It was an essential element in The Guardian's move to the Berliner format and was the typeface used in the masthead until 2018. It is part of the Guardian font family, which also includes Guardian Sans, Guardian Text Egyptian, Guardian Text Sans and Guardian Agate, all of which are also used by The Guardian.
What happens when you try to make a new sans serif by chopping the slabs off of an egyptian That was the original inspiration behind this modern classic designed for Mark Porter and the Guardian newspaper. Comprised of several interrelated families: an Egyptian for headlines; a Text Egyptian; a Sans for headlines in 4 widths; and an Agate Sans, every possible typographic need of a daily paper is fulfilled. Serious news headlines, expressive features, readable text, tiny financial listings, info graphics, and everything in between can be capably handled with ease.
Unfortunately the font is not available for licensing yet (though it states on his site that it will be available in 2009)... I was wondering though, would anyone would be aware of a similar font family available already... preferably that had a comparable family size - at least an Egyptian and Sans version anyway.
The Stag Family is a beautiful font... Looking into buying it when I can spare the cash!... Out of interest... Would anyone have any other recommendations regarding Egyptian fonts Possibly ones that work well in body copy I haven't used them much in my design work... although they seem to be increasingly popular in current publications... GQ's use of Soho to name but one... so any advice/tips would be greatly welcomed (i.e font combinations)Thanks v. much for the feedback so far.
Typefaces are an important part of our work. The fonts we use can drastically influence the direction of our designs. But rarely do we have to design our own. Designer Christian Schwartz, however, has made a rather successful career of it.
Google Fonts collaborates with type designers, foundries and the design community worldwide to create a directory of open source fonts. The fonts are free to use, making beautiful type accessible to anyone for any project.
Most notably, the redesign features a new font and logo designed by New York- and London-based studio Commercial Type, which also created the original Guardian Egyptian font. The new font is called Guardian Headline and is a clear testament to the new formats, on both the print and web platforms.
Founded in 2002, Typographica is a review of typefaces and type books, with occasional commentary on fonts and typographic design. Edited by Stephen Coles and Caren Litherland and designed by Chris Hamamoto.
Classic Print-Focused FontsMost classic fonts such as Caslon, Baskerville, and Bodoni, were designed well before the Digital Age, tailored exclusively for traditional high-resolution print applications. As such, they usually include things like ink traps (corners or details that are removed from the letters to allow for ink to spread), optically balanced sizes, and different versions cut for display versus body text usage. They were designed to address issues that arise during the printing process but fall short of the challenges that now come with viewing content digitally.
The Right Choice for Your BrandThe choice of fonts for your brand is an important decision that should not be taken lightly. As with many things in life, you get what you pay for. While free, open source web fonts have come a long way, they are not as effective as something crafted by a professional type designer. The majority of the content users deal with online still comes in the form of text.
What's the font used for The Guardian logoThe font used for The Guardian logo is Guardian Egyptian Text Black, which is a humanist slab serif font designed by Christian Schwartz & Paul Barnes and published by Commercial Type.Sources & Links:Guardian Egyptian Text Black Font on commercialtype.com
Continuing with Guardian Media Group's (GMG) three-year transformation plan, with the target of breaking even at operating level by April 2019, today it has revealed plans for new mastheads, colour palettes, font and logos.
Graphics and typography not only bombard everyday life - they dictate the everyday; that mouldy carton of milk with a half scratched off label sat in your fridge Someone's designed that. An album's genre-defining cover art (Yes, we're talking about New Order's Blue Monday) - you have the genius that is Peter Saville to thank. Picked up The Guardian at the weekend Typographer Paul Barnes is behind their infamous font - the Guardian Egyptian slab-serif typeface, which came along with the paper's distinguished 2005 rebranding also overseen by Barnes. Almost everything and anything man-made you come across has involved at least a basic level of graphic design, and where there's graphics, the conversation of typography follows not too far behind.
These rulers are vaingloriously self-obsessed and suffer from delusions of grandeur. They have treated their people as children in need of constant guidance. The ruler is the font of all wisdom and knowledge and the people, as sheep, should be grateful for having such a strong wise shepherd ruling them. The reality of politics in the Arab world was succinctly summed up by a Syrian pro-democracy demonstrator with: \"We, the people, are only allowed to open our mouths when we go to the dentist\".
Counseling was offered to the patient and her guardian about thevarious aspects and prognosis of disease. The patient was advised to use sunprotective measures and was prescribed sunscreens. She was also advised toobserve precautions against trauma in her daily activities. 1e1e36bf2d