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Times New Roman

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Template:Short description Template:Use dmy dates Template:Infobox font Times New Roman is a serif typeface commissioned for use by the British newspaper The Times in 1931. It has become one of the most popular typefaces of all time and is installed on most personal computers. The typeface was conceived by Stanley Morison, the artistic adviser to the British branch of the printing equipment company Monotype, in collaboration with Victor Lardent, a lettering artist in The Times's advertising department.

Asked to advise on a redesign, Morison recommended that The Times change their body text typeface from a spindly nineteenth-century face to a more robust, solid design, returning to traditions of printing from the eighteenth century and before. This matched a common trend in printing tastes of the period. Morison proposed an older Monotype typeface named Plantin as a basis for the design, and Times New Roman mostly matches Plantin's dimensions. The main change was that the contrast between strokes was enhanced to give a crisper image. The new design made its debut in The Times on 3 October 1932. After one year, the design was released for commercial sale. In Times New Roman's name, Roman is a reference to the regular or roman style (sometimes also called Antiqua), the first part of the Times New Roman typeface family to be designed. Roman type has roots in Italian printing of the late 15th and early 16th centuries, but Times New Roman's design has no connection to Rome or to the Romans.

The Times stayed with the original Times New Roman for 40 years. The paper subsequently has switched typefaces five times between 1972 and 2007 to different variants of the original due to new production techniques and a format change from broadsheet to tabloid in 2004.

DesignEdit

File:Times New Roman and predecessor.jpg
Times New Roman compared to its predecessor "modern" serif font. Times appears larger on the page, with tighter linespacing and more solid in appearance.<ref name="Printing the Times 1932">Template:Cite book</ref>

Times New Roman has a robust colour on the page and influences of European early modern and Baroque printing.<ref name="Monotype Recorder: The Changing Newspaper">Template:Cite journal</ref>Template:Efn As a typeface designed for newspaper printing, Times New Roman has a high x-height, short descenders to allow tight linespacing and a relatively condensed appearance.Template:SfnTemplate:Efn (Although Hutt,Template:Sfn and most other authors, describe Times New Roman as having a higher x-height than Plantin, Tracy reports based on published Monotype dimensions that in the original small metal-type sizes the difference was not great.Template:Sfn)

File:Times ancestors.png
A digitisation of Times New Roman below the three typefaces originally considered as a basis for the Times project: Perpetua, Baskerville and Plantin. Times is most based on Plantin, but with the letters made taller and its appearance "modernised" by adding eighteenth- and nineteenth-century influences, in particular enhancing the stroke contrast. Compared to Baskerville and Perpetua, the x-height is a larger proportion of the type height.

The roman style of Plantin was loosely based on a metal type created in the late sixteenth century by the French artisan Robert Granjon and preserved in the collection of the Plantin-Moretus Museum of Antwerp.<ref name="Where Did Times New Roman Come From?">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Vervliet2008">Template:Cite book</ref><ref name="Tally of Types">Template:Cite book</ref><ref name="Mosley Gros Cicero">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> This style is sometimes categorised as part of the "old-style" of serif fonts (from before the eighteenth century).<ref name="Typographic milestones">Template:Cite book</ref><ref name="ABC's of type">Template:Cite book</ref><ref name="Leipzig as a Centre of Type-Founding">Template:Cite book</ref>Template:Efn (The 'a' of Plantin was not based on Granjon's work: the Plantin-Moretus Museum's type had a substitute 'a' cut later.<ref name="Matthew Carter">Template:Cite book</ref>) Indeed, the working title of Times New Roman was "Times Old Style".Template:Sfn However, Times New Roman modifies the Granjon influence further than Plantin due to features such as its 'a' and 'e', with very large counters and apertures, its ball terminal detailing, a straight-sided 'M' and an increased level of contrast between thick and thin strokes, so it has often been compared to fonts from the late eighteenth century, the so-called 'transitional' genre, in particular the Baskerville typeface of the 1750s.<ref name="Busic-Snyder">Template:Cite book</ref><ref name="Fonts & Encodings">Template:Cite book</ref> Historian and sometime Monotype executive Allan Haley commented that compared to Plantin "serifs had been sharpened...contrast was increased and character curves were refined," while Lawson described Times's higher-contrast crispness as having "a sparkle [Plantin] never achieved".<ref name="Haley1992">Template:Cite book</ref><ref name="Anatomy of a Typeface" />

Italic and boldEdit

File:Times ancestors italic.png
Times compared with its influences in italic. The italic was made simpler than Plantin's, losing flourishes on the 'w' and 'v', but less radically than that of Perpetua.

