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Editorial Design 2025
This magazine began with a question: what happens when a travel magazine slows down? Rather than cataloguing destinations, the magazine is structured as an evolving editorial system built around pacing, thematic continuity, and art direction that makes space for reflection. Each issue shifts in tone and focus while staying anchored to the same underlying belief: that travel is less about where you go and more about how it changes you. The result is a flexible but cohesive design system where typography, structure, and layout support immersion over spectacle.
The magazine uses two typefaces across all issues: P22 Underground and Tiller.
P22 Underground is a digital revival of Johnston, the sans-serif designed by Edward Johnston for the London Underground in 1916 which was originally commissioned to guide people through transit. It was clear, legible, and built for movement. Using it in a travel magazine isn't ironic; it's intentional. A typeface made to orient people in motion carries that history into every page.
P22 Underground handles headers and navigational elements, while Tiller supports the body text through sustained reading. Together they create a system where wayfinding and immersion work in parallel, appropriate for a magazine about how we move through the world and what we notice along the way.
P22 Underground is a digital revival of Johnston, the sans-serif designed by Edward Johnston for the London Underground in 1916 which was originally commissioned to guide people through transit. It was clear, legible, and built for movement. Using it in a travel magazine isn't ironic; it's intentional. A typeface made to orient people in motion carries that history into every page.
P22 Underground handles headers and navigational elements, while Tiller supports the body text through sustained reading. Together they create a system where wayfinding and immersion work in parallel, appropriate for a magazine about how we move through the world and what we notice along the way.
The layout is built on a five-column grid with flexible column heights, creating dynamic movement across pages.
Each issue establishes a minimum column height, so text blocks appear either at that shorter height or as a full column — nothing in between.
Each issue also introduces one typographic variation to the system, distinguishing it from the others while remaining within the same framework.
Photography is treated as monotone throughout, tinted in either of the two colors chosen for each issue and finished with a grainy halftone that references newspaper print.
Images vary in size with the exception of the opening and close of each issue, where a single image runs full bleed — a moment of stillness before and after the content.
The magazine is designed in InDesign, printed, and Coptic stitched, a binding method that allows the book to open completely flat.
Each issue establishes a minimum column height, so text blocks appear either at that shorter height or as a full column — nothing in between.
Each issue also introduces one typographic variation to the system, distinguishing it from the others while remaining within the same framework.
Photography is treated as monotone throughout, tinted in either of the two colors chosen for each issue and finished with a grainy halftone that references newspaper print.
Images vary in size with the exception of the opening and close of each issue, where a single image runs full bleed — a moment of stillness before and after the content.
The magazine is designed in InDesign, printed, and Coptic stitched, a binding method that allows the book to open completely flat.
Orange and Teal duotone palette.
Minimum column height specific to this issue.
THRESHOLD lingers in the charged space before arrival: airport terminals at dawn, doorways half-lit, the quiet before a decision takes hold. It is neither a beginning nor an end, but the suspended moment between the two.
This issue was built around the belief that transformation doesn't happen at destinations; it happens in the crossing.
The stories here explore transition in all its forms: geographical, emotional, creative, and internal. From landscapes marked by borders to personal essays on reinvention, each piece reflects the tension of becoming. All pieces are sourced, with original authors credited beneath each title.
This issue was built around the belief that transformation doesn't happen at destinations; it happens in the crossing.
The stories here explore transition in all its forms: geographical, emotional, creative, and internal. From landscapes marked by borders to personal essays on reinvention, each piece reflects the tension of becoming. All pieces are sourced, with original authors credited beneath each title.
Green and Pink duotone palette.
Minimum column height specific to this issue.
DWELLING turns attention to the places we inhabit and the ways they inhabit us in return. Not just houses or rooms, but the café that becomes a morning ritual, the street whose rhythms grow familiar before you know its name, the rented room that quietly becomes a refuge.
This issue explores how belonging forms slowly and often without announcement, and how travel makes that process stranger, richer, and more visible.
Where the first issue was built around tension and movement, DWELLING called for stillness and accumulation.
Within the magazine's broader system, this issue demonstrates how the established framework can shift register while staying coherent — an exercise in knowing which constraints to hold and which to loosen, so that the two issues feel like chapters of the same story rather than copies of the same template. All pieces are sourced, with original authors credited beneath each title.
This issue explores how belonging forms slowly and often without announcement, and how travel makes that process stranger, richer, and more visible.
Where the first issue was built around tension and movement, DWELLING called for stillness and accumulation.
Within the magazine's broader system, this issue demonstrates how the established framework can shift register while staying coherent — an exercise in knowing which constraints to hold and which to loosen, so that the two issues feel like chapters of the same story rather than copies of the same template. All pieces are sourced, with original authors credited beneath each title.