Posts Tagged ‘typography’
“The new media are not ways of relating to us the ‘real’ world; they are the real world and they reshape what remains of the old world at will.”*…
There is a vortex of forces shaping the future of journalism. Censorship, both direct and indirect, is on the rise in the U.S. and around the world. Concentration of media ownership is homogenizing coverage and creating “news deserts.”
At the same time, new technology and new applications of that technology are reshaping the Fourth estate. The Reuters Institute at Oxford surveyed 280 digital leaders from 51 countries and territories to learn what they are seeing– and planning. From the Executive Summary…
We are still at the early stages of another big shift in technology (Generative AI) which threatens to upend the news industry by offering more efficient ways of accessing and distilling information at scale. At the same time, creators and influencers (humans) are driving a shift towards personality-led news, at the expense of media institutions that can often feel less relevant, less interesting, and less authentic. In 2026 the news media are likely to be further squeezed by these two powerful forces.
Understanding the impact of these trends, and working out how to combat them, will be high up the ‘to do list’ of media executives this year, despite the unevenly distributed pace of change across countries and demographics.
Existential challenges abound. Declining engagement for traditional media combined with low trust is leading many politicians, businessmen, and celebrities to conclude that they can bypass the media entirely, giving interviews instead to sympathetic podcasters or YouTubers. This Trump 2.0 playbook – now widely copied around the world – often comes bundled with a barrage of intimidating legal threats against publishers and continuing attempts to undermine trust by branding independent media and individual journalists as ‘fake news’. These narratives are finding fertile ground with audiences – especially younger ones – that prefer the convenience of accessing news from platforms, and have weaker connections with traditional news brands. Meanwhile search engines are turning into AI-driven answer engines, where content is surfaced in chat windows, raising fears that referral traffic for publishers could dry up, undermining existing and future business models.
Despite these difficulties many traditional news organisations remain optimistic about their own business – if not about journalism itself. Publishers will be focused this year on re-engineering their businesses for the age of AI, with more distinctive content and a more human face. They will also be looking beyond the article, investing more in multiple formats especially video and adjusting their content to make it more ‘liquid’ and therefore easier to reformat and personalise. At the same time, they’ll be continuing to work out how best to use Generative AI themselves across newsgathering, packaging, and distribution. It’s a delicate balancing act but one that – if they can pull it off – holds out the promise of greater efficiency and more relevant and engaging journalism.
These are the main findings from our industry survey:
- Only slightly more than a third (38%) of our sample of editors, CEOs, and digital executives say they are confident about the prospects for journalism in the year ahead – that’s 22pp lower than four years ago. Stated concerns relate to politically motivated attacks on journalism, loss of USAID money that previously supported independent media in many parts of the world, and significant declines in traffic to many online news sites.
- By contrast, around half (53%) say they are confident about their own business prospects, similar to last year’s figure. Upmarket subscription-based publishers with strong direct traffic can see a path to long-term profitability, even as those that remain dependent on advertising and print worry about sharp declines in revenue and the potential impact of AI powered search on the bottom line.
- Publishers expect traffic from search engines to decline by more than 40% over the next three years – not quite ‘Google Zero’ but a substantial impact none the less. Data sourced for this report from analytics provider Chartbeat shows that aggregate traffic to hundreds of news sites from Google search has already started to dip, with publishers that rely on lifestyle content saying they have been particularly affected by the roll out of Google’s AI overviews. This comes after substantial falls in referral traffic to news sites from Facebook (-43%) and X, formerly Twitter (-46%) over the last three years.
- In response, publishers say it will be important to focus on more original investigations and on the ground reporting (+91 percentage point difference between ‘more’ and ‘less’), contextual analysis and explanation (+82) and human stories (+72). By contrast, they plan to scale back service journalism (-42), evergreen content (-32), and general news (-38), which many expect to become commoditised by AI chatbots. At the same time, they think it will be important to invest in more video (+79) – including ‘watch tabs’ – more audio formats (+71) such as podcasts but a bit less in text output.
