field notes/words.

Looking at Zaman in terms of words is intriguing, as the foreign language is rarely available for online translation, and not available in full English version anywhere accessible. Tone of voice would be impossible to determine without a translator, yet most online editions of the paper are formatted so that text lies within un-selectable layers. Yet the lack of an English edition does not faze the rate of the weekly circulation of Turkey’s leading daily paper. The paper is printed in Turkish, spoken predominately in Turkey, Northern Cyprus, and parts of Eastern Europe. This, in my eyes, impacts the look of the headlines and the overall font selection of the paper. The letterforms of the Turkish language are more visually interesting on their own than the English language, with special characters, accent marks, and tildes demanding a simple, declarative font that allows the headlines to be quickly and easily read, despite the visual complexities of the language. Beyond the actual physical form of individual letters, the headlines created by their combination appear to be mostly summary headlines of harder news elements, with hammers saved for headlining the dramatic, action-filled images Zaman often reproduces on their A1.

On its inside pages (see below), treatment of the headlines is the exactly the same as on the A1, making each story feel like part of a whole, and encouraging the reader to continue through the content of the paper. (I find the word use of the New York Times does the same thing in English—the simplicity, familiarity, and flow of a consistent design throughout always guides me through a complete issue).

A notable aspect to Zaman’s design lies in its distinct lack of pull quotes. In staying consistent with the simplicity of the words, the paper uses at least half-column blanks or grey areas between stories to allow for the impact of white space. In these columns lie some of the inside pages’ photo captions—an interesting design choice to consider. Printing the captions off to the side (as in the top stories on page eight and nine show) allows for the photography to be seen undisturbed before the reader views the associated caption, implying the importance of large-scale photos. Yet at the same time, Zaman is dedicating a large amount of space throughout the paper to maintaining the grey and white columns of space.

^Typical teasers for Zaman, with visuals drawing reader’s eye from the words of the promos to the headlines.

Zaman’s section names are very straightforward, insofar as I can interpret confidently (ekonomi, dunya, aktuel, britanya, spor). The same cannot be said for the paper’s promos and refers, located on every A1‘s top, and on some A1 bottoms as well as section fronts. Promos containing news elements appear more conversational, explanatory, and lengthier than typical headlines, while those containing credit lines of often-featured popular columnists are formatted around the headshot of the author.

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