_“…_At first glance, it looks much like the last one, but on closer examination you’ll notice, among other things, changes in its appearance. None of them is dramatic; all are riffs on what was there before. But taken together, they make the magazine more visually appealing and, ultimately, more readable. They also attest — better than I can in words — to the understated brilliance of Brian Morgan, our new art director (well, sort of new; he was a senior designer at The Walrus from 2004 to 2006 before moving to Maclean’s). Brian loves type, collecting fonts the way some people collect books. (His personal library contains more than a thousand.) So it was no surprise that type was on his agenda when he returned to the magazine, starting with the logo. He commissioned French typographer Jean François Porchez to redraw its letterforms, making them more elegant, and moving the word “The” to one side, allowing more space for cover lines. Next, he turned to the magazine’s text and display fonts. “Because The Walrus is text heavy,” he says, “I wanted a text font that would be effortless to read — that would almost disappear. I wanted the typographic equivalent of a well-tailored grey suit, a text font that would allow the display fonts to function as sedate or flashy ties, as needed.” He chose a contemporary iteration of Caslon, a typeface designed by William Caslon in the eighteenth century. As for the display fonts — the “sedate or flashy ties” — there will be many, including Bodoni FB, a redrawing of a Victorian classic; and Scotch Modern, updated from Richard Austin’s original by Canadian Nick Shinn.” –John Macfarlane, Editor, The Walrus