New typefaces for The Daily Telegraph

01 dtfront 1524 xxx q87
00 dtfront 649 xxx q87

The Daily Telegraph has undergone a design transformation to mark its 160th anniversary. Under the guidance of design director, Jon Hill, one of the last remaining quality daily broadsheets in the UK has a completely new typographic dress from Commercial Type. Working closely with Hill was Commercial Type partner, Paul Barnes, who has developed two new type families as well as designing the new titlepiece. 

02 dtlogohistory 1644 xxx q87
The titlepiece has evolved over the years without losing its essential character.
03 dtlogo fry 1644 xxx q87
From a specimen of the Fry Typefoundry, circa 1790s
04 dtlogo finals 1644 xxx q87
Paul drew the titlepiece in three optical sizes, with varying amounts of contrast and detailing.

The title piece draws on the paper’s rich heritage of using an inline blackletter form, harking back to the first publication of the Daily Telegraph back in 1865. Since this date the newspaper has seen a wide variety of forms, ranging from Victorian exuberance to the stripped down form inline less form of the most recent incarnation. Barnes looked back at the black letters of Hendrik van der Keere from the 16th century, through to the Georgian forms of the British foundries of the 18th and 19th century. The first example of the Anglo inline style seems to have been pioneered by the Fry foundry in the 1790s. The new design manages to capture historical accuracy, without seeming archaic, with high contrast giving it a dignified stature at large sizes. Three variants have been drawn, with the inline removed and lower contrast for the smallest size model.

05 dtdeks 1392 xxx q87
06 dtspread 1327 xxx q87
The large scale of the broadsheet makes for a wide range of type sizes.
07 dthed 1401 xxx q87
09 austinvsnewshed 1644 xxx q87
Austin News Headline has more generous proportions than Austin does.
10 austinvsnewshed2 1644 xxx q87
14 austinnewshedroms 1644 xxx q87
The Austin News Headline and Deck families each have eight weights.
15 austinnewsheditals 1644 xxx q87
12 austinnewsfamoverview 1644 xxx q87
13 austinnewsfamital 1644 xxx q87

The headline serif typeface is a new version of the popular Austin, designed originally by Barnes with later additions of a light and Ultra by Berton Hasebe. Austin News Headline retains much of the elegance and compactness of the original, with a lower contrast, an increased x-height of 106% and an overall slight widening of the face. The serifs are heavier and shorter. While Austin started as a magazine headline, inspired by the typefaces of Richard Austin, Austin News is a hardworking newspaper headline typeface, with eight weights with matching italics. The wide range of weights have been applied throughout the newspaper from the light being used for section heads, through to the bolder weights in the sports section. Designed to work above in large sizes, a version for small size headlines, Austin News Deck was designed for uses from 24 to 14pt. 

16 dtdek text 1560 xxx q87
17 dttextecu 1494 xxx q87
11 austinnewstextvstext 1644 xxx q87
Austin News Text has classic news text proportions, whereas Austin Text is bookish.
18 austinnewstext 1644 xxx q87
19 austinnewstextfamoverview 1644 xxx q87
Austin News Text has five weights.

As Austin Text showed, the design is robust enough to work in small sizes, and after months of trials this has lead to the new Telegraph text typeface, Austin News Text. Following much of the conventional wisdom of news text design, Austin News Text manages to keep the beauty of the display and text variants. With an increased size on body with the typical x-height increase, it is still remarkably economic, and with the decision to increase type size on the previous Franklin Antiqua, makes the paper a much easier to read. Austin News Text comes in five weights with small capitals and various alternate numeral styles. 

20 dtmarianfront 656 xxx q87
21 dtmariansmall 1471 xxx q87
Marian acts as an accent throughout the paper.
22 marianrom 1644 xxx q87
23 marianital 1644 xxx q87
24 marianswashes 1644 xxx q87
A full set of swash capitals give many design possibilities for the future, important in a daily newspaper.

Hill has also employed a new version of Marian 1812, the design based on the original ‘Scotch’ Romans of Miller and Wilson. Commercial Type designed additional optical weights for the font, so it can be used down to text sizes and also in large section heads, particularly in the Saturday editions. Barnes also drew an extended set of swash capitals, inspired by the copperplate initials of the Scottish foundries. It is often thought that these typefaces were cut originally by Austin, the most famous of the British trade engravers of the Georgian era, fittingly giving the Telegraph a homogenous feel.

25 dtsanstext 1335 xxx q87
Telesans Text and Agate are used heavily for dense information in the Sport section.
26 dttelesansagateecu 1578 xxx q87
27 telesanssizes 1644 xxx q87
The three sizes of Telesans differ dramatically in their detailing but share a common personality.
28 telesanssizesitalics 1644 xxx q87
29 telesansheadroms 1644 xxx q87
Telesans Headline has ten weights.
30 telesansheaditals 1644 xxx q87
31 telesanstext 1644 xxx q87
32 telesanstextfamoverview 1644 xxx q87
Telesans Text comes in five weights.
33 telesansagate 1644 xxx q87
Telesans Agate comes in three weights.

The new design also features the Telesans family, designed by Barnes with long term Commercial Type collaborator Dan Milne. Begun in 2011 under the guidance of Himesh Patel, the former creative director of The Daily Telegraph and Derek Bishton, special creative projects director, it comes in three optical sizes, headline, text and agate. An open and warm modern humanist sans, it is at present used as a secondary counterpoint to News Austin, and for the large amount of small size typography throughout the newspaper from weather, financial listings, sports scores, and television listings.

34 dtfashionweb01 1282 xxx q87
35 dtfashionweb02 1282 xxx q87

At present the typefaces are being mainly employed in the daily and Sunday editions of the print newspapers, and in a special online Fashion publication, but will eventually be rolled out across the digital editions.


New release: Austin Text by Paul Barnes

Austin was first designed in 2003 for the elegant display typography of Harpers & Queen, a British fashion magazine, and Paul Barnes had long wanted to augment the delicate display face with a more rugged version for smaller sizes. He finally found the time, and the result is a highly personable text face firmly in the British tradition, hewing much closer to the original types—cut by Richa...
01 austintext sizes 634 xxx q87

New release: Austin Hairline by Berton Hasebe and Paul Barnes

When we first designed Austin in the middle of the last decade, we always imagined that it was as extreme as it could possibly be. Well of course it wasn't, as our new release Austin Hairline amply demonstrates.
Aushairfam 734 xxx q87

New release: Marian Text by Paul Barnes

Paul Barnes's Marian was designed for large sizes only, but the concept for the family was always about reduction to the underlying skeleton, rather than size, so Marian Text applies these principles to make a family that works for small sizes. Suddenly Marian is no longer just a beautiful series of display faces, but a useful text family.
00 mariantext overview 635 xxx q87

New release: Marian by Paul Barnes

Commercial Type is pleased to announce the release of Marian, a new typeface family in 19 styles designed by Paul Barnes. Marian is a series of faithful revivals of some of the greats from the typographic canon: Austin, Baskerville, Bodoni, Fournier, Fleischman, Garamont, Granjon, Kis and van den Keere. The twist is that they have all been rendered as a hairline of near uniform weight, revealin...
Marian wide 872 xxx q87