Tim Grieve, top editor of Politico Pro, to Nieman Journalism Lab.
He continued: “Anybody who is reading Politico Pro knows what ‘the move comes amid.’ That 300 words of new essential information can be a 300-word story. The traditional approach would be a 1,000-word story, but the second part of that story would be the blah blah blah that everybody already knows…It’s very liberating for reporters, but it’s pretty damn liberating for readers too. No one has time to read stuff they already know. Take your time with the stuff that’s going to grab them by the jacket lapels and say, ‘Whoa, this is new.’”
—Clay Shirky, Newspapers, Paywalls, and Core Users
Slowly catching up on my “to-read” list of articles. (Clay Shirky’s essays are always on that list.)
The original story of Times New Roman’s genesis goes like this: Morison wrote a blistering article in 1929 arguing that Times Old Roman, the font of The Times of London, was dated, clunky, badly printed and in need of help — his help. The paper listened and charged Morison with directing the creation of a new suite of letters. He did, and on Oct. 3, 1943, Times New Roman debuted on the bright white broadsheets of the London daily.
Here’s the problem with this tidy account: Evidence found in 1987 — drawings for letters and corresponding brass plates — suggests that the real father of the font wasn’t a typographer at all, but a wooden boat designer from Boston named William Starling Burgess.