![]() By comparison, last year’s design changes at the Wall Street Journal, the only paper in the country that had matched the Times in combination of large circulation, reputation, and aesthetic conservatism, look almost radical (and remarkably successful: They’ve made the Journal’s fusty front page look accessible and contemporary). Influenced by the then new Arts and Crafts movement, it was a display typeface whose original drawings, initially called Boston Old Style, were 14 tall. It doesn’t come close to altering the fundamental character of the paper or even the experience of flipping through it. The original Cheltenham font was designed in 1896 by architect Bertram Goodhue and Cheltenham Press director Ingalls Kimball. In the larger scheme of things, of course, the Times’ redesign is minimal. ![]() (Those changes were so subtle as to be essentially unrecognizable and became the subject of some restrained chiding from the Times itself, in a recent Sunday “Arts & Leisure” piece.) And the work Carter has done for the Times is certainly more substantial than the logo redesign he just finished for another New York institution, the Museum of Modern Art. Fonts are in ttf, otf format and with direct download link and preview. People develop strong relationships with the design of objects they see or use every day, and changes-even minor ones-can be jolting. Free fonts by category, type, daily updates. “I think the old Bookman/Century/Cheltenham/News Gothic/Latin Extra Condensed combination had more character and felt both more ‘newsy’ and more ‘New York,’ ” one designer wrote in a post to a typography Web site, adding that the Cheltenham headlines struck him, as they had me, as “a little too pretty and too harmless.” * A letter to the editor that appeared in the Times two days after the switch was harsher, calling the new Cheltenham regime “the typeface equivalent of New Coke.” The original drawings were known as Boston Old Style and were made about 14' high. This might seem like an overestimation of the symbolic weight that typefaces should have to carry, but I certainly wasn’t alone in having it. Cheltenham is a typeface for display use designed in 1896 by architect Bertram Goodhue and Ingalls Kimball, director of the Cheltenham Press. Especially when standing alone and used in italics- And the New York Times Loves To Put Headlines in Italics-its replacement, Cheltenham, seems too carefree and lightweight to introduce a story about sniper victims or dead American soldiers. Much more noticeable, and tougher to get accustomed to, is the Times’ decision to do away with Bookman, a serif typeface that it had used for many of its single-deck headlines stretching above stories three and four columns wide. This switch was easy to forget about in a couple of days.
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