Morison described the companion italic as also being influenced by the typefaces created by the Didot family in the late 18th and early 19th centuries: a "rationalistic italic that owed nothing to the tradition of the sixteenth or seventeenth centuries. It has, indeed, more in common with the eighteenth century."<ref name="Changing the Times">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Stanley Morison: A Portrait">Template:Cite book</ref><ref name="Mosley times italic">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Morison had several years earlier attracted attention for promoting the radical idea that italics in book printing were too disruptive to the flow of text, and should be phased out.<ref name="wardle5">Template:Cite book</ref><ref name="Fine Print">Template:Cite journal</ref> He rapidly came to concede that the idea was impractical, and later wryly commented to historian Harry Carter that 'Times italic' "owes more to Didot than dogma."<ref name="Tally of Types" /> Morison wrote in a personal letter of Times New Roman's mixed heritage that it "has the merit of not looking as if it had been designed by somebody in particular."<ref name="Loxley2006_MorisononGoudy">Template:Cite book</ref><ref name="Alas 2009" />Template:Efn

File:Times and bold.png
Times New Roman compared to its bold. The bold weight has a different style, more "nineteenth-century" in appearance, with flat serifs on the tops of letters and a more vertical axis visible on the 'o'.Template:Efn

Rather than creating a companion boldface with letterforms similar to the roman style, Times New Roman's bold has a different character, with a more condensed and more upright effect caused by making the horizontal parts of curves consistently the thinnest lines of each letter, and making the top serifs of letters like 'd' purely horizontal.<ref name="By printers, for printers">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> This effect is not found in sixteenth-century typefaces (which, in any case, did not have bold versions); it is most associated with the Didone, or "modern" type of the early nineteenth century (and with the more recent 'Ionic' styles of type influenced by it that were offered by Linotype, discussed below).<ref name="Anatomy of a Typeface">Template:Cite book</ref>Template:Sfn<ref name="Dutch type 94">Template:Cite book</ref><ref name="Three chapters in the development of Clarendon/Ionic typefaces">Template:Cite journal</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Some commentators have found 'Times bold' unsatisfactory and too condensed, such as Walter Tracy.Template:Sfn

Historical backgroundEdit

File:Linotype Textype sample Legibility Group typeface.jpg
Linotype's Legibility Group typefaces were becoming popular for newspaper printing around the time Times New Roman was created

During the nineteenth century, the standard roman types for general-purpose printing were "Modern" or Didone designs,Template:Efn and these were standard in all newspaper printing.Template:Sfn<ref name="Unger 1981">Template:Cite journal</ref> Designs in the nineteenth-century style remain a common part of the aesthetic of newspaper printing; for example in 2017 digital typeface designer Tobias Frere-Jones wrote that he kept his Exchange family, designed for the Wall Street Journal, based on the nineteenth-century model as it "had to feel like the news."<ref name="Frere-Jones Exchange">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> According to Mosley and Williamson the modern-face used by The Times was Monotype's Series 7 or "Modern Extended", based on typefaces by Miller and Richard.Template:Sfn<ref name=Mosley>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

File:Times prior newspaper faces.png
Times compared to a modern-face and the wide, monoline Excelsior, part of Linotype's Legibility Group.

By the 1920s, some in the publishing industry felt that the modern-face model was too spindly and high-contrast for optimal legibility at the small sizes and punishing printing techniques of newspaper printing.Template:SfnTemplate:Efn In 1925, the Mergenthaler Linotype Company, Monotype's main competitor, launched a new newspaper typeface called Ionic, which became the first in a series known as the Legibility Group.Template:Sfn<ref name="Three chapters in the development of Clarendon/Ionic typefaces" /> These kept to the nineteenth-century model but greatly reduced the contrast of the letterform.<ref name="Gaultney Balancing" /> The thinnest strokes of the letter were made thicker and strokes were kept as far apart as possible to maximise legibility. It proved extremely successful: Allen Hutt, Monotype's newspaper printing consultant in the late 1930s,<ref name="Allen Hutt Pimlott">Template:Cite journal</ref> later noted that it "revolutionised newspaper text setting...within eighteen months it was adopted by 3,000 papers."Template:Sfn Although Times New Roman does not in any way resemble it, Walter Tracy, a prominent type designer who worked on a redesign of Times in the 1970s and wrote an analysis of its design in his book Letters of Credit (1986), commented that its arrival must at least have influenced the decision to consider a redesign.Template:Sfn

The development of Times New Roman was relatively involved due to the lack of a specific pre-existing model – or perhaps a surfeit of possible choices. Morison wrote in a memo that he hoped for a design that would have relatively sharp serifs, matching the general design of the Times' previous font, but on a darker and more traditional basic structure. Bulked-up versions of Monotype's pre-existing but rather dainty Baskerville and Perpetua typefaces were considered for a basis, and the Legibility Group designs were also examined. (Perpetua, which Monotype had recently commissioned from sculptor Eric Gill at Morison's urging, is considered a 'transitional' design in aesthetic, although it does not revive any specific model.) Walter Tracy, who knew Lardent, suggested in the 1980s that "Morison did not begin with a clear vision of the ultimate type, but felt his way along."Template:Sfn

File:Ludlow Times New Roman Type Specimen (14204771208).jpg
CitationClass=web }}</ref> The hollows at the top of upstrokes are also not seen in the standard digitisations.

