Throughout his career, Louis Silverstein transformed the look of The New York Times. He joined the promotion department in 1952, eventually became the paper’s art director and retired from full-time work in 1985 as an assistant managing editor, the first person in the art department to have ascended to such a position.
In 1967, Mr. Silverstein made the first alteration to the typeface used in body text in a quarter century, as reported in a Times Insider article in 2020 and his obituary. In 1976, he redesigned the crowded, eight-column front page, establishing a six-column format. In the mid- to late 1970s, he shaped sections like Weekend and Science Times.
Mr. Silverstein modernized the newspaper “through his use of demonstrative headlines, emphasis on visuals and bold accents,” wrote Steven Heller, a former Times art director, in an email recently. His approach, Mr. Heller wrote, “enabled veteran readers to feel more comfortable with otherwise startling shifts in design.”
After Mr. Silverstein’s death in 2011 at 92, his daughter, Anne Silverstein, offered some of her father’s belongings to the Morgue, The Times’s archival library. Included in her donation were several of her father’s hand-drawn, full-size mock-ups of Times pages.
These drawings were creative experiments that informed innovation.
In one, Mr. Silverstein redesigned the cover of the Business and Finance section from June 13, 1965. He strengthened a sense of hierarchy in part by reorganizing articles in a modular fashion, according to Andrew Sondern, a deputy director of news design at The Times, and he anchored the placement of standing features, like The Week in Finance. By loosening and restructuring the layout, he created an airier page and a more relaxed reading experience.
In a recasting of another Business and Finance page, this one from 1970, Mr. Silverstein stretched the image of a semi truck across the top of the page, emphasizing imagery that directly connected with the text.
These were just some of the design hallmarks that Mr. Silverstein would introduce over the years in The Times’s real pages, Mr. Sondern said. Together, he added, the changes made the pages feel more contemporary and easier to read.
“The reapproaching of the page and the philosophical changes — modular design, readable columns, art that has impact and meaning — are all things you can really see,” Mr. Sondern said.
That airier sensibility was evident in the 1976 redesign, in which Mr. Silverstein reconfigured the front page.
“He was very conscious about keeping the appearance of The New York Times, keeping the style, tone, tenor, if you will, of the paper,” said Anne Silverstein, adding: “This was not about giving them something new. This was improved.”
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