Times New Roman - Knowledge

1232:, 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. 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 492: 413: 933:

width metrics for their version of Times grew apart. 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), 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

1372: 513:, the sixteenth-century printer whose printing office the Plantin-Moretus Museum preserves and is named for. 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. (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.) 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 1335: 737:

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. 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).

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production process obsolete by 1931: "the material evidence of the two-part patterns and their numbering -- if they are genuine --, suggests very strongly a design that significantly pre-dates 1931...The patterns are either deliberate hoax or they are historical artefacts" and that he was "unconvinced that this is a hoax";" but in 2019, after Giampa and Parker's deaths, he said "I do think it entirely possible that the whole thing was a hoax." The claims did convince Walter Tracy, who had written a major analysis of Times New Roman's genesis in his book

1152: 890: 898: 529:, a prominent American printing historian with whom he corresponded frequently. 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 as "rather odd...it can only be regarded as a piece of Morisonian mystification". 1268: 251: 447: 1096: 40: 359: 841:, 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 Times Roman, which most people find the easiest to read of small text-types, runs counter to some of them... avoided blunt serifs and thickened hairlines because he found they wore down more noticeably than sharper-cut features." 7173: 1443: 9229: 8672: 7886: 620: 287: 1456: 387: 589:, 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. 1759:, having proportional spacing rather than the monospacing of almost all typewritten documents, some defenders of the documents suggested that they might have been typed using this method. It is now accepted that they were forged on a modern computer, according to digital font expert Thomas Phinney in the Linotype version of Times New Roman. 733:

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.

1734:; however he died in April 1995, before Parker's finalised publication, and did not live to see the extensive rebuttals. Designer Jim Rimmer wrote that "Mr Giampa gave me a set of punches for use in numbering my own matrices. The design of these numerals is identical to those used to stamp “54” on the patterns". 825:. 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 1251:

suggested that the claim had begun as a prank. In 2010, Mark Owens described Parker's article in retrospect as "the scantest of evidence" and a "fog of irrelevant details". Monotype executive Dan Rhatigan described the theory as implausible in 2011: "I'll admit that I tend to side with the more fully

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A number of early reviews of Times New Roman were published in Morison's lifetime that discussed aspects of its design. Most were appreciative (Morison was an influential figure in publishing) but several noted that it did not follow conventional expectations of newspaper typeface design. One article

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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.

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Among the few prominent figures in typography to express even qualified support for the idea was Tiro Typeworks owner John Hudson, Giampa's neighbour on Vancouver Island. He wrote in 2008 that he had examined Giampa's claimed patterns and that they looked as if they were made using an early Monotype

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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

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This is a variant designed for printing mathematical formulae, using the 4‑line system for mathematics developed by Monotype in 1957. 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

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A variant intended for book printing, avoiding the slight condensation of the original Times New Roman. 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

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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. (Morison ultimately conceded that

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A Ludlow Typograph specimen of Times New Roman Type Specimen from the metal type period. The design was altered in smaller sizes to increase readability, particularly obvious in the widened spacing of the six and eight-point samples at centre right of the diagram. The hollows at the top of upstrokes

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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,

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page description language. 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. Versions of Times New Roman from Monotype (discussed below) exist

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on the capital S, while Monotype's are vertical, and Linotype has an extra serif on the number 5. 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

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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. In 1925, the Mergenthaler Linotype Company, Monotype's main competitor, launched a new

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During the nineteenth century, the standard roman types for general-purpose printing were "Modern" or Didone designs, and these were standard in all newspaper printing. Designs in the nineteenth-century style remain a common part of the aesthetic of newspaper printing; for example in 2017 digital

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on a visit. The type from which the specimen was printed was not only centuries old and worn almost beyond use, but it was contaminated with wrong-font letters (notably the letter 'a') and the italic did not even belong to the roman. The revival, derived by Monotype from an indirect and confused

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system, intended to be used for producing high-quality office documents or copy to be photographically enlarged for small-scale printing projects. Unlike most typewriters, the Composer produced proportional type, rather than monospaced letters. Ultimately the system proved a niche product, as it

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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,

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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

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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." Morison had several years earlier attracted attention for promoting the radical idea that

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typeface of the 1750s. 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 never achieved".

