For two years I was a designer on the staff of my high school's award winning literary magazine featuring original works of art and writing from artists at my school and transformed further by creative design.
The design process focused first and foremost on the piece of writing. From there we searched our art submissions for a piece of art that had a similar theme or mood as the writing. As designers, we made the decisions of what went best and then augmented them with ilustrations, typography, and any other manipulation we thought fit. For example, the piece "Sugar" was about body image, so cutting out a colorful image of a mannequin seemed like a great addition to an already impactful poem about wanting to fit a mold.
Before my time on One Blue Wall, the magazine had an aesthetic that was very minimalist and avoided overlapping text on the art because it was "too transformative." Our team decided that transformative was exactly what we wanted to be: we wanted to take two powerful works, one written and one visual, and merge them into another. At a time when I was only just beginning with design, this encouragement of artistic freedom allowed me to push the boundaries of technicalities and grids and white space that I was learning and just have fun.