- In terms of off-platform strategies, YouTube will be the main focus for publishers this year with a net score of +74, up substantially on last year. Other video-led platforms such as TikTok (+56) and Instagram (+41) are also key priorities – along with working out how to navigate distribution through AI platforms (+61) such as OpenAI’s ChatGPT, Google’s Gemini and Perplexity. Google Discover remains a critical (+19), if slightly volatile, source of referral traffic, while some publishers are looking to find new audiences via newsletter platforms such as Substack (+8). By contrast, publishers will be deprioritising effort spent on old-style Google SEO (-25) – as well as traditional social networks Facebook (-23) and X (-52)
- Last year we predicted the emergence of ‘agentic AI’, but this year we can expect to start to see real-world impact of these more advanced technologies. Some sources suggest that there will soon be more bots than people reading publisher websites, as tools like Huxe and OpenAI’s Pulse offer personalised news briefings at scale. Three-quarters of our respondents (75%) expect ‘agentic tools’ to have a ‘large’ or ‘very large’ impact on the news industry in the near future.
- Alongside the traffic disruption from AI, news executives also see opportunities to build new revenue from licensing content (or a share of advertising revenue) within chatbots. Around a fifth (20%) of publisher respondents – mainly from upmarket news companies – expect future revenues to be substantial, with half (49%) saying that they expect a minor contribution. A further fifth (20%), mostly made up of local publishers, public broadcasters, or those from smaller countries, say they do not expect any income from AI deals.
- More widely, subscription and membership remain the biggest revenue focus (76%) for publishers, ahead of both display (68%) and native advertising (64%). Online and physical events (54%) are also becoming more important as part of a diversified revenue strategy. Reliance on philanthropic and foundation support (18%) has declined this year, after cuts of media support budgets in the United States and elsewhere.
- Meanwhile news organisations’ use of AI technologies continues to increase across all categories, with back-end automation considered ‘important’ this year by the vast majority (97%) of publisher respondents, many of whom integrated pilot systems into content management systems in the last year. Newsgathering cases (82%) are now the second most important, with faster coding and product development (81%) also gaining traction.
- Over four in ten (44%) survey respondents say that their newsroom AI initiatives are showing ‘promising’ results, but a similar proportion (42%) describe them as ‘limited’. Two-thirds of respondents (67%) say they have not saved any jobs so far as a result of AI efficiencies. Around one in seven (16%) say they have slightly reduced staff numbers but a further one in ten (9%) have added new roles/cost.
- The rise of news creators and influencers is a concern for publishers in two ways. More than two-thirds (70%) of our respondents are concerned that they are taking time and attention away from publisher content. Four in ten (39%) worry that they are at risk of losing top editorial talent to the creator ecosystem, which offers more control and potentially higher financial rewards.
- Responding to the increased competition and a shift of trust towards personalities, three-quarters (76%) of publisher respondents say they will be trying to get their staff to behave more like creators this year. Half (50%) said they would be partnering with creators to help distribute content, around a third (31%) said they would be hiring creators, for example to run their social media accounts. A further 28% are looking to set up creator studios and facilitate joint ventures.
More widely, could 2026 be the year when AI company stock valuations come down to earth with a bump, amid concerns about whether their trillion-dollar bets will pay back their investors? Meanwhile the amount of low-quality AI automated content, including so-called ‘pink slime’ sites, looks set to explode, with platforms struggling to distinguish this from legitimate news.
We can expect more public concern about the role of big tech in our lives. This may include individual acts of ‘Appstinence’ and other forms of digital detox and a desire for more IRL (In Real Life) connection. Governments will also come under pressure to do more to protect young and other vulnerable groups online, even in the United States.
The creator economy will continue to surge, fuelled by investments from video platforms and streamers. At the top end creators will look more like Hollywood moguls with big budgets and their own studio complexes. Within news, we’ll also see the emergence of bigger, more robust, creator-led companies delivering significant revenues as well as value to audiences – offering ever greater competition for traditional journalism…
Read the report in full: “Journalism, media, and technology trends and predictions 2026,” from @reutersinstitute.bsky.social.
* Marshall McLuhan
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As we ponder the prospects of the press, we might type a birthday note to John Baskerville, a pioneering English printer and typefounder, who was born on this date in 1706. Among Baskerville’s publications in the British Museum’s collection are Aesop’s Fables (1761), the Bible (1763), and the works of Horace (1770)– many printed on a stock he invented, “wove paper”, which was considerably smoother than “laid paper”, allowing for sharper printing results. And as for his fonts, Baskerville’s creations (including the famous “Baskerville,” a predecessor to the very similar Times New Roman) were so successful that his competitors resorted to claims that they damaged the eyes.
“The large print giveth and the small print taketh away”*…
As Christine Ro explains, this timeless wisdom may be about to invert: Revisiting typography…
A typical paperback book accounts for around 1kg of carbon dioxide, according to sustainability expert Mike Berners-Lee.