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My assumption that the Lardent drawings for TNR are lost comes from two things: 1) Knowing for sure that no trace of them existed at Salfords, much to the company's dismay 2) Robin Nicholas' own frustration at never finding a trace of them, or hearing about them from anyone at the Times. I

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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

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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. The original version is installed by default on

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Although it praised many—though not all—aspects of Times' design, so cannot be considered entirely unbiased, a 1937 article by the historian of printing Harry Carter, who had been a draughtsman at the Monotype factory, commented in 1937 that modern faces at 9-point size made for "a very fine

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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." The design was adapted from Lardent's large drawings by the Monotype drawing office team in

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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. Because of the popularity of Times Roman at the time, Monotype chose to design a variant of Times Roman suited to

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The consensus appears to be that not only the wrong-fount a in the cases at Antwerp but also the italic that Monotype adapted for their Plantin (which can be seen on that first page of the 1905 specimen) may be the work of Johann Michael Schmidt (died 1750), also known as J. M. Smit or

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change their 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

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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). Times New Roman Pro and Std provide standard ligature for

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and a relatively condensed appearance. (Although Hutt, 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.)

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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."

1177:, as a sturdier alternative to the Times font family, designed for the demands of faster printing presses and cheaper paper. It has been released commercially by Adobe, among others, recently in an updating by Linotype as Times Europa Office (discussed above). 995:

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. A previous version of Times New Roman was also distributed as part of Microsoft's

463:. These kept to the nineteenth-century model but greatly reduced the contrast of the letterform. 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: 774:, and took advantage of this popularity by cutting a widened version, Series 427, for book publishing, although many books ultimately used the original version. The first known book published in Times New Roman (the original 327 Monotype series) was 403:

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). Some commentators have found Times' bold unsatisfactory and too condensed, such as Walter Tracy.

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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

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Since Windows 3.1, all versions of Microsoft Windows include Times New Roman. Version 6.87 of this typeface is available for purchase under the name Times New Roman OS (see below). The current 7.03 version of Windows' Times New Roman includes

330:" of serif fonts (from before the eighteenth century). (The 'a' of Plantin was not based on Granjon's work: the Plantin-Moretus Museum's type had a substitute 'a' cut later.) Indeed, the working title of Times New Roman was "Times Old Style". 306:. 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 1252:

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

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Monotype also produced Series 727, in which the heavier strokes of upper-case letters were made slightly thinner. This was done to produce a lighter effect in which capital letters do not stand out so much, and was particularly intended for

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Monotype also created some caps-only 'titling' designs to match Times New Roman itself, which was intended for body text. These are not sold by Monotype in digital format, although Linotype's Times Eighteen in the same style (see below) is.

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This is the digitalisation of Linotype's Times (see above). It is pre-installed on macOS but not on iOS, and is also widely available for purchase. Times provides standard ligature for "fi", but it does not provide any ligature for "Th".

467:, Monotype's newspaper printing consultant in the late 1930s, later noted that it "revolutionized newspaper text setting...within eighteen months it was adopted by 3,000 papers." Although Times New Roman does not in any way resemble it, 711:

point size of Times Roman was produced by Monotype for use in printing matter requiring a very small size of type. Listed as Times Newspaper Smalls, available as either Series 333 or 335, it was also referred to by the name Claritas.

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Times Modern was unveiled on 20 November 2006, as the successor of Times Classic. Designed for improving legibility in smaller font sizes, it uses 45-degree angled bracket serifs. It was designed by Research Studios, led by designer

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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

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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

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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.

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In the roman style that the high serifs of the 'v' do not sit well with the lower shape of the 'i'. In his commentary on Times, Walter Tracy wrote that the designers should have tested words like 'divide' and 'jump' to spot

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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 and it is suitable for text in

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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.

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Times Classic first appeared in 2001. Designed as an economical face by Dave Farey and Richard Dawson, it took advantage of the new PC-based publishing system at the newspaper; the new typeface included 120 letters per

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Times New Roman...was based on a fresh evaluation of the optical and technical problems of news composition. It derives from the old face tradition but its design characteristics were determined solely by utilitarian

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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

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In September 2016, the companies of NPO RusBITech JSC (developer of the Astra Linux operating systems) and NPP ParaType LLC (developer of nationwide fonts) presented publicly available fonts: PT Astra Sans and

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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

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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

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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.)

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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".

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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'.

