The September issues are beginning to roll in, and Wallpaper* is celebrating the month that Candy Pratts Price describes as “the January in fashion” with a top-to-bottom redesign across its print and digital platforms. The layouts have “a new, fresh, sophisticated, modern elegance” according to editor-in-chief Tony Chambers, and the pages, now printed on higher-quality stock, are sprinkled with custom typefaces (type families “Portrait” and “Darby,” pictured above and designed by Berton Hasebe and Dan Milne, respectively) from Paul Barnes and Christian Schwartz of Commercial Type. The magazine also has a new tagline–”The stuff that refines you”–and an overhauled iPad edition, reimagined by Nicolas Roope of Poke London and Marc Kremers, which ensures that the September features, on topics such as “the fashion world’s top ten go-to architects” (we’re looking at you, Pedro), the bags-to-riches story of Loewe, and Paul Smith, look just as vibrant on the screen as on the page.

Ready to respond to requests of “Show me the data!” with more than a sad little bar graph? The Mediabistro mothership is now recruiting would-be data visualizers for an online course in infographics that can “engage an audience in your brand, cause, or mission.” Guided by veteran creative director Sascha Mombartz, whose resume includes stints at The New York Times and Google, students will get up to speed with online tools (we’re looking at you Many Eyes) and develop a robust spec for a data visualization. The infographical fun starts on September 17. Learn more here.

Now approaching 50, Rolling Stone still rocks, and the storied bimonthly is in want of creative assistance. The search is on for a crackerjack associate photo editor to oversee the photographs in the Rock and Roll, Random Notes, and Live Review sections as well as general and music features. Bring your “proficiency in photo assigning and photo research,” thorough knowledge of photo resources, and pop culture passion. Got problem-solving skills and a knack for working collaboratively? That’s music to their ears.

Learn more about and apply for this associate photo editor, Rolling Stone job or view all of the current Mediabistro design, art, and photo jobs.

Once the temperature tops 85 degrees, evolution has programmed humans to suppress all executive functions and focus on securing ice, preferably of the creamy and sweet variety. But we can’t just switch off our aesthetic sensitivities upon approaching the freezer case, a sweating showplace of less than delicious design. Ben and Jerry’s pint containers have become increasingly oafish since the company’s acquisition by Unilever, Edy’s taste in typefaces conjures baked goods rather than frozen goodness, and we’ve long been dubious about faux-Danish Häagen-Dazs. The solution, of course, is gelato, and no one does gelato logos and packaging better than Louise Fili.

The New York-based designer and her crack team are behind the dreamy, la-dolce-vita look of L’Arte del Gelato (the logo was inspired by pasticceria papers, ice-cream hues, and peppy Italian script samples from the 1920s), and have just added to their list of gelato-related achievements with mouth-watering packaging for Gelato Fiasco. Fili’s overhaul for the Brunswick, Maine-based gelateria included upgrading the flimsy takeout container to a sturdier clear cylinder that reveals the vibrant colors of flavors such as Dark Chocolate Caramel, Wild Maine Blueberry Crisp, and Everything’s Coming Up Roses. Please pass the Pomegranate Chocolate Chunk.

The bubbling vat of creative talent at Wired magazine has yielded a new design director for Fortune. Tim Leong will join the Time Inc. title on August 5. He was previously director of digital design at Wired and is also a newly published author: Leong’s Super Graphic: A Visual Guide to the Comic Book Universe is out today from Chronicle Books.

“He is a multi-talented guy who worked on all aspects of the Wired brand with an emphasis his last two years on the digital extensions, including all tablet editions, coordinating motion and programming, e-books, e-features, as well as working directly with the website,” wrote Fortune creative director (and fellow Wired veteran) Brandon Cavulla in an e-mail sent today. “Tim was also a part of Wired‘s conferences, working with me on motion graphics/film and overall identity.” He succeeds Emily Kehe, who left Fortune in December and is now creative director at People StyleWatch.

“I was sixteen when I traveled with my family for the first time to bella Italia. As I recall, immediately upon arriving in Milan, in the haze of jet lag and the oppressive July heat, I was struck by a billboard featuring an art nouveau rendering of a couple in a passionate embrace against an inky night sky, with just the words Baci and Perugina. I knew that baci meant kisses, though I didn’t even know what product this advertised. It didn’t matter. The woman was clearly in a swoon, and so was I. This was the pivotal moment when I fell in love all at once with Italy, type, and food. Whenever I see the iconic Baci package (though it has been ruthlessly updated over the years), it still makes me smile.”

-Designer Louise Fili in the introduction to Elegantissima (Princeton Architectural Press)

Mediabistro continues to heed your cries for more design courses, and July is all about Illustrator. Over two weeks of online learning, budding ad designers will get up to speed on the software under the guidance of veteran art director Andrés Jimenez, who has designed everything from a website for the Jay-Z/Iconix clothing brand Artful Dodger to a NASCAR paint scheme for Jackson Hewitt. All we ask is that you use your newfound colors and gradients knowledge for good. As Spider Man‘s graphic designer cousin Gene once said, “With great special effects and filter skills come great responsibility.” Learn more here.

F. Scott Fitzgerald suggested that it was the profusion of Gatsby‘s beautiful shirts that brought tears to the gray eyes of Daisy Buchanan, but we suspect it wasn’t so much the “stripes and scrolls and plaids in coral and apple-green and lavender and faint orange” but those “monograms of Indian blue” that really got her. Put your own stamp on Gatsby’s glam “JG” with this Monogram Maker app from Warner Bros., the studio behind Baz Luhrmann‘s supersaturated film version of the classic novel. Simply select a pair of shiny letters and a desired shape and then download your new personal logo for use in a range of digital formats.

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(Photo: David W. Oliver)

Warming oceans. Changing ecosystems. Pollution-busting innovations. Adorable turtles. It’s all in a day’s work at the Environmental Defense Fund. Lucky for you, the non-profit’s “passionate, pragmatic environmental advocates” are in want of a designer to join their New York-based creative team. Brush off your eye-popping portfolio of online design work and be ready to convey your interest in conveying ideas and inspiring action for this position, which involves “developing aesthetically engaging concepts, compositions, and campaigns for the EDF’s interactive experiences, brand communications, and digital media.”

Learn more about this designer, Environmental Defense Fund job or view all of the current mediabistro.com design/art/photo jobs.

With its imminent move downtown to new Renzo Piano-designed digs, the Whitney Museum of American Art decided that its graphic identity was also in need of an overhaul. And so it’s out with Abbott Miller‘s 13-year-old wordmark (which, like a fine wine, would only have gotten better with age) and in with a…spindly, shape-shifting line? The new identity, created by Amsterdam-based Experimental Jetset and unveiled today along with the museum’s redesigned website, is an anti-logo: lacking distinction, gravitas, and the ability to be seen from across a room. The “responsive ‘W’,” intended to dynamically “illustrate the museum’s ever-changing nature” with an elastic take on the letter “W,” is paired with a redrawn version of Neue Haas Grotesk, in all caps. With an infinite array of options, the identity can evoke the work of Dexter Sinister or Lawrence Weiner, the slanting logo of W magazine, or a line graph that got lost in a museum on its way to a sales report. But mostly, it leaves us wondering, Why?