L’Officiel magazine recieves new look from Ill-Studio

Creative Pathways PDP Entry 09

Parisian multidisciplinary studio, Ill-Studio has worked with the renowned fashion magazine L’Officiel de la couture et de la mode de Paris, or more commonly known as L’Officiel. The Parisian studio took over the creative and art direction for the fashion magazine. With Ill-Studio in charge with the creative and art direction, there first issue was released in October, also marking the fashion magazine’s 95th anniversary issue. As well as marking as the first issue released from the Parisian studio, it was also accompanied with an exhibition at the VNH Gallery, in Paris.

The redesign marked a striking departure from the magazine’s previously conventional template.

Ill-Studio worked on a three cover page magazine on their debut, consisting of three fashion icons: Lou Doillon, Iris Apfel and Damaris Goddrie. They were shot on a Samsung Galaxy wearing Fendi against a featureless studio backdrop. Then the images were simply boxed out with an off-kilter rectangle, and framed with thick borders in three pastel-like colours of postbox red, tangerine and violet.

Inside, Ill-Studio collaborated with a bumper pack of photographers including Jeremy Liebman, Edouard Plongeon, Osma Harvilahthi, Christiani-Toubiana, Raffaele Cariou and Henrik Purienne.

The typeface used on the cover pages feels and looks traditional to a fashion magazine, yet a contemporary feel to it simutaenously. The use of the serif type creates that traditional feeling, as the layout of the image, frame and colour provides the contemporary feel. The layout of the image, frame, colour and type is simple, easy to understand and effective. It is not overloading with unnecessary information, pretty much straight to the point of the magazine.

Moving onto the double page spreads, the layout is minimal, direct and traditional. The use of type gives the impression of a traditional feel, whilst the image placements gives the spreads the minimal, yet contemporary feel.

What I can take from Ill-Studio’s creative and art direction work as inspiration for my own work is the layout and cover page design. Both designs are strong and work well with the fashion magazine’s content. This can be applied to a current project of designing a fashion magazine with Comic Sans as the font.



It’s Nice That


Sebastian Roitter

Sebastian Roitter’s extensive and fresh identity design for a fictional film festival: Festocalipsis

For the fictional outdoor film festival, Festocalipsis, Argentinian designer Sebastian Roitter has created the identity fresh and light, covering themes of the ‘end of the world’, as well as apocalyptic-themed films to an exhibition about world disasters. Festocalipsis is a fictional film festival all about the end of the world.

To include with Roitter’s identity design, he has also produced a few merchandising elements to neatly go with the identity and festival. Roitter has created a film programme, posters, pamphlets, name badges and other branded merchandise for the project.

From It’s Nice That:

Not only is the scope of what Sebastian has designed impressive, it’s the thought he’s poured into the content that actually makes up the fictional festival. A mix of typography and inky illustrations (drawn by the designer) create a contrast between order and chaos. This meshes well with the ominous undertones of the festival and flashes of yellow, red and purple lighten the mood across what could easily become a very bleak project.

The combination of different elements together, brings Roitter’s design approach out towards the viewer and audience very clearly, and engagingly well. Roitter’s typography, illustrations and colour choices all work well together, merging his unique and appealing visual style to the identity project.

Another pivotal point to bring out on Roitter’s identity design project is his layout choices for the printed merchandising, as well as other relatable merchandising elements. His layout choices for the film programme, posters and pamphlets in particular, are bold, visually appealing, and informative. The mixture of his typography and illustrations, along with the negative space that he cleverly utilises, creates the printed pieces to be engaging and appealing for the viewer and audience to view and read. The colour choices aren’t ‘in your face’ and complement well with the layout, negative space and Roitter’s illustrations. The use of the sans-serif typeface creates a contemporary sense to it, as if Roitter had the decision of using a serif typeface, even the combination of the two different typefaces, it would create a sense of traditional feeling of the festival.

What I can take from Roitter’s identity design is the effective use of his layout technique, his use of typograhy and illustration style. Taking these elements in will be helpful for myself, when considering and generating ideas for a identity brief/project. The use of bold, flat colours is another aspect of the identity design that I like too. The colours aren’t mixed, or complicated, just simple bold colours. This brings great contrast between two or more colours, and with the negative white space. I can also take this process in for inspiration as well.



It’s Nice That

Sebastian Roitter

Anymade Studio


Prague-based Anymade Studio showcases colourful yet refined graphic design work

Anymade Studio utilises and prides itself on using a ‘playful’ approach, as this is cleary evident in their current portfolio of work; colourful and innovated. However, the studio also merges their serious side with their ‘playful’ approach. The studio produces a lot of work for cultural clients, such as Svatopluk Pitra’s box design, which monographs detailed work of Pitra’s graphic design, illustrations and animations. The studio merges their ‘seriousness’ and ‘playful’ approach cleverly by using bold typography and alluring layouts of text and the subjects’ imagery into Pitra’s art book box design. How the studio merges their ‘seriousness’ and ‘playfulness’ is by merging the two with a clean, fresh colour palette of turquoise and pink.

Another area of the studio’s portfolio of work, is there strong piece for Roman Štětina. The studio utilises the use of photography and layout for Štětina’s catalogue design:

…using a darker and more final approach befitting of the subject.

 The studio’s style and nature of work is bold and somewhat minimal, which still maintains the provision of functioning as a product, as well as it being beautifully crafted. This is evident through their portfolio of work.

Anymade Studio says:

Function and quality are logically the client’s main interests – originality and overlap is ours.

What I can take from Anymade Studio as inspiration for my own work, is the combination of being serious and informative, as well as playful and fun. I tend to aim for this throughout my past and current briefs, and so Anymade Studio’s portfolio work has inspired and influenced myself further. How I could use this inspiration and influence from this studio is to experiment with using, possibly typography, the content and the content’s imagery as the serious side of the design, and experimently use the colour palette and possibly the typography too, as the playful and fun side.


It’s Nice That

Anymade Studio