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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

6147:. Its lower contrast, enlarged x-height and less inclined italic all contribute to superb(!) readability, in both web and print. STIX Text is a neutral, non-invasive text face for continuous reading. 219:), the first part of the Times New Roman 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 807:. A brochure was published to mark the change along with a letter from Morison hoping that the redesign would be a success. Ultimately it became Monotype's best-selling metal type of all time. 2605:. He writes: 'These drawings demonstrate how severely the bowl of "p" has been reduced in the bold version, because mainstrokes have been thickened without drawing the bold version any wider.' 924:

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

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italics in book printing were too disruptive to the flow of text, and should be phased out. He rapidly came to concede that the idea was impractical, and later wryly commented to historian

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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,

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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 '

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One of the distinctive things about French calligraphy of is that the lead-in stroke of letters like i, m, n and so on have flat, rather 'roman', serifs, making them look a bit like a

525:. 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 1512:. 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. Google's Tinos in the 1478:. 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 loosely inspired by a 566:

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."

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than dogma." 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."

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Twenty-two lines in Times New Roman compared to its predecessor "modern" serif font. Times appears larger on the page, with tighter linespacing and more solid in appearance.

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suspect that the reproduction of the drawings in "printing of the Times" may have been an enlargement of one of the reference photos originally made of Lardent's drawings.

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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

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Dreyfus shows proofs of the experimental recut of Perpetua with shortened descenders to allow tighter linespacing. Morison later commented that "it stared at the reader".

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Times Ten is a version specially designed for smaller text (12-point and below). It features wider characters and stronger hairlines. In 2004 prominent typeface designer

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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.

5935: 3517:...the imperceptible condensation of Monotype Times New Roman puts it in a class by itself as a news face. In the wider book measure, however, condensation is no asset. 844:

Times New Roman remains popular in publishing, helped by the extremely large range of characters available for international and mathematics printing. For example, the

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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

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original, is as sound a piece of type-making as was ever created in the 20th century...behind the foggy image of the roman type lies the...'Gros Cicero' Roman of

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typefaces were considered for a basis, and the Legibility Group designs were also examined. (Perpetua, which Monotype had recently commissioned from sculptor

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its popularity chiefly in general printing, not in newspaper work." He described it as particularly used in "book work, especially non-fiction" such as the

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Plantin was a recreation of one of the old types held at the Plantin-Moretus Museum in Antwerp, of which a specimen, printed in 1905, had been acquired by

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While Times is often described as being quite "condensed" this is relative to its high x-height: typefaces with lower x-height, such as many versions of

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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.

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Spelling here, and elsewhere in the article, modernised to avoid confusion. Morison wrote "fount", the usual spelling in British English at the time.

1139:. 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. 598:

A large number of variants of Times were cut during the metal type period, in particular families of titling capitals for headlines. Walter Tracy in

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in an unfavourable light were presented by the American news network CBS. The documents were typeset in a form of Times New Roman. As the documents

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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

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competed with increasingly cheap phototypesetting, and then in the 1980s was largely displaced by word processors and general-purpose computers.

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for scholarly use, with European alphabets based on Times New Roman. Bitstream no longer offers the font, but it remains downloadable from the

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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

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Some types look larger, size for size, than others, because they have unusually short descenders and ascenders. This allows more room for the

921:. Monotype and Linotype have since merged, but the lineage of Times has been split into two subtly different designs since its earliest days. 3260: 1301: 6268: 5480: 5067:"Neville Brody's Research Studios Creates New Font and Design Changes for The Times as Compact Format Continues to Attract Loyal Readership" 1183:

Times Millennium was made in 1991, drawn by Gunnlaugur Briem on the instructions of Aurobind Patel, composing manager of News International.

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This effect is not found in sixteenth-century typefaces (which, in any case, did not have bold versions); it is most associated with the

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types were still very popular for extended text into the nineteenth century. For some higher-class literary printing eighteenth-century

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applications. Later on, Thai Linux Working Group (TLWG) released these 2 typefaces alongside 11 others as free and open-source software.

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The new design is fantastic – it can be described as "the better Times New Roman". It's somewhat similar to Times, but with a touch of

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The original STIX fonts were based on a Times New Roman clone. The new #STIX2 faces are redesigned, inspired by 10pt metal Times fonts.

