field notes/typography.

Zaman follows distinct rules of typography, using a single san-serif font family with a tall x-height for almost all of their headlines. While I could not identify the typeface name with certainty, I found it similar to both the medium form of Clearface Gothic LT Std and the bold form of Antique Olive Std. This font, used for heds, deks, sidebars, and section heads, is skinnier in weight than Folio std or Franklin Gothic, and carries the simplicity of Cronos— but nothing of its feelings of gentleness or comfort, more similar to the newsy impact of DINDeuzeit Gortesk Std. While I think this consistent use of a singular typeface does much to simplify a paper (especially in a country where English papers try to do so much, and end up crowding their visuals), I can easily see readers with less of a love for cleanliness in design determining it as over-use. The font unifies the entire paper, though this may be a potential set-back—light hearted pieces are hard to distinguish from hard news stories by typography alone.

The simplicity of Zaman’s design allows for the instantly decipherable, bold, black headlines to contrast strongly against multiple uses of color in the paper’s deks. In this way, I’ve discovered that one typeface truly goes a long way what correctly treated. With the simple addition of bright color in text throughout the paper, the single typeface is never boring. Colors used in typefaces match correspondingly-colored section fronts and folio, making the paper easy to navigate, as well as improving the overall aesthetic of the paper.

The modern feel of Zaman’s san serif font contrasts nicely with the more traditional, basic, and light serif of the body copy. Yet the impacting feeling of the news headlines still carries the true personality of Zaman’s inside pages. Special features and articles are sometimes headlined in a more Franklin Gothic-y, square x-heighted font than that of most Zaman stories (see “Hurriyete adanmis bir omur” above). Rather than change the headline font from its standard black to a brighter color when a headline is placed inside a dark image, a drop shadow is applied to make the black font stand out. While it may be oversimplified in the eyes of some readers, the overall look of a limited number of typefaces Zaman achieves is one of sleek integrity, with bold and easily legible typography.

Reader perception is surely affected by the organization of Zaman’s typography. In looking at individual stories, the paper has managed to create a barebones hierarchy for their readers, leading them from bold headline to traditional body copy with a large arrow sig. The repetition of the headline-sig-story relationship across every Zaman story becomes predictable, but with the simplicity of the typography, it does not come across as overdone.