Perhaps that does not sound like much. But in the US alone, where 767 million paperback books were sold in 2023, this is equivalent to the electricity use of more than 150,000 homes for a year.
Forest loss, paper production and printing, and transport of books are generally the largest contributors to the carbon emissions of printed books.
So, using less wood fibre, and shipping lighter loads, are important ways to reduce the emissions of print books (as well as the costs of producing them).
One simple method is reducing the thickness of the paper. Some publishers are turning to subtly thinner paper. There are limits to this: the most lightweight paper may be less durable. And for certain types of books, including art books, there’s a preference for heavier paper.
Yet between these extremes, most readers are unlikely to notice the difference.
Nor would most readers notice the design tweaks that allow more text to fit onto each page – as long as designers ensure that the text remains easy to read.
The publisher HarperCollins has experimented with compact typefaces that require less ink and paper. This has resulted in savings of hundreds of millions of pages.
A leader in this field is Sustainable Typesetting, a project of the design and typesetting company 2K/DENMARK. One of the company’s focus areas is complex typesetting for long texts, including Bibles.
Andreas Stobberup, project lead at 2K/DENMARK, says that Sustainable Typesetting can achieve page count reductions of up to 50%, although he recommends less dramatic changes for novels.
While it’s common to simply increase the point size to make text easier to read, Mr Stobberup says that readability is actually determined by x-height. The x-height is the height of most lowercase letters in the Latin alphabet, and makes up nearly all of the printed marks on a page.
The x-height can be increased without enlarging all of the text. For many designers, increasing the x-height is key to increasing legibility…
Reducing point size is not always the optimal way to reduce the physical size of a book, Mr Stobberup emphasises.
Perhaps some lessons can be drawn from large print books, which are aimed at older readers or those with visual impairments.
They feature larger point sizes, which can lead to bigger books.
But other design features of large print books include more blocked letters and, if images are involved, more attention to the contrast between the foreground and the background.
“It’s a totally different typeface,” says Greg Stilson, head of global technology innovation for the American Printing House for the Blind.
Mr Stobberup concedes that incorporating such design in regular books “will not look as aesthetic”.
But he believes that most readers will not care about the typeface used for the bulk of the book. Meanwhile, more artistic fonts could be used on places like book covers.
And the savings might well justify the change – according to Mr Stobberup, a 20% reduction in pages would be equivalent to a roughly 20% reduction in carbon emissions.
However, the saving depends on many factors, including the size of the print run, the type of energy used for printing, the transport distances, and even the ink used.
Then there’s the word count: a textbook or Bible can achieve more drastic reductions in weight than a book of poetry.
Mr Stobberup is keenly aware of the financial pressures affecting the publishing industry.
“We need to make sustainability cheaper,” he says. “We simply need to show that we don’t think it’s a compromise. We think it’s a better product.”
David Miller is the president and publisher of Island Press, a small non-profit publisher of environment-themed nonfiction.
Printing costs have soared in the last few years, he says. The Covid-19 pandemic led to supply chain issues.
Meanwhile, paper manufacturers have been switching over to making cardboard due to the boom in the delivery businesses.
This has driven up the expense of producing books. In some cases Island Press has simply had to absorb the extra costs itself rather than passing them onto consumers, according to Mr Miller.
Initially he wasn’t sure about Sustainable Typesetting. But after seeing that a 19% reduction in pages could lead to at least a 10% cost savings, while readability actually improved, Mr Miller has become a fan.
Sustainable Typesetting has been applied to two Island Press books published so far. And he’s interested in going even further than a 19% trimming.
Mr Miller calls this a technology that is “only starting to poke its nose out behind the door” within different segments of the publishing industry.
“It’s a sort of revolution in thinking about what typography can be and how it can be put to use in a very productive way.”…
Using design to address climate change, one page at a time: “Publishers try skinnier books to save money and emissions,” from @BBC.
* Tom Waits
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As we conserve, we might note that today is the annual celebration of a set of books that are strong candidates for this sort of type redesign: it is Hobbit Day, a reference to its being the birthday of the hobbits Bilbo and Frodo Baggins, two characters in J. R. R. Tolkien‘s popular set of books The Hobbit and The Lord of the Rings. In the books’ lore, Bilbo was born in the year of 2890 and Frodo in the year of 2968 in the Third Age (in Shire-Reckoning). Tolkien Week is the week containing Hobbit Day.