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contamination. Giampa asked Parker to complete the type from the limited number of surviving letters, which was issued in June 2009 by

644: 5481:"Compendium of U.S. Copyright Office Practices, § 906.4 ("Typeface, Typefont, Lettering, Calligraphy, and Typographic Ornamentation")" 4337: 1359:'s popular Tiempos family is a loose Times New Roman revival; it was created for a Spanish newspaper ('tiempo' is Spanish for 'time'). 479:

but on a darker and more traditional basic structure. Bulked-up versions of Monotype's pre-existing but rather dainty Baskerville and

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However, Times New Roman modifies the Granjon influence further than Plantin due to features such as its 'a' and 'e', with very large

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Pimlott, Herbert (February 2013). "The Radical Type? G. Allen Hutt, the Communist Party and the politics of journalistic practice".

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Walter Tracy, who worked on a redesign, however noted that the design's compression and fine detail extending to the edge of the

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The Printing of Mathematics: Aids for Authors and Editors and Rules for Compositors and Readers at the University Press, Oxford

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A 1943 brochure used by Crowell-Collier, one of the first major American users of Times New Roman, to promote the changeover.

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which he held from 1945 to 1948. Times New Roman remained Morison's only type design; he designed a type to be issued by the

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rapidly began to offer its version of the typeface with subtle differences. A key reason is that many newspapers, including

9301: 7195: 4712: 471:, a prominent type designer who worked on a redesign of Times in the 1970s and wrote an analysis of its design in his book 685:) to correspond to their appearance in other typefaces popular in French printing. This production of what are now called 505:

Perpetua, which had been his pet project, was 'too basically circular' to be practical to condense in an attractive way.)

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Maxitype designed the Rhymes typeface, which also inspired from the Times New Roman typeface, comprises Display and Text.

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The roman style of Plantin was loosely based on a metal type created in the late sixteenth century by the French artisan

6515: 5149: 4466: 9296: 5612: 4058: 845: 5175: 2421: 6833: 6477: 5264: 2648: 2547: 2305: 2234: 2207: 2168: 2090: 2059: 2800: 7913: 7117: 937:'f', one that extended into the space of surrounding letters. This restriction was removed in the digital version. 5453: 3828: 3315: 2117:(Paperback reissue, digitally printed version ed.). Cambridge: Cambridge University Press. pp. 149–170. 9306: 7949: 7140: 7048: 6743: 6658: 6627: 5836: 4256: 3400: 2012: 1689: 1259:

The Times Online web site credits the design to "Stanley Morrison, Victor Lardent and perhaps Starling Burgess".

6386:

Originally exhibited 18–31 October 2002 at the Jamjuree Art Gallery, Chulalongkorn University, and published in

4746: 2327: 7704: 6593: 6572: 5487: 5426: 5208: 3940: 2941: 893:

Working drawings for a Linotype release of "Times Roman". Various accents are drawn together on the same sheet.

3471: 2893: 9256: 8697: 7676: 7103: 5381: 4933: 4228: 2844: 2679: 2370: 1744: 1039:

Also known as Times New Roman World, this is originally based on the version of Times New Roman bundled with

1020: 906: 190:

advertising department. It has become one of the most popular typefaces of all time and is installed on most

5520: 3232:"Women in type: the contribution of type drawing offices to twentieth century type-making with Alice Savoie" 9266: 8311: 4742: 1224:

published claims that the design of Times New Roman's roman or regular style was based on a 1904 design of

859:

used Times New Roman as the standard font in its official documents from 2004 to 2023, before switching to

4209: 9251: 7906: 6839: 5507:

The copyright law does not protect typeface or mere variations of typographic ornamentation or lettering.

4179: 3859: 1531: 216: 17: 6945: 6664: 5986: 4959: 4545:

Arabic type-making in the Machine Age. The influence of technology on the form of Arabic type, 1908-1993

4409: 1304:, notably in the United States, allowing alternative interpretations if they do not reuse digital data. 6939: 6863: 6857: 6755: 5761: 5712: 5233: 3197: 2889: 2497: 1429: 1407: 1203:. (Other designs have been released called Times Modern; see below.) During the Times New Roman period 1112:

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

376: 239: 6144: 2585: 475:(1986), commented that its arrival must at least have influenced the decision to consider a redesign. 9316: 5814: 4985: 4050: 4024: 3714: 1221: 797: 554: 491: 290:

A digitisation of Times New Roman below the three typefaces originally considered as a basis for the

4491: 4137:"CALIBRI CRISIS: Biden State Department focuses on 'accessible' font choices amid world instability" 3644: 1787: 1343:

In the mid-1960s, a derivative of Times New Roman known as 'Press Roman' was used as a font for the