Morison's biographer Nicolas Barker has written that Morison's memos of the time wavered over a variety of options before it was ultimately concluded that Plantin formed the best basis for a condensed font that could nonetheless be made to fill out the full size of the letter space as far as possible.Template:Sfn (Morison ultimately conceded that Perpetua, which had been his pet project, was 'too basically circular' to be practical to condense in an attractive way.Template:Efn)

Walter Tracy and James Moran, who discussed the design's creation with Lardent in the 1960s, found that Lardent himself had little memory of exactly what material Morison gave him as a specimen to use to design the typeface, but he told Moran that he remembered working on the design from archive photographs of vintage type; he thought this was a book printed by Christophe Plantin, the sixteenth-century printer whose printing office the Plantin-Moretus Museum preserves and is named for.Template:Sfn Moran and Tracy suggested that this actually might have been the same specimen of type from the Plantin-Moretus Museum that Plantin had been based on,Template:Sfn and Barker notes that this is likely to be correct, as although Plantin is based on a Granjon type in the collection of the museum, that specific type was only acquired by Plantin's heirs after his death,<ref name="Vervliet2008" /> and Times and Plantin both copy an 'a' not added to the type after Plantin's death.<ref name="Starling Burgess: No Type Designer" /> The sharpened serifs somewhat recall Perpetua, although Morison's stated reason for them was to provide continuity with the previous Didone design and the crispness associated with the Times' printing; he also cited as a reason that sharper serifs looked better after stereotyping or printed on a rotary press.Template:Sfn Although Morison may not have literally drawn the design, his influence on its concept was sufficient that he felt he could call it "my one effort at designing a font" in a letter to Daniel Berkeley Updike, a prominent American printing historian with whom he corresponded frequently.Template:Efn Morison's several accounts of his reasoning in designing the concept of Times New Roman were somewhat contradictory and historians of printing have suggested that in practice they were mostly composed to rationalise his pre-existing aesthetic preferences: after Morison's death Allen Hutt went so far as to describe his unsigned 1936 article on the topic<ref name="Monotype Recorder: The Changing Newspaper" /> as "rather odd...it can only be regarded as a piece of Morisonian mystification".Template:Sfn

Lardent's original drawings are according to Rhatigan lost, but photographs exist of his drawings. Rhatigan comments that Lardent's originals show "the spirit of the final type, but not the details."<ref name="Time and Times again">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The design was adapted from Lardent's large drawings by the Monotype drawing office team in Salfords, Surrey, which worked out spacing and simplified some fine details.Template:Sfn<ref>Template:Cite journal</ref><ref>Archived at GhostarchiveTemplate:Cbignore and the Wayback MachineTemplate:Cbignore: {{#invoke:citation/CS1|citation |CitationClass=web }}Template:Cbignore</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Archived at GhostarchiveTemplate:Cbignore and the Wayback MachineTemplate:Cbignore: {{#invoke:citation/CS1|citation |CitationClass=web }}Template:Cbignore</ref> Further changes were made after manufacturing began (the latter a difficult practice, since new punches and matrices had to be machined after each design change).Template:Sfn

Morison continued to develop a close connection with the Times that would last throughout his life. Morison edited the History of the Times from 1935 to 1952, and in the post-war period, at a time when Monotype effectively stopped developing new typefaces due to pressures of austerity, took a post as editor of the Times Literary Supplement which he held from 1945 to 1948.<ref name="oxdnb">Template:Cite book</ref> Times New Roman remained Morison's only type design; he designed a type to be issued by the Bauer Type Foundry of Frankfurt but the project was abandoned due to the war. Morison told his friend Ellic Howe that the test type sent to him just before the war was sent to the government to be "analysed in order that we should know whether the Hun is hard up for lead or antimony or tin."Template:Sfn Brooke Crutchley, Printer to Cambridge University,<ref>{{#invoke:citation/CS1|citation |CitationClass=web

}}</ref> recorded in his diary a more informal discussion of the design's origins from a conversation in August 1948:

SM thought that Dreyfus might in time be able to design a mathematical font but he would first have to get out of his system a lot of personal ideas and searching for effects. He, Morison, had to do all this before he could design the Times font. Will Carter came in to consult M about a new type for the Radio Times, on which he had been invited to experiment. M said that the answer was really Times and that if he worked out the problem from the bottom that was the sort of answer he would get...Will has been experimenting with Plantin, but it doesn't come out well when printed from plates on rotaries, perhaps a face based on Plantin would do the trick. M said that was just how he got to Times.Template:Sfn

Metal type versionsEdit

A large number of variants of Times were cut during the metal type period, in particular headline weights and families of titling capitals for headlines.Template:SfnTemplate:Sfn Walter Tracy in Letters of Credit, Allen Hutt and others have discussed these extensively in their works on the family.Template:SfnTemplate:SfnTemplate:Sfn (Morison felt in 1953 that the most important part of The Times's redesign that introduced Times New Roman was not the body text at all, but introducing headline fonts that matched the text type.Template:Sfn)

TitlingEdit

Monotype created some caps-only titling designs to match Times New Roman itself.<ref name="The Times: New roman and related founts." /> These are not sold by Monotype in digital format, although Linotype's Times Eighteen in the same style (see below) is.<ref name="Linotype Times Eighteen" />

Times Hever TitlingEdit

File:Times Hever Titling.jpg
Times Hever Titling from a Monotype specimen.

