Style
One uncommonly formal feature of the magazine's in-house style is the placement of diaeresis marks in words with repeating vowels—such as reëlected, preëminent and coöperate—in which the two vowel letters indicate separate vowel sounds. The magazine also continues to use a few spellings that are otherwise little used, such as "focusses", "venders", and "teen-ager".
The magazine does not put the titles of plays or books in italics but simply sets them off with quotation marks. When referring to other publications that include locations in their names, it uses italics only for the "non-location" portion of the name, such as the Los Angeles Times or the Chicago Tribune.
Formerly, when a word or phrase in quotation marks came at the end of a phrase or clause that ended with a semicolon, the semicolon would be put before the trailing quotation mark; now, however, the magazine follows the more commonly observed style and puts the semicolon after the second quotation mark.
The magazine also spells out the names of numbers, such as "twenty-five hundred" instead of "2,500", even for very large figures. It also spells out professional sports leagues with periods, e.g., N.B.A.
The New Yorker's signature display typeface, used for its nameplate and headlines and the masthead above The Talk of the Town section, is Irvin, named after its creator, the designer-illustrator Rea Irvin.
The body text of all articles in The New Yorker is set in Adobe Caslon.
Read more about this topic: The New Yorker
Famous quotes containing the word style:
“All my stories are webs of style and none seems at first blush to contain much kinetic matter.... For me “style” is matter.”
—Vladimir Nabokov (1899–1977)
“Switzerland is a small, steep country, much more up and down than sideways, and is all stuck over with large brown hotels built on the cuckoo clock style of architecture.”
—Ernest Hemingway (1899–1961)
“To translate, one must have a style of his own, for otherwise the translation will have no rhythm or nuance, which come from the process of artistically thinking through and molding the sentences; they cannot be reconstituted by piecemeal imitation. The problem of translation is to retreat to a simpler tenor of one’s own style and creatively adjust this to one’s author.”
—Paul Goodman (1911–1972)