And a perfect moment for image type combination slowly formed.

The lines began to inspire the image making.

Michael began to master the guardian tone, it was like watching a musician learning a symphony. We must have made 200-300 posters and shared as many lines. Design thinking has not only helped them change. It was the first time I got to design the product and design the communication – this would be something that I've decided to do throughout my career.Ĭreating communication which matched the newspaper’s quality was hard and seemed impossible at times. Earlier this year The Guardian underwent a rebrand introducing a new font, masthead and a tabloid format. This time I was working on the blank pages. When I'd worked on the Broad Sheet, all the advertising pages were blank, we had no idea what would be there. The joy of getting to work with The Guardian team again inspired me. I made a leap that we could use the extended color palette that Mark had created for the sections to express the openness and egalitarian values the newspaper upheld. Mark and I agreed that the advertising would only use the boldest weight so as to separate the work from the editorial language and subtlety of the newspaper. I called Mark Porter and asked if I could use the new Guardian Typeface he'd designed with Paul Barnes & Christian Schwartz at Commercial Type for the Berliner –. And most importantly for me it matched the integrity that I remembered when working with Alan Rusbridger his team.Īfter we won the pitch, we had to sustain the intensity to create work. Telling well and understanding the importance of journalism was everything The Guardian cared about. We presented the pitch, about the importance of telling well, and how it should be a skill shared and coveted by everyone. Taking the integrity of the newspaper out of the newspaper and into the world was the idea. It was simple, emotionally smart and it was genius, The Guardian was known for its integrity and traditional 'advertising' seemed somehow wrong. Our first day working on the pitch Michael said, 'let’s not make advertising for The Guardian, let’s just take the newspaper for a walk'.

I'd spent some of my best design days working with Mark Porter there and his recent redesign for The Berliner was absolutely stunning. I came back to Wieden + Kennedy London after a short break, my dear friend Michael Russoff had called me because they were going to pitch The Guardian Newspaper account.

Guardian newspaper font