In short, at first glance this redesign is a great success with just a few gripes. The team used vast blocks of yellow in last year’s Panama Papers special reports and although functional that was just too much here, yellow is used more carefully and works very well (and better in print than on the screen images above). A story can easily fill a spread without interutping the news flow. And within that section there is scope for an interview feature (in today’s case Michael Wolff) : the smaller pages turn out to be far more adaptable then the mid-size Berliner format. Given its political leanings, it’s satisfying to have red replace the cyan-black house colour: little flashes of red appear everywhere in the News section. The tradition of muted tint panels has been banished – these are too common now. But as Alex points out below, a newspaper is a living thing and perhaps this will settle down as the norm. It leaves some really difficult space on the front page around which floating teasers only make things worse. But it’s a shame G2, although removable, is the same format as the rest of the paper.Īnother doubt is the masthead while it’s great to see it black on white, with the revived authority of a capital T and G, stacking the two words of the name feels awkward. Both are essential parts of a modern newspaper, and a strength of this one in particular. Highlighting the opinions and columns in the off-white Journal section is a great idea as are the new design tools for a more forensic approach to investigative news. It’s been really well thought through editorially – we must assume this is now recently appointed editor Katherine Viner’s publication. I’m a regular reader of the paper and felt immediately comfortable and excited by the new format and design. I saw PDFs last night, and was impressed, but the printed issue this morning is even more pleasing. No change can compete with the shock of the Mark Porter version when it first arrived but this is a really smart redesign that carries just enough of the previous iteration that it feels familiar, while also feeling completely fresh. The new Guardian emphasises this further. Other serious British newspapers – ie the ex-broadsheets – have already shifted to tabloid ( The Times, The Independent before it closed) to confound those that believed tabloid meant only lo-brow. There is now one single part, split to three sections that can be pulled apart: News, Journal and G2.įlicking through the first edition, I find it a remarkably complete and finished item. That shift to a yet smaller page size has meant a complete revamp of the typography, grid and editorial structure.

This morning the latest step in The Guardian’s development arrives.ĭeveloped by the newspaper’s inhouse design team led by executive creative director Alex Breuer and deputy creative director Chris Clarke, The Guardian is now a tabloid. Both redesigns were quantum leaps, prepared for months in advance and launched overnight. Since 1988’s redesign by David Hillman, The Guardian newspaper has always put design at the heart of what it does, working for a long period with Simon Esterson before 2006’s award-winning shift to Berliner format and redesign by Mark Porter.

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