Whilst I think that the redesign is a whorthwhile aesthetic change; it certainly feels contemporary, and it's refreshing. However the new text type sparkles just that bit too much, it's harder (for me) to read. This may be caused by the stock that today's teaser was printed on, which I felt was too bright (also too heavy). Monday's Guardian might not be on the same stock. There is also the claustrophobic feel of a massive x height with too little leading. Looks like it's been designed with the visually impaired in mind.

Please click here to visit our site. RETAIL FONTS. Guardian Egyptian Headline. With just over 200 fonts, the Guardian family is one of the most ambitious. The fonts used to produce the hieroglyphs throughout this volume; Cleo's cooperation and generosity are deeply appreciated. 18.2 Additional Titles Held by Men Holding the Title wr bzt in the Old Kingdom.. The pattern is less clear in Old Egyptian (see Edel 1955, §§ 365--67); here the dependent.

I 'll get used to this. My guaranteed fall-back for hard-to-find magazines and newspapers is Bungalow News in Pasadena - it's pretty amazing. But for The Guardian chances are good I'll find it in Glendale. Plus I'll be making a trip to UCLA on Monday, and Westwood has great kiosks. Am I a type geek or what?!

- getting excited about hounding an issue of a newspaper. For the type. Miles, maybe 9.5 point is too big for such a big x-height? But I need to see the thing in person. BTW, how do I get a physical copy of that 'teaser'?

Somebody on the ATypI list said it was in the Saturday edition - correct? Oh, 8 point sounds much better. Powtoon Crack Pes 13 here. As for the leading, and other things like wordspaces etc., what seems to happen way too often is that when the day comes to actually set real articles in a real issue, all the fine-tuning and refining during testing can get ignored. Alert: I'm having trouble tracking down the Saturday edition, at least over the phone (goddam paleolithic technology). So if somebody is willing to put aside a copy for me (and maybe do the same on Monday) I would of course pay for it/them and the shipping. Hrant_thatsymbol_inverselogic_dot_com BTW, is the Saturday edition the same as the Guardian Weekly? I'm disappointed by the all-serif look.

I felt the same way when the Toronto Star, also a leftish paper run by a foundation, rather than a media conglomerate, was recently redesigned with all serifs. Somehow, it signals a pandering to 'taste', a movement away from a hard-line stance, whether or not that is the editorial drift. My initial impression (which may nonetheless be revised once I see it on newsprint) is that the newly refined look will be at odds with the necessarily blunt messages that this newspaper, so frequently critical of the establishment, must carry.

The front page design, with the masthead halfway down the folded berliner cover looks very well designed It means the paper can't be folded again without folding it along the masthead, so newsagents will have to display it as it comes. This also leaves a very dynamic space for a headline or picture that is visible with the paper folded. The column width is good, much more readable than old eight-column broadsheet. But - there are still lots of line-end words broken with hypens on the dummy copy (re-main, investi-gated ver-sion, for-mat, newspa-per, jus-tice, pa-per) that make it harder to comprehend the writing. Not something you see on their website! I'm getting used to it. The typeface is OK.

A bit like Cartier, eh? Perhaps the serifs could have been a bit narrower, in the headline fonts, for a slightly closer fit, given the tightness of the layouts and the small wordspace. I find the G2 section is too small in size. There is a problem that with the smaller formats and the larger pictures, the fancy colors and light weights, that the paper loses gravitas. This is particularly evident when you have one story dominating a page and it's got a big stock photo -- that ain't news! Looks more like a cheap magazine: but that is something that the facility to put big colour pictures everywhere sucks you into, and unique to the Guardian.

The big double-page photo spread every day is brilliant. Overall, I am still concerned that a serious anti-establishment paper should carry some clout. The Guardian was big and tough, but now it is proud to leave behind that daunting presence (as charged by focus groups, no doubt) to be friendlier -- smaller, prettier. I have the same problem with the little Independent and its frilly Century heads. Easy to discount.

Please tell me I'm wrong, and that these toy dogs barking at the powers that be will not be contemptuously kicked aside. Why do you think that is?

If we concede that the design can be improved then two obstructions have to be overcome time is the major constricting factor, closely followed by cost – the market share for newspapers has been reduced by newer, more instant, cheaper and generally easier* media. *By easier, I mean why bother reading a newspaper when a man or woman in a suit will read it for you in the corner of your living room.

The technologies involved in newspaper production – printing (colour, inks), layout software, paper manufacture etc. Have all improved in terms of speed and quality and this is clearly the case compared to a decade ago. Newspaper's budgets are mainly allocated to the content (the reporting) and production. Since even media barons cannot expand time, cost is the only area that can be squeezed, so, for example, there is a limit to the amount of non-printed space, the remaining number of employees have to be able to produce the product. To sum up, if the paper is to survive, it cannot afford to lose its loyal readers, who want the content and will not pay (much) more, and the consumables and wage bill keep a constant then something has to give and that casualty is design.

I don't envy anyone trying to redesign a newspaper within these constraints.

Advertisement What we are just beginning to pick up on is that, thanks to the computer, trends in typography are changing as quickly as in fashion. It started in the 1990's, when softer, curvier typefaces -- like Verdana and Scala (created by the Dutch designer Martin Majoor and used in Wallpaper's earliest incarnation) -- began to supplant the classic sans-serifs Helvetica and Futura. (Translation: sans-serif type has none of those squiggly bits at the ends of the letters.) Verdana and Scala are the typographic equivalent of the soft modernism of Prada's neat little 1990's coatdresses and Christian Liaigre's beige-on-beige interiors at the Mercer Hotel. By the end of the 90's, just as fashionistas were growing bored of global branding and started rummaging around vintage stores for quirky alternatives, type designers turned to their history books, too.

The designer Zuzana Licko, based in Berkeley, Calif., led the way with Mrs Eaves, her reinvention of the 18th-century Baskerville typeface. Named after the woman who was John Baskerville's housekeeper and later became his wife, Mrs Eaves is gloriously ornate, with the fanciful swirls and serifs that Bauhaus-influenced designers had long considered verboten. Originally designed for the typography magazine Emigre, it appeared on everything from junk mail to Web sites and unleashed the fashion for elaborate curlicue typefaces like those in early 2000 issues of Paris Vogue and Rolling Stone. Since then, type, like fashion, has sobered up.

Just as Lanvin and Rochas are making contemporary clothes seem as precious and lovingly made as vintage pieces by combining modern materials and finishes with old techniques, so too are type designers using their computers to modernize classic typefaces like Bodoni and Bembo. Take the Guardian's Egyptian typeface, designed by Schwartz with Paul Barnes, or Schwartz's new Farnham typeface in the art magazine Frieze. Simpler and more sedate than Mrs Eaves, these faces blend the crispness of digitally created type with a nod to history in their neat serifs. Type purists might wince at the analogy, but Guardian Egyptian and Farnham are the typographic equivalents of the sleek Lanvin shirtdress that I've set my heart on wearing this summer. So, what's next in type?

The design historian Emily King suspects it will be the trend to digitize obscure historic faces, like Carter's beautiful title letter for this magazine. Carter redesigned the T from the current New York Times nameplate, which was inspired by early-16th-century German black-letter type.

But you may have already guessed that, if you've been paying attention.