Rights Reserved.

Brigitte wir, issue 3, 2016 12 — Photo: Jakob Runge. License: All Rights Reserved.

Brigitte wir, issue 3, 2016 13 — Photo: Jakob Runge. License: All Rights Reserved.

Brigitte wir, issue 3, 2016 14 — Photo: Jakob Runge. License: All Rights Reserved.

Brigitte wir, issue 3, 2016 15 — Photo: Jakob Runge. License: All Rights Reserved.

Brigitte wir, issue 3, 2016 16 — Photo: Jakob Runge. License: All Rights Reserved.

Brigitte wir, issue 3, 2016 17 — Photo: Jakob Runge. License: All Rights Reserved.

Typefaces

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Germany (2215)
Hamburg (161)

In Sets

Franz Ravel (F V) (22)

1 Comment on “Brigitte wir, issue 3, 2016”

Florian Hardwig says:
Jul 22nd, 2016 10:15 am

Albert-Jan Pool assumes that ITC Binary is the result of tinkering with the already fishy Rotis Semi Serif:

[…] the corners were rounded and the left below stem of d was cut off. As if this was not already enough, the top serif of A was torn off, leaving a vaguely defined start of the main diagonal stem. Why? The natural rhythm of thick and thin was destroyed by making the right stem of N thicker than the left one, this causing a dark spot at the join right below in the N. And, maybe worst of all, someone made the d much wider than e and o, thus distorting one of the few characteristics of Rotis that helped conceiving the hodgepodge of design styles within the typeface as some sort of design concept: its condensed proportions …