For years, Pink magazine has been one of the leading titles in the Maltese publishing industry. Providing a modern and unique perspective of the changes and challenges that woman face today, yesterday, and those yet to come.

This approach has resonated with readers over the years, giving the magazine a following and readership that has made it a cornerstone in the industry. So when the magazine’s publishers approached me to give Pink an updated look, I immediately understood the delicacy in which this project would need to be handled.

I began by conducting a brand audit of the magazine, scanning several issues of Pink over a period of approximately two years. Not only to familiarise myself with the existing design of the magazine and what the editorial demands were, but also to better understand the personality and voice of Pink. Something that would be the basis of my work when I started the design process.

In many ways, this update was treated in much the same way as a rebranding exercise. Treating Pink as a brand encouraged me to rebuild its image from the inside out rather than from the outside in. Making this more than just a make-over for Pink.

I also reviewed several international women’s magazine titles that I considered to be in the same vein as Pink. Using these established publications as sign-posts to aid in finding the right new direction for Pink that is true to the brand.

Upon completing the brand audit, several meetings were held with Pink to reach a consensus on the way forward, paving the way for the start of the design process.

I started with the signature of the magazine, exploring many different avenues on what the preferred direction might be. Finally settling on four different options that I presented to the client in the form of potential magazine covers.

With a confirmed signature in-hand I proceeded with continuing to develop the magazine. Focusing a great deal on one of the more important aspects of the magazine – the typography.

There is probably no other part of a magazine’s visual makeup that defines its personality more than its choice of typefaces. Each having a separate function to perform, whether it’s to excite, highlight key information, summarise points, or simply to delivery a body of content.

Although several functions are required on different parts of the page, the temptation to fit a font for each function is evident. This pitfall needed to be avoided. Since having too many can make it difficult for readers to identify the brands style and character, an essential part of a brands role.

Dividing the typography of Pink into all the needed parts, I tested different combinations of typefaces, at different sizes. Looking to develop a set that worked harmoniously together.

Once I mapped out the typefaces relevant position on the magazines page, I turned my attention to the design of the page layout. Which I roughly divided into two different styles, one that contains a great deal of visual and written content and designing it to be stimulating and informative; and another that contains expanded layouts over multiple pages with minimal written content and large splash imagery, ideal for more in-depth articles.

After a style was developed for these two different layout designs using the assigned typefaces, I started to apply colour to them. Creating a small colour palette for Pink. Although the majority of the magazine would avoid heavy use of colour in the design of the layout and in the typography. Instead relying on the photography of the magazine to provide most of the colour needed.