During meetings, Douglas opened a dialogue about the brand and what it stood for. He soon learned that, purely from a design perspective, the Journal’s brand identity did not get the attention it deserved. After running his own branding and digital studio in Australia for almost ten years, Douglas transitioned to news and media, joining the Wall Street Journal in 2014. Enter Douglas, a digital-products guru with the soul of a typographer. © 2017 Wall Street Journal.Ī decade and a half after that unprecedented redesign, changing technology and an increasingly mobile audience necessitated a reworking of the Journal’s digital platforms. © 2017 Wall Street Journal.Ĭommissioned by the Wall Street Journal in 2002 as part of a major revamp overseen by publication design consultant Mario García and former WSJ design director Joe Dizney, Escrow was crafted in Text and Display versions by Cyrus Highsmith and expanded in 2016 by Richard Lipton (with Banner styles for the largest headlines) and Dyana Weissman (with four Reading Edge variants engineered to be clear and readable at text sizes on screen).
Escrow, the Journal’s anchor typeface, displays an elegant authority that perfectly fuses with the weighty content of the venerable publication-a powerful combination for creating lasting impressions. When a newspaper is seen ambiently-for example on the subway, in office waiting rooms, or in movies-headline typography has such a strong character that it creates an imprint in the reader’s mind. “Headlines in a newspaper are what people recognize,” said Che Douglas, Global Head of Design for the Wall Street Journal and Dow Jones. Douglas graciously agreed to an interview with Type Network’s Yves Peters. Because the Journal has so deftly employed Font Bureau’s Escrow for over fifteen evolutionary years, we wanted to hear more about the challenges of publication design for a device-dependent audience.
The font library trick that saved my sanity.JThe Wall Street Journal’s design chief talks type and trustworthiness after launching updated appĬhe Douglas, the Journal’s Global Head of Design, oversaw a major overhaul of its digital product, which, like the print edition, prominently features Font Bureau’s Escrow.Įditor’s note: On July 13, Che Douglas, Global Head of Design for the Wall Street Journal, announced that his team (including Fernando Turch, the lead designer, in collaboration with Bonnie Jarvie, the lead UX designer, and creative director Thomas Williams) had launched a major update to the paper’s digital app.
Scroll down to find the link to the font you love the most! 1. Which one is your favorite? Mid Century Modern Fonts In this post, I’ve rounded up 36 awesome mid century modern fonts I’ve had my eye on that will be sure to set your next retro design project on fire.
The geometric sans serifs that are all business.Here are a few of the styles that really pique my interest: I may stray from time to time and try new and different typefaces, however nothing compares with the ingenuity of the 1950s and 1960s fonts. The same thing is true about mid century modern fonts, in my opinion. The beautiful curves, the stylish colors. I know good design when I see it - and I always tell him modern cars do not hold a candle to mid-century cars.
Read the full disclosure hereīecause my husband is a big car guy, I’ll often find myself in out-of-my-depth discussions about horsepower and torque.īut one thing I feel confident talking about is design.