63 years of design history lie between the first and the current issue of form. For 2021, the magazine underwent a redesign. Under the editorial direction of Anton Rahlwes and Nina Sieverding, it respects the heritage of the cult medium while also breaking new ground. "A redesign can have many reasons: entrepreneurial, optimizing, idealistic. The superficial changes, such as a magazine's layout, are only the most visible," explains Anton Rahlwes, editor-in-chief of form. "Our redesign aimed to develop a creative and content-based approach that better supports our workflow and internal processes than before." Max Hoffmann, Creative Director of Autostrada Studios from Berlin, led the redesign. "Max Hoffmann has a graphic style that gets straight to the point and at the same time leaves room for new things. We felt this combination was very close to the version of form we envisioned," explains Nina Sieverding, editor-in-chief of form.
Layout to Laugh About
That form would remain a print medium was unquestionable during the redesign process. Each printed issue creates a kind of time capsule that preserves the spirit of the times, attitudes, and aesthetics. "Nevertheless, a printed magazine in 2021 must be able to do more than just capture content: the holistic experience is more important than ever," explains editor-in-chief Anton Rahlwes. Together with the editorial team, Autostrada Studios therefore developed a new look for the magazine: tidier, more distinctive, bolder – and more humorous. The new issue creates clarity primarily through a strict structure – in terms of content and design. Each format was assigned its own look in the process. Body text fonts are now set larger, generous openers create excitement for topics, and the visual language appears clear and concise. The cover was radically reduced to its basic elements: logo, barcode, price, and image level: form stands alone. Further teasers were deliberately omitted to emphasize the strength of the form brand. Only the spine of the magazine provides further information on the volume, issue, and focus topic. The characters are arranged vertically, one below the other, in keeping with the narrow spine, and their playfulness contrasts with the minimalist cover.
Focus and Structure
Naturally, the entire basic structure of the magazine was scrutinized during the redesign process. Existing and popular sections and formats such as "My Collection," "Unfortunately Not Mine," or "Digital Nostalgia" were retained. However, there is one crucial change: the focus topic of each issue now extends – with a few exceptions – throughout the entire magazine, thus providing space to delve deeply into a subject.
f like form
The iconic, lowercase form logo retained its essence but was sensitively revised. The team received support through a collaboration with Dinamo Typefaces. The Swiss foundry is no longer an insider tip and offers high expertise in contemporary type design. "Quote on logo development from Max or Johannes and why we did it: The logo is confident, not too pleasing, and current." Dinamo not only developed the new form logo with a characteristic small 'f' but also created the custom font "form Diatype" based on their existing "Diatype," which, in addition to the new characteristic form 'f', features special functions such as an adapted asterisk that can be used as a gender star in body text. The latter, in particular, was a heartfelt wish of the editorial team. "A quote from Max about how great the working process with Dinamo was, or a quote from Johannes about why form is such an interesting working partner," says XY. In addition to the magazine's new corporate typeface, two other new fonts are being introduced: the monospaced "Literature" by Laura Csocsán and Samira Schneuwly and the antiqua "Rosart" by Katharina Köhler, distributed by Camelot Typefaces. They complement the redesign of form in recurring sections and occasionally provide visual breaks.
New Subheading (Claim)
63 years of design history lie between the first and the current issue of form – a long tradition that was naturally taken into account in the redesign process. But what connects the first with the current issue? And what does the form brand stand for in the future? "Of course, the form brand stands for design," says Nina Sieverding, editor-in-chief of form, "But it has always stood – and independently of the respective editorial team – for attitude. Not just for an attitude towards design, but above all for an attitude towards society." The new claim "Magazine for Attitude and Design" is intended to highlight this relationship in the future.
form 291: Security
The first issue of 2021 is dedicated to the focus topic of security in all its facets. In an interview with Anton Rahlwes, Ralf Raths, the director of the German Tank Museum, talks about security in the form of violence. Stylist Dogukan Nesanir reports on how his job gives him a feeling of security. In her personal essay "Are you sure?", designer and curator Matylda Krzykowski reflects on moments in her professional career. Photographer Fiona Körner documents built security in the form of show home parks. And author Susanne Schaller traces the history of signage. We also report on programmable materials, take a look at the portrait collection of Swiss photographer Melchior Imboden, delve into the depths of computer viruses with form columnist Christoph Rauscher, and learn from designer Sabine Marcelis which object she would have liked to design.
