I developed the typography and branding standards for The Weekend magazine to support its role as a nature-focused publication that promotes environmental awareness and protection. From the start, I aimed for the magazine to attract older generations interested in the environment, which led me to create a design that feels both playful and professional. I wanted to avoid trends or experiments that might distract from the message. Instead, I focused on structure, and a trustworthy editorial style that remains visually engaging for the audience.
I chose ‘Lucida Grande Regular’ as the main typeface for body text because it is easy to read and works well for longer articles. Its open letterforms and balanced proportions make it suitable for older readers by reducing eye strain and ensuring comfortable reading. To create contrast and establish a clear hierarchy, I used ‘Rockwell Bold’ for subheadings. The heavier weight and slab-serif style help to distinguish section headings from the body text without feeling disconnected. For headlines, I selected ‘Reiher Headline Black’ due to its strong visual presence. This typeface grabs attention and clearly signals the importance of each article. I used ‘Warbler Banner Bold Italic/ Athelas Bold Italic’ for pull quotes to add personality and emphasis, but used it sparingly to maintain overall legibility. Image captions were set in Nirmala Text, as it remains clear at smaller sizes and supports the imagery without becoming distracting.
To organize the magazine, I worked with a two-column grid system in Adobe InDesign, following standard layout practices. This approach helped to present content clearly and made articles easier to follow. I intentionally kept the inner margins narrow to maximize text space and used wider outer margins to create breathing room, enhancing balance on each spread. While I didn’t strictly use a baseline grid, I applied consistent leading and spacing throughout to maintain alignment and visual rhythm. I used paragraph styles to keep font sizes, spacing, and alignment uniform, which helped the magazine appear polished and professional.
Colour was applied in a flexible but controlled way based on the subject of each headline. For instance, I used green for the Yorkshire Wolds feature to reflect natural landscapes, while yellow and blue were chosen for “Lights Out” to reference glow worms and fireflies. Brown tones were used for owl-related articles to create an earthy feel. This method allowed each article to visually connect with its content while fitting within the overall brand identity. As I did not want to overuse colour in my articles, I changed certain pieces of text to the suitable colour rather than black and added blocks of colour with the rectangle tool which brought the spreads together.
Accessibility and legibility were priorities throughout the design process. I ensured there was enough contrast between the text and background so everything could be easily read, and I maintained readable font sizes throughout the magazine. As the project evolved, I refined the design by increasing spacing and swapping earlier font choices for more legible options. These adjustments improved clarity and made the final magazine more thoughtful and accessible, while effectively communicating its environmental message.
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