大西洋月刊 2019年7月
By Rachel Hawley
瑞秋·霍利(Rachel Hawley)
Earlier this month,
本月初，
The Atlantic unveiled the cover for its December issue, titled “How to Stop a Civil War.” The cover art is simple and arresting, a single blue-and-red handprint in dripping paint against a crisp white background. Where the instantly recognizable italic wordmark of 大西洋揭开了其12月号的封面，标题为“如何制止内战”。 封面艺术很简单而且引人注目，在清晰的白色背景上滴下油漆时只有一张蓝红色的手印。 是 The Atlantic would normally appear across the top of the cover, there is only white space, instead replaced with a plummeting serif ‘A’ in the upper-right hand corner. 大西洋的即刻识别斜体字标通常会跨越盖的顶部出现，只有白色的空间，而不是用在右上边角落暴跌衬线“A”代替。The ‘A’ as a metonym for the name of the publication is one of the many changes debuted in the newly redesigned Atlantic. The magazine’s last substantial redesign was in 2008; in the nearly 12 years since, the world of editorial design has seen the usual revolving door of trends, as well as more lasting shifts such as a renewed minimalist focus. Were The Atlantic a young publication embarking on its first ever redesign, it might have found itself torn between the influence of sans serif-heavy Swiss modernism that has characterized the past decade and the groovy, decadent typography and aesthetic that has seen a recent resurgence. Instead, The Atlantic’s design team turned to the magazine’s history for inspiration. The result is what feels like a deliberate step back from the norm of web-conscious print design, into an old-school aesthetic whose gravitas is buttressed by a print legacy of over 160 years.
作为出版物名称的代名词，“ A”是在新近重新设计的大西洋上首次亮相的众多更改之一。 该杂志的上一次实质性重新设计是在2008年。 此后近十二年来，社论设计界看到了通常的趋势之门，以及更持久的变化，例如重新强调了极简主义 。 如果《大西洋》是一部即将进行首次重新设计的年轻出版物，它可能会发现自己陷入了过去十年来无特色的沉重无衬线的瑞士现代主义与最近兴起的时髦，gro废的版式和美学之间的影响。 取而代之的是， 《大西洋 》的设计团队从该杂志的历史中寻求灵感。 结果似乎是有意识地从网络意识印刷设计规范退回到了一种古老的美学风格，其引人入胜的魅力得到了超过160年的印刷遗产的支持。
“What we discovered in sifting through the trove of history at The Atlantic’s DC office in the Watergate was this immense collection of design,” says Oliver Munday, The Atlantic’s art director. “Peter [Mendelsund, creative director] said at one point that it was almost like looking at the history of American magazine design through this magazine…to consider that history and to have all of that behind you, that’s the challenge: How do you set the course from here on out, when this thing has existed for so long, and occupies this unique space in the American discourse?”
大西洋艺术总监奥利弗·蒙代(Oliver Munday)表示：“我们在水闸门的大西洋特区办公室筛选历史宝库时发现的是这一巨大的设计收藏。” “彼得[创意总监门德尔松德(Mendelsund，创意总监)]曾说过，这几乎就像通过这本杂志来了解美国杂志设计的历史…要考虑这一历史并将所有这些都放在背后，这就是挑战：您如何设置从头到尾的过程，这个东西已经存在了这么长时间，并且在美国话语中占据了这个独特的空间？”
Along with the new ‘A’ logo, the year of the paper’s establishment, 1857, is now also featured on the cover. “It’s a virtue,” says Munday. “It signals so much, there are few magazines that can claim anywhere close to that kind of history, and to ignore that or conceal that at all, I think, is a mistake.” The ‘A’ was designed with the help of type designer Jeremy Mickel, who also created The Atlantic’s new custom typeface, Atlantic Condensed. In the new issue, the drama of the tall and weighty Atlantic Condensed is reserved for the features and section titles, while the front of the book uses a New Yorker-like serif typeface, and the back uses a modern serif typeface evocative of the pre-redesign aesthetic.
与新的“ A”徽标一起，封面上还标出了该纸张的创立年份1857。 Munday说：“这是一种美德。” “它发出的信号如此之多，很少有杂志能宣称接近这种历史的任何地方，而我认为忽略或掩盖这完全是错误的。” “ A”是在字体设计师杰里米·米克尔(Jeremy Mickel)的帮助下设计的，杰里米·米克尔(Jeremy Mickel)还创建了Atlantic新的自定义字体“ Atlantic Condensed”。 在新一期中，保留了高大而沉重的《 Atlantic Condensed》的戏剧性，以供剧本和章节标题使用，而书的正面则使用类似于New Yorker的衬线字体，而背面则采用了现代的衬线字体，使人联想到-重新设计美学。
The December issue, much like earlier issues, features many large swaths of unbroken text. Still, there are moments in which a fair amount of white space creeps through, as the intentionally spare cover suggests. Punctuating the content throughout the issue is a series of provocative black-and-white photos — a crack marble bust of Abraham Lincoln with the face turned towards shadow, close-up shots capturing skepticism on the faces of participants in a cross-political affiliation group workshop. The Atlantic recently brought on its first director of photography, Luise Stauss, who has been tasked with elevating the role of photography in the magazine.
与早期的期刊一样，12月的期刊具有许多不间断的大量文字。 不过，正如刻意准备的备用盖板所暗示的那样，在某些时刻会有相当多的空白区域蔓延。 贯穿整个问题的内容是一系列引人入胜的黑白照片-亚伯拉罕·林肯(Abraham Lincoln)的开裂大理石半身像，脸部转向阴影，近摄镜头捕获了跨政治派别组织参与者的脸上的怀疑作坊。 大西洋最近任命了第一位摄影指导路易斯·斯塔斯(Luise Stauss)，他的任务是提升杂志中摄影的作用。
“For me as a photo director, redesigns are the most reinvigorating moment in the life of a publication,” says Stauss. “It’s a fantastic moment to come in as a photo director when there’s never been a photo department. It’s such a great departure for The Atlantic to commit to featuring meaningful photography.”
“对于作为摄影指导的我来说，重新设计是出版物一生中最振奋人心的时刻，” Stauss说。 “从未有照相部门的时候，担任照相导演是一个很棒的时刻。 大西洋致力于做出有意义的摄影作品真是太棒了。”
大西洋月刊 2019年7月
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