412: 8822: 8690: 7110: 7082: 6429: 6404: 4366: 3673: 1320: 1243:

Reception to the claims was sceptical, with dismissal from Morison's biographer Nicolas Barker and

1225: 1151: 856: 821: 59: 5491: 4771: 420:

typefaces were becoming popular for newspaper printing around the time Times New Roman was created

9183: 7820: 7764: 6875: 6737: 6694: 6294: 6272: 5458: 4879: 3681: 3297: 3256: 3188: 2662: 2660: 1919: 6559:

Morison, Stanley. "Memorandum on a proposal to revise the typography of 'The Times' (1930)". In

5256: 5248: 4645: 957:

which vary from the PostScript metrics. Linotype applied for registration of the trademark name

9311: 8334: 8171: 7467: 7294: 7096: 7042: 6803: 5861: 4906: 3767: 3107: 2525: 997: 526: 319: 6607: 6097: 5659: 5310: 3894: 2657: 2465: 2295: 2265: 2224: 2197: 2110: 2047: 1949:

The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces

1947: 1371: 1334: 1275:, an exaggerated and unauthorised display adaptation of Times from the phototypesetting period 9107: 7371: 6900: 6809: 5629: 3941:"Innovative Industrial Design and Modern Public Culture: The Monotype Corporation, 1922–1932" 3793: 3651: 2638: 2417: 2176: 2156: 1566: 1433: 1327: 878: 522: 518: 952:, guaranteeing its importance in digital printing by making it one of the core fonts of the 8952: 8842: 8552: 8476: 8440: 8261: 7647: 7609: 7561: 7304: 7062: 4624: 4285: 3974: 2772:(1 January 1981). "Experimental No. 223, a newspaper typeface, designed by W.A. Dwiggins". 1987: 1555: 1497: 1415: 1071:

Times New Roman Seven is for smaller text and includes Regular and Bold with their italics.

992: 686: 334: 128: 108: 6246: 5964: 5546: 4735: 3970: 762: 689:

to suit national tastes was common at the time, and many alternates were also offered for

8: 8907: 8857: 8752: 8562: 8452: 8381: 8316: 8287: 8225: 8130: 8099: 8056: 7978: 7838: 7556: 7519: 7447: 7422: 7299: 7036: 6918: 6773: 6761: 6649: 5070: 2082: 2076: 1747:, when some documents apparently from the 1970s and presenting the future U.S. president 1208: 1159: 1063:

in order to meet the needs of newspapers and books which print at a range of text sizes.

901:

Some differences between Linotype's Times Roman and Monotype's Times New Roman typefaces.

580: 480: 431: 400: 295: 263: 4260: 3425: 2353: 1375:

Comparison between Times New Roman and Liberation Serif, showing its much squarer design

974:

Monotype released at least eight digital typefaces that carry the name Times New Roman.

905:

Monotype originally created Times New Roman for its typesetting machines, but its rival

9291: 9140: 9120: 9045: 8837: 8827: 8802: 8757: 8527: 8325: 8281: 8270: 8216: 8159: 8118: 8114: 8094: 8071: 7993: 7858: 7800: 7712: 7629: 7541: 7437: 7376: 7366: 7176: 7055: 6687: 6670: 6583: 6492: 6220: 4798: 4430: 3913: 2980: 2537: 2244: 1817: 1810:

Printing the Times: A record of the changes introduced in the issue for October 3, 1932

1519: 1509: 1466: 1272: 1132: 1120:

said that he believed that it was the best Times New Roman digitisation then available.

1083:"Times Ten" redirects here. For a relational database management system by Oracle, see 1044: 1027:. Times New Roman with support for Arabic was first published in the Arabic version of 874:), uses the Times New Roman typeface as an official font for their official documents. 867: 833:

in the 1930s was to minimise the number of paragraph breaks, was an exception to this.

602:, Allen Hutt and others have discussed these extensively in their works on the family. 559: 510: 440: 426: 303: 203: 138: 64: 5738: 5686: 5571: 3575: 3548: 3493: 2942:"Balancing typeface legibility and economy Practical techniques for the type designer" 2730:

Ovink, G.W. (1971). "Nineteenth-century reactions against the didone type model - I".