“Type design: an exacting, arcane craft that is underappreciated for its impact on how people communicate and receive communication”*…
Jeremy Nguyen considers the typeface.
Typography is two-dimensional architecture, based on experience and imagination, and guided by rules and readability. And this is the purpose of typography: The arrangement of design elements within a given structure should allow the reader to easily focus on the message, without slowing down the speed of his reading. – Herman Zapf
* Bruce Weber
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As we squint, we might recall that it was on this date in 1945 that farmer Lloyd Olsen of Fruita, Colorado, planning to eat supper with his mother-in-law, tried to behead a five-and-a-half-month-old Wyandotte chicken named Mike. The axe removed the bulk of the head, but missed the jugular vein, leaving one ear and most of the brain stem intact. The chicken was still able to balance on a perch and walk clumsily. He attempted to preen, peck for food, and crow, though with limited success; his “crowing” consisted of a gurgling sound made in his throat. When Mike did not die, Olsen decided to care for the bird.
Mike achieved national fame until his death in March 1947. In Fruita, an annual “Mike the Headless Chicken Day” is held in May.
“All familiar things can open into strange worlds”*…
A thoughtful consideration of a modern master…
In the summer of 1953, after a stint in the army, Jasper Johns, aged 23, moved back to New York City. There, a few months later, he met Robert Rauschenberg. Their artistic and romantic partnership would last until 1961; the company they kept included John Cage and Merce Cunningham. In this heady atmosphere, Johns chose, in autumn 1954, to destroy all his prior work, and to begin the paintings that made his name when they were shown four years later: flags, targets and numbers crafted in encaustic (pigment mixed in hot wax) with collage (often mere newspaper) on canvas…
Johns made an exceptional entrance in early 1958: his first show at the new Leo Castelli Gallery nearly sold out, with three paintings immediately purchased by MoMA, and one piece appearing on the cover of ARTnews. Then 27, he had sized up the New York art world precisely, dominated as it then was by the formalist model of ‘modernist painting’ used by Clement Greenberg to champion Abstract Expressionism, and deftly deflected its discourse towards what Leo Steinberg would term ‘other criteria’.
…
In a studied phrase Johns spoke of his position as one of ‘shunning statement’. This suggests an aversion to polemics, political as well as artistic, that goes beyond temperament, a fatigue with the heated ideologies of the period (the Korean conflict, the McCarthy hearings, the Cold War). And Johns did muffle his subjects along with his gestures; his large White Flag (1955) is literally whited out. Might this intimate a ‘painting degree zero’ in line with the ‘writing degree zero’ posed by Roland Barthes against Sartrean commitment at around this time? ‘I can’t imagine my work being used to accomplish anything socially,’ Johns said. This is less negation than neutrality à la Barthes, for whom ‘the neutral’ was a way to baffle conceptual binaries, to undo ideological oppositions, to mess with ‘the paradigm’…
On the occasion of the Whitney’s (@whitneymuseum) show (through February 13) “Jasper Johns: Mind/Mirror,” Hal Foster‘s “Which red is the real red?,” from @LRB.
* Jasper Johns
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As we look closely, we might spare a thought for Francis Picabia (Francis-Marie Martinez de Picabia); he died on this date in 1953. A French avant-garde painter, poet and typographist, Picabia experimented with Impressionism and Pointillism before becoming a Cubist. He then became one of the early major figures of the Dada movement in the United States and in France, and was later briefly associated with Surrealism.
See his work at the record of a major retrospective hung at the Museum of Modern Art in New York in 2017 on their web site.
“The best-laid plans”*…
… can be turned to unexpected use:
In an eighteenth century book, Johann Steingruber designed a type set made of architectural drawings. Via our buddies at Boing Boing: “An alphabet made of architectural plans, from 1773.”
* paraphrased from Robert Burns’ poem “To a Mouse”: “the best laid plans of mice and men / Often go awry” (or on the Scots, “The best laid schemes o’ mice an’ men / Gang aft a-gley”)
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As we spell it out, we might recall that it was on this date in 1661 that Oliver Cromwell, who had been Lord Protector of the Commonwealth of England, Scotland, and Ireland after leading rebel troops against the Crown in the English Civil War, was exhumed from his crypt in Westminster Abbey, and ritually “executed”; it was the 12th anniversary of the execution of Charles I, whose death warrant Cromwell had signed. Cromwell had died (most likely of blood poisoning following a urinary infection) in 1658. Charles II had returned from exile to become King in a restored monarchy in 1860.
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