Global Executive Creative Director: Andrew Lawrence
Head of Animation: Oli Minchin
The Week is an icon of the newsstand. Part of a group of respected magazines that cover weekly political commentary, The Week is unique, delivering a balanced point of view. They do this by pulling together news from a multitude of respected sources every week, allowing the reader to be fully informed and able to come to their own conclusions without political sway or bias.
The Week has a loyal readership, but they were keen to recruit new readers through digital and print comms. The current online and print experience felt disparate and there was a lack of global harmony in the way that the brand’s assets were deployed beyond the cover of the magazine. Our challenge was to create a visual identity system that reflected the publication’s balanced editorial style and stretched with the brand to deliver recruitment campaigns and connect with new readers.
Whilst The Week is known for its colourful and illustrated covers depicting political satire, there was very little left to play within the brand toolkit. We thought on the challenge and quickly identified that the solution was hiding in plain sight – the iconic red masthead. The powerful shorthand was destined to become the stage for witty, idea-led copy and the whimsical illustrations of a talented artist. This artist's delightful pen and ink illustrations act as a foil to the more colourful cover illustrations of The Week, allowing both to co-exist in the same brand world with ease.
We built on the master brand to create guidelines and a suite of illustrations that The Week can use across its website, social media, sales, careers and promotional billboard messaging. The red masthead is central to these updated assets, becoming the centre point for brand storytelling and a device to deliver the brand’s key narrative in both print and digital comms, using beautiful characterful illustrations crafted by the artist.
As well as bringing warmth and energy to its digital current affairs coverage, the assets created enable The Week to connect with its readers on a more meaningful level, blending its measured news voice with moments of visual wit.
We flexed our imagination and looked for new ways that the bar could form the centre point of a myriad of different stories. Whether it turned into a desk for a man working from home; or into a vault for an athlete to leap over; or a bath in which a person relaxes, the optimised shorthand quickly became the gift that kept on giving with new scenarios and copy solutions to delight and entice new readers.
Given the strong editorial principles of the magazine it was always the case that copy was going to play a core role. In this case, we employed a gentle Wit in communications centred around recruitment and retention, driving attention back to The Week’s main challenge in the brief.
The new easy-to-use design system has the ability to flex to cover all stories from all angles, including The Week’s key subscription promotions – from summer subscription giveaways to Christmas gift subscriptions. This system translates The Week’s measured news voice and brings it to life in a multitude of fresh and distinctive ways. The Week’s expanded brand look has been rolled out globally in 2022, harnessing a pool of cohesive digital and design assets.