Looks good on the Design Week website but in reality very disappointing when I bought a copy yesterday. The new look and feel works with this existing functionality, navigation and curated approach, but uses single colours to familiarise readers with sections. Readers were also given more control over which columns they wanted to see and which they wanted to conceal. Content started to be looked at as “slow or fast” and was curated by editors accordingly. The big change in 2015 was introducing a horizontal “container” layout in place of columnised taxonomy, which was not serving user needs. Continuation of 2015 digital-first strategyīack in 2015 Breuer led a digital first strategy, which saw The Guardian redesigned for different online platforms and this in turn influenced the print edition as the Guardian looked to create a common design language. On Sundays, a refreshed Observer will feature the Observer Magazine, redesigned to make more of photography and photo-reportage, and The New Review which focuses on cultural and intellectual reporting. On Saturdays, the paper will contain five magazines – Weekend, Review, Guide, Travel and Feast – a new 24-page food magazine. The new tabloid format Guardian will comprise three sections – a main section, a new section called Journal containing “opinion and ideas” and a redesigned G2 for features, arts and culture. Meanwhile, a bolder colour palette has been introduced to delineate news, opinion, sport, arts and lifestyle in print and online.īreuer says, “The new design has readability at its heart… With a more flexible page layout in print and online and enhanced use of photographic journalism and graphics, our new design is simple, confident and stylish.” Guardian Egyptian continues to be used as the main text font, although subtle changes have been made to size, line spacing and typesetting to make pages more readable. The new typeface has been chosen for its “simplicity, confidence and impact”, according to the Guardian. The masthead has been pared back and is now set in a new black Guardian Headline typeface, created in collaboration with Commercial Type, which was also behind the the Guardian Egyptian slab-serif typeface, created by Paul Barnes and Christian Schwartz in 2005 for use across The Guardian. Mastheads have changed across The Guardian – in all formats – and the Observer in a bid to create a confident representation of serious trusted journalism, according to The Guardian.īreuer says, “The bold new masthead represents The Guardian’s place and purpose in today’s turbulent news agenda.” “Simplicity confidence and impact”
The redesign has been led by The Guardian’s creative director Alex Breuer who has headed up an in-house team including deputy creative director Chris Clarke and digital design director Ben Longden.
The publisher is aiming to break even by April 2019 the first time it has done so since the 1980s.
#Guardian egyptian headline font design driver
Guardian Media Group is citing cost savings of “several million” as a driver for the redesign of the newspaper, which is now cheaper to print. The Observer will follow suit, launching in tabloid format on 21 January. Today the new tabloid edition hit news stands, replacing the Berliner format, which has been printed since 2005. The Guardian has undergone a design overhaul, which sees a new print tabloid format introduced alongside refreshed and reorganised digital products.
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