1915: 1841: 47: 9201: 9191: 9059: 9007: 8957: 8942: 8922: 8917: 8892: 8817: 8797: 8787: 8782: 8777: 8646: 8581: 8470: 8417: 8302: 8293: 8050: 8028: 7944: 7863: 7843: 7739: 7657: 7619: 7571: 7462: 7457: 7386: 7324: 7319: 7289: 7218: 6821: 6613: 6589: 6568: 6560: 6473: 6467: 6160: 6028: 5665: 5655: 5635: 5608: 5361: 5260: 5227: 4603: 4559: 4549: 4098: 3900: 3799: 3612: 3610: 3608: 3606: 3604: 3077: 2984: 2644: 2543: 2533: 2471: 2301: 2271: 2230: 2203: 2164: 2118: 2086: 2055: 1991: 1953: 1943: 1541: 1388: 1384: 1048: 1008: 811: 750:

for printing newsbills which had no connection to Times New Roman. It was similar to

729: 725: 652: 450:

Times compared to a modern-face and the wide, monoline Excelsior, part of Linotype's

191: 145: 6224: 4910: 3133: 814:

was not ideal in the aggressive conditions of most newspaper printing, in which the

270:

printing. As a typeface designed for newspaper printing, Times New Roman has a high

75: 9156: 9086: 9054: 8982: 8912: 8887: 8792: 8747: 8630: 8465: 8411: 8375: 8142: 7929: 7853: 7667: 7442: 7409: 7264: 7254: 6717: 6543: 6342: 6212: 4821: 4687: 4090: 3311: 3170: 2972: 2781: 2739: 2157:"Reviving the Classics: Matthew Carter and the Interpretation of Historical Models" 1980: 1570: 1489: 1326:

Pelham is a version of Times Roman by DTP Types of Britain, which also designed an

1288: 1253: 1117: 751: 562:

of Frankfurt but the project was abandoned due to the war. Morison told his friend

460: 451: 417: 380: 179: 6631: 6189: 5936:"ghostscript-fonts-std-4.0.tar.gz - GhostScript 4.0 standard fonts - AFPL license" 4666: 4388: 3601: 1644:

Times New Roman was called "Times Old Style" in an early stage of its development.

1308:

Times Modern was a condensed and bold display variant published by, among others,

913:, also used Linotype equipment for production. Linotype referred to its design as 724:

The 4-line system involved casting characters for 10-point Times Roman on 6-point

250: 9161: 9082: 9002: 8902: 8832: 8812: 8730: 8243: 8177: 8165: 7999: 7684: 7533: 7405: 7237: 7158: 6797: 6779: 6679: 6369: 5600: 2976: 2705: 2529: 1447: 1425: 1136: 897: 690: 459:

newspaper typeface called Ionic, which became the first in a series known as the

175: 80: 4720: 1316:

newspaper, which owns its own unrelated design named 'Times Modern' (see above).

9094: 8726: 8652: 8586: 7514: 7309: 7284: 7232: 7089: 6975: 6851: 6767: 6463: 4261:"Times (New) Roman and its part in the Development of Scalable Font Technology" 4094: 3812: 2181: 1748: 1658: 1654: 1586: 1575: 1559: 1523: 1513: 1493: 1437: 988: 984: 889: 779: 501: 315: 267: 183: 178:, the artistic adviser to the British branch of the printing equipment company 150: 84: 9035: 8967: 7187: 6653: 3266: 3201: 446: 9245: 9216: 9196: 8947: 8496: 8393: 7810: 7792: 7754: 7652: 7639: 7586: 7566: 7147: 6999: 6930: 6909: 6869: 6845: 6815: 6791: 6749: 6527: 6408: 5153: 4563: 4362: 3296:. Vol. Oxford Dictionary of National Biography. rev. David McKitterick. 1411: 1380: 1356: 1309: 1229: 1192: 1040: 1004: 945: 338: 6674: 4079:

Perea, Manuel (2013). "Why Does the APA Recommend the Use of Serif Fonts?".