An elegant titling caps design, quite different from Times New Roman with a Caslon-style A (with a serif at top left of the letter, suggesting a stroke written with a quill) and old-style C and W; Tracy suggests Monotype's previous Poliphilus design as an influence.Template:Sfn Named after Hever Castle, the home of the Times' owner Lord Astor and designed early on, it was used by the Times for headings in the lighter sections such as society pages, arts and fashion.Template:Sfn<ref name="Comments on Typophile thread Savoie Hudson">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It has not been digitised.

Times Wide (1938, series 427)Edit

A variant intended for book printing, avoiding the slight condensation of the original Times New Roman.<ref name="Monotype Recorder first showing">Template:Cite journal</ref> Although it was popular in the metal type period for book printing, it was apparently never digitised. Monotype also created a version, series 627, with long descenders more appropriate to classic book typography.Template:Sfn Optional text figures were also available.<ref name="Effra composition matrices">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Series 727 and 827Edit

Monotype also produced Series 727, in which the heavier strokes of upper-case letters were made slightly thinner.<ref name="Monotype Recorder issue 3 1956" /> This was done to produce a lighter effect in which capital letters do not stand out so much, and was particularly intended for German use, since in the German language capitals are far more common since they appear at the start of each noun.<ref name="Monotype Recorder issue 3 1956" /> Series 827 modified some letters (notably the R) to correspond to their appearance in other typefaces popular in French printing. This production of what are now called stylistic alternates to suit national tastes was common at the time, and many alternates were also offered for Gill Sans for use in Europe.<ref name="Monotype Recorder issue 3 1956">Template:Cite journal</ref>

Claritas (1951)Edit

A modified 4Template:Frac point size of Times Roman was produced by Monotype for use in printing matter requiring a very small size of type.Template:Sfn Listed as Times Newspaper Smalls, available as either Series 333 or 335, it was also referred to by the name Claritas.<ref name="Changing the Times" />

Times 4-line Mathematics Series 569Edit

This is a variant designed for printing mathematical formulae, using the 4‑line system for mathematics developed by Monotype in 1957.<ref name="The Monotype 4-Line System for Setting Mathematics">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Three typefaces for mathematics">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> This modified version of Times Roman was designed for use as part of Monotype's 4-line Mathematics system. The major changes to the Times Roman typeface itself were a reduction in the slope of italic characters to 12 degrees from 16 degrees, so as to reduce the need for kerning, and a change in the form of italic 'v' and 'w' so that italic 'v' could be more easily distinguished from a Greek nu.<ref name="The Monotype 4-Line System for Setting Mathematics"/>

The 4-line system involved casting characters for 10-point Times Roman on 6-point bodies. The top of the character would overhang the slug, forming a kern which was less fragile than the normal kerns of foundry type, as it was on a slab of cast metal. This technique had been in previous use on Monotype machines, usually involving double-height matrices, to allow the automatic setting of "advertising figures" (numbers that occupy two or more lines, usually to clearly indicate a price in an advertisement set in small type). This meant that the same matrix could be used for both superscript and subscript numbers. More importantly, it allowed a variable or other item to have both a superscript and a subscript at the same time, one above the other, without inordinate difficulty.<ref name="The Monotype 4-Line System for Setting Mathematics"/>

Previously, while the Monotype system, due to its flexibility, was widely used for setting mathematical formulas, Monotype's Modern Series 7 was usually used for this purpose.Template:Sfn<ref name="Printing of Mathematics">Template:Cite book</ref> Because of the popularity of Times Roman at the time, Monotype chose to design a variant of Times Roman suited to mathematical composition, and recut many additional characters needed for mathematics, including special symbols as well as Greek and Fraktur alphabets, to accompany the system instead of designing it around the typeface that was being used, for which characters were already available.<ref name="The Monotype 4-Line System for Setting Mathematics" /> Matrices for some 700 characters were available as part of Times Roman Series 569 when it was released in 1958, with new characters constantly being added for over a decade afterwards (thus, in 1971, 8,000 characters were included, and new ones were being added at a rate of about 5 per week).<ref name="The Monotype 4-Line System for Setting Mathematics" />

OthersEdit

The Times also used a sans-serif wood type for printing newbills which had no connection to Times New Roman. It was similar to Kabel Bold Condensed.<ref name="Righyni">Template:Cite journal</ref>

Besides Monotype versions, Times New Roman was also available in metal type from Linotype, discussed below, and Intertype.Template:Sfn<ref>Template:Cite book</ref>Template:Efn

UsageEdit

File:Colliers Times New Roman letter perfect.jpg
A 1943 brochure used by Crowell-Collier, one of the first major American users of Times New Roman, to promote the changeover.<ref name="Happiness is Times New Roman" />

Times New Roman's popularity rapidly expanded beyond its original niche, becoming popular in book printing and general publishing. Monotype promoted the typeface in their trade magazine, The Monotype Recorder, and took advantage of this popularity by cutting a widened version, Series 427, for book publishing, although many books ultimately used the original version.Template:Sfn The first known book published in Times New Roman (the original 327 Monotype series) was Minnow Among Tritons, published by the Nonesuch Press and printed by R&R Clark in 1934.Template:Sfn Template:Anchor(Because the cover of the Monotype Recorder compared the new "Times New Roman" with a sample of the previous type labelled as "Times Old Roman", some writers have assumed that the Times' previous typeface was actually called this, which it was not.<ref name="It was never called Times Old Roman">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Mosley" />)

