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During the most tumultuous time for media in generations, filmmaker Andrew Rossi gains unprecedented access to the newsroom at The New York Times. For a year, he follows journalists on the paper's Media Desk, a department created to cover the transformation of the media industry. Through this prism, a complex view emerges of a media landscape fraught with both peril and opportunity, especially at the Times itself. Written by
Re Paper thin insights, Weekend Australian Review Sept 24-25
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
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