A special mention for my former colleague Nikki Marshall, co-author of the previous edition of this book. This book would not be possible without the contributions of Guardian and Guardian Unlimited readers, with whom my colleagues and I share an invigorating daily dialogue that is reflected in many of the comments and suggestions included here. Thanks also to Richard Alcock, Andy Bodle, Helen Brooks, Kirsten Broomhall (who wrote the section on web style), Charlotte Dewar, Chris Hall, and Anna Bawden (for sorting out beeper and bleeper, and much more).
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No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the copyright owner A CIP record for this book is available from the British Library ISBN: 978-0-85265-086-8 Cover design: Two Associates Text design: Printed and bound in Great Britain by MPG Books, Bodmin, Cornwall.Īppendix 1: The Guardian’s editorial codeĪppendix 2: The editor’s guidelines on the identification of sourcesĪppendix 3: CP Scott’s 1921 essay on the centenary of the Manchester GuardianĪppendix 4: Excerpts from the 1928 Style Book of the Manchester GuardianĪcknowledgments Very special thanks to Amelia Hodsdon, a superb subeditor and proofreader who has devoted a lot of time and attention to these pages. The new tabloid format and digital platforms are available to read and explore now.First published in 2007 by Guardian Books, 119 Farringdon Road, London EC1R 3ER Guardian Books is an imprint of Guardian News and Media Ltd Copyright © The Guardian 2007 The right of David Marsh to be identified as the author of this work has been asserted by him in accordance with section 77 of the Copyright, Designs and Patents Act, 1988 The Guardian is a trademark of the Guardian Media Group plc and Guardian News and Media Ltd 2007 All rights reserved. "Like a lot of people in the creative industries, I have a soft spot for the Guardian and its understanding and embracing of design culture, so I'm excited to see where this new direction takes the paper."
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"I, like a lot of the Guardian's readership, usually access the paper’s content through the app or a browser, so the change in physical printed format ultimately shouldn’t directly impact me, unless the paper’s journalism evolves to match its new tabloid format – which thankfully seems unlikely! However he's not concerned that this is a sign of a decline in originality. Responding to the redesign's teaser video (above), Davey was amused to spot its similarity to Droga5's ad for the Pixel phone from a couple of years ago. It entirely makes sense to ditch the more expensive format, when the majority of its readership accesses the paper online Jack Davey, Studio Bolt "The old look and feel – built around the Guardian Egyptian typeface, really sings with the bold punchy colours used across the Guardian’s supplements, and colour really helps drive navigation on the site – so I can’t imagine it will be going too monotone."
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"I’ll be fascinated to see how the new look, particularly the new typeface (and an apparent restrictive use of colour) roll out across the Guardian’s other publications and formats," Davey adds.
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"It entirely makes sense to ditch the more expensive (though admittedly a bit special) format, when the majority of its readership accesses the paper online," he says. So how has the redesign been received by designers? Jack Davey, creative director at Studio Bolt, thinks that the change of paper format is a reflection of the times we live in. Earlier this year the paper even featured in the works of Turner Prize 2017 winner Lubaina Himid. With The Guardian's focus on arts and culture, it's no surprise that it's a favourite with creatives. The Guardian's new website as it looks today