An early user of Times New Roman outside its origin was by Daniel Berkeley Updike, an influential historian of printing with whom Morison carried an extensive correspondence. Impressed by the design, he used it to set his book Some Aspects of Printing, Old and New.<ref name="Blackwell2004">Template:Cite book</ref><ref name="D.B. Updike Set Standard of Great Craftsmanship">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Lawson Morison Obituary">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It then was chosen by the Crowell-Collier magazines Woman's Home Companion and then its sister publications such as Collier's.Template:Sfn<ref name="Lawson1990">Template:Cite book</ref><ref name="Crowell-Collier adopts a Type Developed by London Times">Template:Cite journal</ref> A brochure was published to mark the change along with a letter from Morison hoping that the redesign would be a success.<ref name="Happiness is Times New Roman">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Ultimately it became Monotype's best-selling metal type of all time.<ref name=Badaracco>Template:Cite journal</ref><ref>Template:Cite tweet</ref>

Walter Tracy, who worked on a redesign, however noted that the design's compression and fine detail extending to the edge of the matrices was not ideal in the aggressive conditions of most newspaper printing, in which the Times was unusual for its particularly high standard of printing suiting its luxury market. Users found that in the hot metal period it was common for the molten metal to rapidly eat through the matrices as type was being cast, and so it did not become popular among other newspapers: "Times Roman achieved its popularity chiefly in general printing, not in newspaper work."Template:Sfn He described it as particularly used in "book work, especially non-fiction" such as the Encyclopaedia Britannica.Template:SfnTemplate:Efn Hutt also commented that Times New Roman's relative condensation was less useful than might be expected for newspaper printing, since in a normal newspaper column frequent paragraph breaks tend to provide area that can absorb the space of wider letters without increasing the number of lines used–but The Times, whose house style in the 1930s was to minimise the number of paragraph breaks, was an exception to this.Template:SfnTemplate:Sfn

A number of early reviews of Times New Roman were published in Morison's lifetime that discussed aspects of its design.Template:Sfn Most were appreciative (Morison was an influential figure in publishing) but several noted that it did not follow conventional expectations of newspaper typeface design.Template:Sfn<ref name="Hutchings 1963">Template:Cite book</ref> One article that discussed its design was Optical Scale in Typefounding, written by Harry Carter and published in 1937, which discussed the differences between small and large-size typeface designs. He commented "The small sizes of Plantin embody what are supposed to be the requirements of a good small type [but] Times Roman, which most people find the easiest to read of small text-types, runs counter to some of them...[Morison] avoided blunt serifs and thickened hairlines because he found they wore down more noticeably than sharper-cut features."<ref name="Carter optical" />

Times New Roman remains popular in publishing, helped by the extremely large range of characters available for international and mathematics printing.Template:Sfn<ref name="Es gilt das gesprochene Wort">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> For example, the American Psychological Association suggests using Times New Roman in papers written in its APA style.<ref name="APA Style Blog">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Perea Psicothema">Template:Cite journal</ref>

The U.S. Department of State used Times New Roman as the standard font in its official documents from 2004 to 2023, before switching to Calibri.<ref>Template:Cite news</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

The Australian Government logo used Times New Roman Bold as a wordmark for departments and agencies are required to use common branding on their websites and print publications.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Linotype design (Times Roman)Edit

File:Times Roman.png
A specimen of the font Times Roman, Linotype's version of Times New Roman
File:Many accented a (8277806822).jpg
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File:Times Roman vs Times New Roman.png
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Monotype originally created Times New Roman for its typesetting machines, but its rival Linotype rapidly began to offer its version of the typeface with subtle differences. A key reason is that many newspapers, including The Times, also used Linotype equipment for production. Linotype referred to its design as Times or Times Roman. Monotype and Linotype have since merged, but the lineage of Times has been split into two subtly different designs since its earliest days.

Although Times New Roman and Times are very similar, various differences developed between the versions marketed by Linotype and Monotype when the master fonts were transferred from metal to photo and digital media. For example, Linotype has slanted serifs on the capital S, while Monotype's are vertical, and Linotype has an extra serif on the number 5.<ref name="Strizver TypeTalk">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Most of these differences are invisible in body text at normal reading distances, or 10pts at 300 dpi. Subtle competition grew between the two foundries, as the proportions and details as well as the width metrics for their version of Times grew apart.<ref name="times-development" /> Differences between the two versions do occur in the lowercase z in the italic weight (Times Linotype has a curl also followed in the STIX revival, Times New Roman is straight),Template:Sfn and in the percent sign in all weights (Linotype and STIX have a stroke connecting up the left-hand zero with a slash, Times New Roman does not). Monotype's 'J' is non-descending, but Linotype's in the bold weight descends below the baseline. Linotype's metal version of Times had a shrunken 'f' due to a technical limitation of the Linotype system—it could not cast a kerning 'f', one that extended into the space of surrounding letters.<ref name="Felici Ligatures" /> This restriction was removed in the digital version.<ref name="Felici Ligatures">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Linotype licensed its version to Xerox and then Adobe and Apple, guaranteeing its importance in digital printing by making it one of the core fonts of the PostScript page description language.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Hitchcock 30 years">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Microsoft's version of Times New Roman is licensed from Monotype, hence the original name. For compatibility, Monotype had to subtly redraw their design to match the widths from the Adobe/Linotype version.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Versions of Times New Roman from Monotype (discussed below) exist which vary from the PostScript metrics. Linotype applied for registration of the trademark name Times Roman and received registration status in 1945.<ref name="times-development">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Modern releasesEdit

