'Like a lot of people in the creative industries, I have a soft spot for the Guardian and its understanding and embracing of design culture, so I'm excited to see where this new direction takes the paper.' 'I, like a lot of the Guardian's readership, usually access the paper’s content through the app or a browser, so the change in physical printed format ultimately shouldn’t directly impact me, unless the paper’s journalism evolves to match its new tabloid format – which thankfully seems unlikely! However he's not concerned that this is a sign of a decline in originality. Responding to the redesign's teaser video (above), Davey was amused to spot its similarity to Droga5's ad for the Pixel phone from a couple of years ago. It entirely makes sense to ditch the more expensive format, when the majority of its readership accesses the paper online Jack Davey, Studio Bolt 'The old look and feel – built around the Guardian Egyptian typeface, really sings with the bold punchy colours used across the Guardian’s supplements, and colour really helps drive navigation on the site – so I can’t imagine it will be going too monotone.'

'I’ll be fascinated to see how the new look, particularly the new typeface (and an apparent restrictive use of colour) roll out across the Guardian’s other publications and formats,' Davey adds. 'It entirely makes sense to ditch the more expensive (though admittedly a bit special) format, when the majority of its readership accesses the paper online,' he says.

So how has the redesign been received by designers? Jack Davey, creative director at Studio Bolt, thinks that the change of paper format is a reflection of the times we live in. Earlier this year the paper even featured in the works of Turner Prize 2017 winner Lubaina Himid. With The Guardian's focus on arts and culture, it's no surprise that it's a favourite with creatives. The Guardian's new website as it looks today

Guardian egyptian headline font design