2785: 2743: 2159:. In Mosley, James; Re, Margaret; Drucker, Johanna; Carter, Matthew (eds.). 1267: 627:

An elegant titling caps design, quite different from Times New Roman with a

517:

printing; he also cited as a reason that sharper serifs looked better after

9102: 9012: 8987: 8807: 8722: 8591: 7958: 7828: 7432: 7356: 7329: 7227: 7005: 6981: 6969: 6957: 6827: 6603: 6487: 6185: 5911: 5183: 4102: 3391: 3389: 3320: 2840: 2769: 2602: 2446: 2392: 1835: 1833: 1562: 1479: 1399: 1344: 1338:

Press Roman, a version of Times New Roman typed on a premium IBM typewriter

1095: 1028: 1012: 803: 678: 665: 636: 575: 468: 371: 224: 103: 5281: 4458: 3455: 3174: 342: 9049: 8762: 8658: 8034: 7604: 7551: 7499: 7452: 7269: 7011: 6993: 6987: 6951: 2184:, acquired by the Plantin printing office after the death of its founder. 1681: 1526:

with an expanded character range intended to cover a large proportion of

1244: 1237: 1196: 830: 585: 367: 358: 346: 299: 279: 39: 5786: 4118:"A font feud brews after State Dept. picks Calibri over Times New Roman" 3396: 3386: 1830: 1702:

engineer's job, but a poor design for reproduction on so small a scale."

1060: 9115: 9027: 8872: 8767: 8557: 8339: 8136: 8040: 7987: 7805: 7486: 7472: 7427: 7417: 7361: 7246: 5886: 5661:

A Press Achieved: the Emergence of Auckland University Press, 1927-1972

5143: 5141: 5139: 4853:"After 221 years, the world's leading newspaper shows off a fresh face" 4793: 4081: 3267:"Alice Savoie : Présentation du projet de recherche Women in Type" 1611: 1537: 1403: 1348: 1016: 953: 949: 870:

government's agencies, including the President of Russia declarations (

744: 563: 464: 327: 259: 235: 212: 68: 6565:

Selected essays on the history of letter-forms in manuscript and print

6374:๑๐ ตัวพิมพ์ กับ ๑๐ ยุคสังคมไทย (10 Faces of Thai Type and Thai Nation) 4951: 3761: 3759: 2020: 619: 9211: 8962: 8937: 8927: 8276: 8108: 7898: 7873: 7782: 7777: 7749: 6711: 6433: 5335: 4543: 3161:

Savoie, Alice (1 December 2020). "The women behind Times New Roman".

2115:

Selected essays on the history of letterforms in manuscript and print

1442: 1419: 1024: 925: 849: 747: 484: 275: 170: 95: 6216: 5631:

The Computer and the Page: Publishing, Technology, and the Classroom

5521:"The Last Time the US Considered Copyright Protection for Typefaces" 5136: 4025:"Es gilt das gesprochene Wort: Schriftarten für IPA-Transkriptionen" 2199:

A typographic workbook a primer to history, techniques, and artistry

2102: 1907: 439:

was Monotype's Series 7 or "Modern Extended", based on typefaces by

9206: 9151: 9064: 8972: 8897: 8852: 8847: 8016: 7868: 7614: 7504: 7494: 6316: 5912:"Finally! Good-quality free (GPL) basic-35 PostScript Type 1 fonts" 5240: 3756: 3510: 3463: 1624: 1579: 1549: 1483: 1233: 1084: 534: 509:

photographs of vintage type; he thought this was a book printed by

395: 307: 271: 165: 8682: 5389: 5253:

Form and Meaning in the History of the Book : selected essays

2852: 2378: 1169:

newspaper has commissioned various successors to Times New Roman:

286: 9169: 9040: 9017: 8997: 8932: 8446: 7848: 7717: 7334: 7279: 7274: 7134: 5011:"Housestyle is just the type for redesign of The Times newspaper" 4338:"Thirty Years of Monotype's Times New Roman and Arial on Windows" 4220: 3978: 3570: 3568: 3566: 2229:(1st ed.). Sebastopol, Calif.: O'Reilly Media. p. 417. 1527: 1501: 1496:

is metrically equivalent to Times New Roman. It was developed by

1455: 1395: 1248: 934: 860: 386: 323: 123: 3744: 2669:"Three chapters in the development of Clarendon/Ionic typefaces" 2601:

overlays from the article 'The Evolution of Times New Roman' by

1312:. It was withdrawn from sale due to trademark disputes with the 1279: 782:

and printed by R&R Clark in 1934. (Because the cover of the

8977: 8772: 8502: 8077: 8022: 7833: 7772: 7731: 7694: 7689: 7509: 7381: 5753: 3708: 3706: 3636: 3486: 1685: 1628: 628: 538: 5304: 5302: 3563: 3231: 1074:

Times New Roman Small Text includes Regular, Italic, and Bold.