Monotype variantsEdit

Monotype has released at least eight digital typefaces under the name Times New Roman.<ref name="MyFonts">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Times New RomanEdit

Since Windows 3.1, all versions of Microsoft Windows include Times New Roman.<ref name="Times New Roman font family">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Version 6.87 of this typeface is available for purchase under the name Times New Roman OS (see below).<ref name="Times New Roman OS">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The current 7.03 version of Windows' Times New Roman includes small capitals, text figures, and italic swash capitals.<ref name="TNR 6.96">Template:Cite AV media</ref><ref name="FIU New Roman Times Swash capital comment">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It omits automatic ligature insertion, but enabling the "discretionary ligatures" feature will provide ligatures for "fi" and "Th". More complex Unicode ligatures like "ffi" and "ft" are also available.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> A previous version of Times New Roman was also distributed as part of Microsoft's Core Fonts for the Web package.<ref name="apple-techspot">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

When the system font Times New Roman was expanded to support Arabic script, it was complemented with the Arabic character set from Simplified Arabic, a typeface that Compugraphic Corporation had plagiarized from Linotype and leased to Microsoft.<ref name="Nemeth">Template:Cite book</ref> Times New Roman with support for Arabic was first published in the Arabic version of Windows 3.1x.<ref name="Nemeth" />

Times New Roman OSEdit

Also known as Times New Roman World, this is originally based on the version of Times New Roman bundled with Windows Vista.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It includes fonts in WGL character sets, Hebrew and Arabic characters. Similar to Helvetica World, Arabic in italic fonts are in roman positions.Template:Clarify

OthersEdit

Monotype further sells a wider range of styles and optical sizes in order to meet the needs of newspapers and books which print at a range of text sizes.<ref name="Changing the Times" />

  • Times New Roman Pro and Times New Roman Std are the basic releases, which include Regular, Medium, Semi Bold, and Bold weights with matching italics, along with Extra Bold and Condensed (in regular, italic and bold).<ref name="Times New Roman">{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref> Times New Roman Pro and Std provide standard ligature for "fi".

  • Times New Roman Seven is for smaller text and includes Regular and Bold with their italics.<ref name="Times New Roman Seven">{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref>

  • Times New Roman Small Text includes Regular, Italic, and Bold.<ref name="Times New Roman Small Text">{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref>

Linotype variantsEdit

Template:Redirect

TimesEdit

File:Times vs Times New Roman.png
The Windows version of Times New Roman does not automatically provide ligatures, but provides "fi" and "Th" when discretionary ligatures are enabled. Times provides "fi" as standard ligature, but not "Th".

This is the digitalisation of Linotype's Times (see above). It is pre-installed on macOS but not on iOS,<ref name="System Fonts">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and is also widely available for purchase. Times provides standard ligature for "fi", but it does not provide any ligature for "Th".

OthersEdit

Like Monotype, Linotype released additional versions of Times for different text sizes. These include:

  • Times Ten is a version specially designed for smaller text (12-point and below). It features wider characters and stronger hairlines.<ref name="Linotype Times Ten">{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In 2004 prominent typeface designer Erik Spiekermann said that he believed that it was the best Times New Roman digitisation then available.<ref name="State Department bans Courier New 12, except for treaties">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

  • Times Eighteen, a headline version for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. The current version has no italics, but does have a lower case (whereas some Times titling fonts were capitals only).<ref name="Linotype Times Eighteen">{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref>

  • Times Europa Office, a 2006 adaptation of The Times's 1972 design Times Europa (see below). This is a complete family of designs intended for use on poor-quality paper. The updating, created by Akira Kobayashi, contains tabular numbers, mathematical signs, and currency symbols. Each character has the same advance width in all the fonts in the family so that changing from regular to bold or italic does not affect word wrap.<ref name="Europa Office">{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref>

Later typefaces used by The TimesEdit

File:Balfour Declaration in the Times 9 November 1917.jpg
The Times' previous typeface from an article describing the Balfour Declaration in 1917

The Times newspaper has commissioned various successors to Times New Roman:

  • Times Europa was designed by Walter Tracy in 1972 for The Times, as a sturdier alternative to the Times font family, designed for the demands of faster printing presses and cheaper paper.<ref name="Hutt Tracy 1973">Template:Cite journal</ref> It has been released commercially by Adobe, among others, recently in an updating by Linotype as Times Europa Office (discussed above).<ref name="Adobe Times Europa">{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref><ref name="Europa Office" />

  • Times Roman replaced Times Europa on 30 August 1982.<ref name="Driver 2006" />
  • Times Millennium was made in 1991, drawn by Gunnlaugur Briem on the instructions of Aurobind Patel, composing manager of News International.<ref name="Driver 2006" /><ref name=Briem>{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref>

