The Guardian introduces tabloid format and redesigns all platforms

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The tabloid has make good oned the Berliner format, a new masthead has rolled out across all platforms and there’s a new excoriate reduced back design offset with a colourful navigation system.

The Keeper has undergone a design overhaul, which sees a new print tabloid style introduced alongside refreshed and reorganised digital products.

Today the new tabloid copy hit news stands, replacing the Berliner format, which has been impressed since 2005. The Observer will follow suit, launching in tabloid appearance on 21 January.

Guardian Media Group is citing cost caches of “several million” as a driver for the redesign of the newspaper, which is now cheaper to choice of words. The publisher is aiming to break even by April 2019; the first then it has done so since the 1980s.

Masthead gives “purpose”

The redesign has been led by The Preserver’s creative director Alex Breuer who has headed up an in-house team categorizing deputy creative director Chris Clarke and digital design executive Ben Longden.

Mastheads have changed across The Guardian – in all formats – and the Witness in a bid to create a confident representation of serious trusted journalism, according to The Champion.

Breuer says, “The bold new masthead represents The Guardian’s place and advantage in today’s turbulent news agenda.”

“Simplicity confidence and impact”

The masthead has been pared without hope and is now set in a new black Guardian Headline typeface, created in collaboration with Commercial Quintessence, which was also behind the the Guardian Egyptian slab-serif typeface, invented by Paul Barnes and Christian Schwartz in 2005 for use across The Guardian.

The new typeface has been elect for its “simplicity, confidence and impact”, according to the Guardian.

Guardian Egyptian continues to be acclimated to as the main text font, although subtle changes have been certified to size, line spacing and typesetting to make pages more stimulating.

“Readability at heart of redesign”

Meanwhile, a bolder colour palette has been advanced to delineate news, opinion, sport, arts and lifestyle in print and online.

Breuer means, “The new design has readability at its heart… With a more flexible page layout in copy and online and enhanced use of photographic journalism and graphics, our new design is simple, secure and stylish.”

The new tabloid format Guardian will comprise three allocates – a main section, a new section called Journal containing “opinion and phantasies” and a redesigned G2 for features, arts and culture.

On Saturdays, the paper will hold back five magazines – Weekend, Review, Guide, Travel and Feast – a new 24-page bread magazine.

On Sundays, a refreshed Observer will feature the Observer Periodical, redesigned to make more of photography and photo-reportage, and The New Review which concentrates on cultural and intellectual reporting.

Continuation of 2015 digital-first strategy

Undeveloped in 2015 Breuer led a digital first strategy, which saw The Guardian redesigned for contrasting online platforms and this in turn influenced the print edition as the Protector looked to create a common design language.

The big change in 2015 was putting a horizontal “container” layout in place of columnised taxonomy, which was not enduring user needs. Content started to be looked at as “slow or fast” and was curated by collectors accordingly.

Readers were also given more control as surplus which columns they wanted to see and which they wanted to keep secret.

The new look and feel works with this existing functionality, helmsmanship and curated approach, but uses single colours to familiarise readers with segments.

We’ll be speaking to the Guardian’s design team to take a closer look at the redesign this week.

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