In his review of the documentary Page One: Inside the New York Times (Paper thin insights, Weekend Australian Review Sept 24-25) Lynden Barber ascribes "pomposity" to the Time's "olde-timey font and (page) layout." I disagree- in its bid to be more appealing and easier to read, the layout and font chosen are tastefully attention-drawing and pleasing to look at. Indeed I consider the highly characteristic New York Times nameplate a historical objet d'art. Such strongly-felt reactions to the visual elements of typography used by the New York Times suggests that the typeface form of letters selected for headlines and article text as well as page layout are designed to evoke visceral responses in profoundly subliminal ways.
The impact of fonts and page layouts is not just an esoteric aside. The style used for letters, characters and text are designed to create a readable, coherent and visually satisfying whole that works without the reader being aware.Where spoken language relies on tone of voice or gesture to convey emotion, the visual form of the written word possesses mysterious connotative properties. Ultimately, a world without charismatically constructed letters, numerals and symbols leads to unengaging newspapers, whether online or in print.
Joseph Y Ting
The impact of fonts and page layouts is not just an esoteric aside. The style used for letters, characters and text are designed to create a readable, coherent and visually satisfying whole that works without the reader being aware.Where spoken language relies on tone of voice or gesture to convey emotion, the visual form of the written word possesses mysterious connotative properties. Ultimately, a world without charismatically constructed letters, numerals and symbols leads to unengaging newspapers, whether online or in print.
Joseph Y Ting