  • Times Classic first appeared in 2001.<ref name="Hall Typography of News">{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref><ref>Template:Cite news</ref><ref name="New Cuts at The Times">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Berry Typographic Texture of the News">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Berry News on Paper">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Design Week Housestyle">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Designed as an economical face by Dave Farey and Richard Dawson,<ref>Template:Cite journal</ref> it took advantage of the new PC-based publishing system at the newspaper; the new typeface included 120 letters per font.<ref name="Driver 2006">Template:Cite news</ref><ref name="Farey part 1">Template:Cite journal</ref><ref name="Farey part 2">Template:Cite journal</ref>

  • Times Modern was unveiled on 20 November 2006, as the successor of Times Classic.<ref name="Driver 2006" /> Designed for improving legibility in smaller font sizes, it uses 45-degree angled bracket serifs. It was designed by Research Studios, led by designer Neville Brody with input from Ben Preston, deputy editor of The Times.<ref>{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref><ref name="Luke Prowse interview">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> (Other designs have been released called Times Modern; see below.) During the Times New Roman period The Times also sometimes used Perpetua Titling.<ref name="Tally of Types" /><ref name="The Times: New roman and related founts.">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

William Starling BurgessEdit

In 1994 the printing historian Mike Parker published claims that the design of Times New Roman's roman or regular style was based on a 1904 design of William Starling Burgess.<ref name="Burgess"> Template:Cite journal </ref> This theory remains controversial.<ref name="Alas 2009"> Template:Cite news</ref> Parker and his friend Gerald Giampa, a Canadian printer who had bought up the defunct American branch of Lanston Monotype, claimed that, in 1904, Burgess created a type design for company documents at his shipyard in Marblehead, Massachusetts, and hired Lanston Monotype to issue it.<ref name="Burgess" /> However, Burgess abandoned the idea and Monotype shelved the sketches, ultimately reusing them as a basis for Times New Roman. Giampa claimed that he stumbled upon original material in 1987, after he had purchased Lanston Monotype, and that some of the papers that had been his evidence had been lost in a flood at his house, while Parker claimed that an additional source was material in a section of the Smithsonian now closed due to asbestos contamination.<ref name="Burgess" /><ref name="Stanley Morison and Times New Roman" /> Giampa asked Parker to complete the type from the limited number of surviving letters, which was issued in June 2009 by Font Bureau under the name of 'Starling'.<ref name="Alas 2009" /><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Reception to the claims was sceptical, with dismissal from Morison's biographer Nicolas Barker and Luc Devroye among others; Barker suggested that the material had been fabricated in order to aid Giampa in embarrassing Monotype's British branch, while Devroye and Thomas Phinney of FontLab suggested that the claim had begun as a prank.<ref name="Stanley Morison and Times New Roman">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Starling Burgess: No Type Designer">Template:Cite book</ref><ref name="Devroye on Burgess">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Hudson Phinney TypeDrawers" /> In 2010, Mark Owens<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> described Parker's article in retrospect as "the scantest of evidence" and a "fog of irrelevant details"<ref name="A Note on the Type">Template:Cite book</ref> and Simon Loxley that it "doesn't really have a leg to stand on".<ref name="Loxley Ultrabold 2009 editorial">Template:Cite journal</ref>Template:Efn Monotype executive Dan Rhatigan described the theory as implausible in 2011: "I'll admit that I tend to side with the more fully documented (both in general, and in agreement with what little I can find within Monotype to support it) notion that Times New Roman was based on Plantin...I won't rule out the possibility that Starling Burgess drew up the concept first, but Occam's razor makes me doubt it."<ref name="It was never called Times Old Roman" />

The Times Online web site credits the design to "Stanley Morrison, Victor Lardent and perhaps Starling Burgess".<ref> Template:Cite news</ref>

Designs inspired by Times New RomanEdit

File:Times Modern (7128712341).jpg
Times Modern Swash, an exaggerated and unauthorised display adaptation of Times from the phototypesetting period
File:Pelham Infant.jpg
Pelham Infant

In the phototypesetting and digital typesetting periods many font designs have been published inspired by Times New Roman. Although the digital data of Monotype and Linotype releases of Times New Roman are copyrighted, and the name Times is trademarked,<ref name="Justus Estoesa">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> the design itself is in many countries not copyrightable. Notably, the United States allows alternative interpretations if they do not reuse digital data.<ref name="Compendium313.6C2">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Coles protection">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

  • Times Modern was a condensed and bold display variant published by, among others, Elsner+Flake. It was withdrawn from sale due to trademark disputes with the Times newspaper, which owns its own unrelated design named 'Times Modern' (see above).<ref>{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref>

  • CG Times is a variant of Times family made by Compugraphic.
  • Pelham is a version of Times Roman by DTP Types of Britain, which also designed an infant version with single-storey 'a' and 'g'.<ref name="Pelham Infant">{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref>

