bamboo 33 took ‘nature and sustainability’ as its theme.
on such a well-worn theme, it’s not only with regard to content that it is hard to avoid cliché. coming up with a cover for this issue was a tricky task: our more conceptual attempts fell short and we didn’t have many graphic images to work with as an alternative...
we ended up resolving the impasse with a rather obvious solution.
This issue was shorter than most, so the contents page (normally a two-page spread) was reduced to one, simple page.
this meant we had to compact the layout, which limited our range of possibilities. only two highlights break the structural normality: guilherme wisnik’s column (the green belt) and the piece on land art (the pantone spiral).
the next page carried an advert commemorating the awards the magazine had just received from the society for news design. to speak about the three awards, we blended the color gradient from bamboo’s prizewinning 2013 almanac (winner of adg and if awards) and the grid design (chosen by snd).
the highlight of this piece on land art was robert smithson’s spiral jetty.
we decided to make use of a property of the magazine’s grid never directly explored before: taken together, the fields beneath the title line form a 13 x 21 fibonacci rectangle.
so we drew the largest fibonacci spiral that would fit on the page: 1, 1, 2, 3, 5, 8, 13.
graphically-speaking, issue 34 was much more interesting.
the themes were art and bamboo’s third anniversary.
in other issues on art, the covers were designed around images specially produced for bamboo by artists. this time, however, we didn’t have any such base image, only the stipulation that we were to use something by yayoi kusama, who was exhibiting in brazil.
we were not allowed to tinker with the images themselves, so we framed the portrait within a circle—the form kusama repeats obsessively in her art—as our way of leaving our mark on the cover.
on the first page of the contents spread, we highlighted bamboo’s third anniversary (the big numbers) and the piece on the sp-arte fair (the various works at the foot of the page).
bamboo’s anniversary was celebrated with a double-page spread full of tidings from readers, collaborators and advertisers.
the condensed but increasingly larger numbers were a nod to the cover of the publication’s first anniversary issue (top left). clustered around each number were some of the covers of that year’s issues.
this page of the ‘baby’ section show a change we made on this issue.
until then, this section used the large text column, like double page features and contrary to all single page recurring sections. we decided to eliminate this variation and establish the slimmer column for all these sections.
we also eliminated the grey box that separated the interview from the text, opting for distinction by color instead. this change was applied in other sections too and helped make many a layout lighter on the eye.
in the piece on yayoi kusama, we ended up repeating the ‘fibonaccian’ layout of the previous edition a little too soon.
the text was inscribed within a circle (13 grid fields in diameter) while the images were arranged in a fibonacci sequence:, 2x2, 3x3, 5x5 and 8x8, leaving the two central 1x1 squares blank.
In this article on the centenary of the birth of the painter iberê camargo, we superposed the number 100 over name iberê, the former in cyan blue and the latter in the edition’s pantone green.
though the typographic play was interesting enough, we recognize that the colors don’t exactly dialogue with the painter’s oeuvre...
guilherme wisnik wrote about the conflictual relationship between architecture and artistic interventions in the urban space and on the landscape.
the title, ‘the rift’, was a specific reference to one of the works mentioned in the piece, michael heizer’s double negative, in which a deep trench was dug in the desert.
we split the title, placing the article at one end and the noun on the other, separated by two contradictory and superposed forms. the square embodies the constructive, positive geometry of architecture, while the rift serves as the gestural, negative action of art
for the opening of the projects section, we returned to the circle introduced on the yayoi cover, only this time employed as a series of dots making up a rectangle.