With the intention of incorporating the elements already defining the magazine's interior design - strong lines and bold angles - I experimented with how the two could interact in a striking new way. I chose a color palette drawn from the colors of the sunsets we so often enjoy in Albuquerque atop a soft, retro, inviting shade of beige that grounds the design in aesthetics making a resurgence in several circles of design. As the design developed, a collective decision to incorporate French Flaps for the first time in the magazine's history pushed the design to a level of dynamism it would have otherwise failed to meet. With strong lines leading the eye from cover to interior to back cover and around again, the magazine manages to be both visually appealing and physically engaging.
In a room full of design geeks, it was ironic that we unanimously agreed to go with a design that defied a lot of what we had found in textbooks, and in design precedent's set by previous editions. Rules like, "Don't break the spread," "Don't use angled columns," and "Avoid reversed text," were all ignored in this design. Lead by a team of bold editors eager to stray from those rules we'd inherited, we designed our way out of convention and into an aesthetic unique among the catalog of the magazine's 30-year history.