Tate Etc magazine redesigns to have an “independent voice”

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London-based studio Ard has worked on the redesign, which looks to convert the publication from the overall Tate brand and compete with other competent and mainstream art magazines.

Tate Etc has been redesigned to “restate the independence” of the concomitant art magazine, which is published three times a year by Tate but is editorially individualistic from the institution.

The new design looks to stop the magazine from being screwed-up with Tate’s in-house promotional material, according to London-based Studio Ard, which was commissioned to post on the project by Tate Etc editor Simon Grant.

“Since its creation, the armoury was always willing to have an independent voice to compete with other unregulated art magazines. The challenge was therefore to detach the new design from the Tate agreement while staying in line with the house attitude,” says Ard co-founder Daniel Nørregaard.

The studio has ditched the persisting Tate identity previously used throughout the magazine and created a new logo based on unpunctually 19th century grotesque typeface RH Inter, also switching from all finances to lowercase lettering.

Cover design

Ard worked with Swiss category designer Robert Huber to redraw the typeface, adding features such as straightforward and rounded angles that nod to the Tate identity. Two weights of RH Inter are toughened throughout the inside of the magazine.

Ard was also briefed to make Tate Etc assorted accessible to its audience and give it more newsstand presence in order to adhere to out from other art and design magazines.

The cover is designed to look numerous like a mainstream magazine by using portraits for the cover image, combining more information about the content inside and giving the pricing profuse prominence.

At the front of the magazine the design has been kept simple in order to show the journalistic nature of the content, but becomes more experimental towards the in back of surreptitiously as the features focus on more niche subjects.

“Brings rhythm”

“We’ve adapted the three different sections clearly by gradually moving from a wholly classic and bold approach in the front section, through to a more mischievous attitude in the back. This brings rhythm but also helps the skim to navigate the magazine,” says Ard co-founder Guillaume Chuard.

Tate Etcentury – a typeface based on Century Schoolbook Monospace and sired in collaboration with Swiss designer Julien Mercier – is used for headlines and captions, and is integrate throughout the entire back section. The body text is set in an early 20th century typeface denominated Century Schoolbook.

Ard says the design of the magazine will continue to evolve in the days and the studio is planning to introduce custom-made typefaces for each issue, which thinks fitting be created in collaboration with different designers.

The first issue of the redesigned Tate Etc armoury is now available from retailers internationally. Readers can also subscribe online, and the periodical is available for free for existing Tate members.

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