File:Sample of IBM Magnetic Card Composer Output.png
Press Roman, a version of Times New Roman typed on a premium IBM typewriter
  • In the mid-1960s, a derivative of Times New Roman known as 'Press Roman' was used as a font for the IBM Composer.<ref name="Frutiger Typefaces" /> This was an ultra-premium electric 'golfball' typewriter system, intended to be used for producing high-quality office documents or copy to be photographically enlarged for small-scale printing projects.<ref name="Frutiger Typefaces">Template:Cite book</ref> Unlike most typewriters, the Composer produced proportional type, rather than monospaced letters. Ultimately the system proved a niche product, as it competed with increasingly cheap phototypesetting, and then in the 1980s was largely displaced by word processors and general-purpose computers.<ref name="Kalmbach1997">Template:Cite book</ref><ref name="McEldowney2013">Template:Cite book</ref>Template:Efn
  • Among many digital-period designs loosely inspired by Times, Kris Sowersby's popular Tiempos family is a loose Times New Roman revival; it was created for a Spanish newspaper ('tiempo' is Spanish for 'time').<ref name="Tiempos Design Information">{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref><ref name="Eye Reputations: Kris Sowersby">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

  • Maxitype designed the Rhymes typeface, which also inspired from the Times New Roman typeface, comprises Display and Text.<ref>{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref>

  • In 2018, art collective MSCHF released a typeface titled Times Newer Roman, which has the same design as Times New Roman but is 10–15% wider.<ref>{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref>

Free alternativesEdit

File:Times New Roman Liberation Serif comparison.png
Comparison between Times New Roman and Liberation Serif, showing its much squarer design

There are some free software fonts used as alternatives, including metric-compatible designs used for font substitution.<ref name="gnufreefont-why">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

|CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and is included with some free and open source software. Various adapted versions exist including FreeSerif,<ref name="gnufreefont-why"/><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> TeX Gyre Termes<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and TeX Gyre Termes Math.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Like Times New Roman, many additional styles of Nimbus Roman exist that are only sold commercially, including condensed and extra-bold styles. URW also developed Nimbus Roman No. 4, which is metrically compatible with the slightly different CG Times.<ref name="Epson PCL Fonts">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

File:Times and STIX.png
A standard Times New Roman digitisation compared to the STIX Two project, an open-source typeface for mathematics based on Times's smaller metal point sizes. STIX Two has a higher x-height and a reduction in fine detail.
  • The STIX Fonts project is a four-style set of open-source fonts. They were created for scientific publishing by the Scientific and Technical Information Exchange consortium of publishers, but are also very suitable for general use, including Greek and Cyrillic support.<ref name=STIX>{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref> The original version is installed by default on Mac OS X, and adapted as XITS. In 2016, a completely redesigned version was released by Ross Mills and John Hudson of Tiro Typeworks. Unlike the previous version, it is an original design, with a higher x-height than Monotype's Times digitisation.<ref name="10pt metal Times">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="stixfonts.org">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

|CitationClass=web }}</ref> It was developed by Ascender Corp. and published by Red Hat in 2007 under the GPL with the font exception.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Widths aside, it does not particularly resemble Times New Roman, being much squarer in shape with less fine detail and blunt ends rather than ball terminals.<ref name="Bean Tinos">Template:Cite journal</ref><ref name="Type.today Cyrillic Google Fonts">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Google's Tinos in the Croscore fonts package is a derivative of Liberation Serif.<ref name="Type.today Cyrillic Google Fonts" />

Non-Latin fonts using Times New Roman's Latin-alphabet glyphsEdit

Some fonts intended for typesetting multiple writing systems use Times New Roman as a model for Latin-alphabet glyphs:

  • Bitstream Cyberbit is a roman-only font released by Bitstream with an expanded character range intended to cover a large proportion of Unicode for scholarly use, with European alphabets based on Times New Roman.<ref name="Titus Unicode">{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref><ref name="Cyberbit Netscape">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Bitstream no longer offers the font, but it remains downloadable from the University of Frankfurt.<ref name="Titus Unicode 2">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

|CitationClass=web }}</ref>

  • The Russian Astra Linux operating system includes PT Astra Serif, a derivative of PT Serif metrically compatible with Times New Roman.<ref>{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

  • Jomolhari is a Tibetan script Uchen font created by Christopher J. Fynn, freely available under the Open Font License. It supports text encoded using the Unicode Standard and the Chinese national standard for encoding characters of the Tibetan script (GB/T20524-2006 "Tibetan Coded Character Set"). The design of the font is based on Bhutanese manuscript examples<ref>{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref> and it is suitable for text in Tibetan, Dzongkha and other languages written in the Tibetan script.

  • Two typefaces in the National Fonts project (specifically Kinnari and Norasi) based their Latin character glyphs from Times New Roman. Typefaces in the National Fonts project were intended to be public alternatives to the widely used, yet licence-restricted, commercial typefaces that came bundled with major operating systems and applications.<ref name="Nectec-national-fonts">{{#invoke:citation/CS1|citation

|CitationClass=web }} Originally exhibited 18–31 October 2002 at the Jamjuree Art Gallery, Chulalongkorn University, and published in Sarakadee. 17 (211). September 2002.</ref> Later on, Thai Linux Working Group (TLWG) released these 2 typefaces alongside 11 others as free and open-source software.<ref name="Fonts-TLWG">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Fonts-TLWG-Github">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

NotesEdit

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ReferencesEdit

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Cited literatureEdit

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