728:. The top of the character would overhang the slug, forming a 8883: 8739: 8713: 8596: 8547: 8490: 8124: 8044: 7744: 7599: 7546: 7348: 7314: 7259: 4016: 3209: 1632: 1355:

Among many digital-period designs loosely inspired by Times,

1003:

When the system font Times New Roman was expanded to support

941: 929: 871: 632: 162: 52: 5128:

Parker, Mike (1994). "W. Starling Burgess, Type Designer?".

4402: 3703: 3527: 3525: 1743:

The system returned to public attention in 2004, during the

6203:

Bean, Jonathan (27 April 2015). "The Times New Roman lie".

6075: 5730: 5299: 4747:"State Department bans Courier New 12, except for treaties" 4638: 4115: 3920:"Crowell-Collier adopts a Type Developed by London Times". 2820: 2818: 2345: 1565:

created by Christopher J. Fynn, freely available under the

1475: 1471: 1228:. This theory remains controversial. Parker and his friend 220: 5069:. London: PR Newswire UK. 15 November 2006. Archived from 3950:. 20 (second series). Business History Conference: 226–233 3537: 3420: 3418: 2801:"Decompiled & Remixed History: The Making of Exchange" 2539:

Stanley Morison & D.B. Updike: selected correspondence

2223:

Horne, Yannis Haralambous; translated by P. Scott (2007).

6665:

Times New Roman font family - Typography | Microsoft Docs

5411:

Tracy, Walter (1995). "Letters of Credit: A Correction".

3825:

The Alexander S. Lawson Archive (Internet Archive backup)

3732: 3522: 3063: 3061: 3059: 3020: 2577: 2520: 2518: 2457: 2138: 2136: 2134: 1505: 1047:

character sets, Hebrew and Arabic characters. Similar to

1007:, it was complemented with the Arabic character set from 544:

Morison continued to develop a close connection with the

429:

wrote that he kept his Exchange family, designed for the

370:

as also being influenced by the typefaces created by the

6128:"New "STIX Two" opensource fonts by Tiro: stixfonts.org" 5713:"Expert Cited by CBS Says He Didn't Authenticate Papers" 5687:"Bush Guard memos used Times Roman, not Times New Roman" 4894: 4227:

Sluiter, Matthijs; Hardwig, Florian (24 December 2018).

3335: 3273:. CRAL - Centre de Recherches sur les arts et le langage 2815: 2289: 2287: 1871: 1614:, who co-authored the issue, attributes them to Morison. 848:

suggests using Times New Roman in papers written in its

197:

Asked to advise on a redesign, Morison recommended that

6546:(October 1934). "Book Printed in The Times New Roman". 5815:"GNU FreeFont - Why do we need free outline UCS fonts?" 5094:"A conversation with Times Modern designer Luke Prowse" 5003: 3843: 3666: 3415: 3364: 3362: 3010: 3008: 3006: 2567: 2565: 2563: 2561: 2559: 2054:. Hoboken, NJ: John Wiley & Sons. pp. 99–107. 1552:, metrically compatible (analogs) with Times New Roman. 6361: 5594: 5592: 5085: 4925: 4617: 3874: 3089: 3087: 3056: 2515: 2131: 2039: 1802: 1262: 1173:

Times Europa was designed by Walter Tracy in 1972 for

795:. It then was chosen by the Crowell-Collier magazines 715: 326:. This style is sometimes categorised as part of the " 6008:"README-TeX-Gyre-Termes-Math.txt – GUST Web Presence" 5454:""Types" of Protection for Font and Typeface Designs" 4519:"Microsoft and Apple extend font licensing agreement" 4251: 4249: 4203: 4201: 3985: 3695:

Righyni, S. L. (1946). "News Bills: A Retrospectus".

2935: 2933: 2920: 2918: 2321: 2319: 2317: 2284: 2216: 928:

and digital media. For example, Linotype has slanted

8675:

Dates are approximate only. Not all typefaces shown.

6542: 6428: 6403: 5607:(English ed.). Basel: Birkhäuser. p. 192. 5598: 5373: 4977: 4279: 4277: 3750: 3619:"The Monotype 4-Line System for Setting Mathematics" 3443: 3359: 3099: 3068:

Crutchley, Brooke (1990). "From a Cambridge Diary".

3044: 3032: 3003: 2991: 2792: 2750: 2556: 1180:

Times Roman replaced Times Europa on 30 August 1982.

1143: 5809: 5807: 5711:Dobbs, Michael; Kurtz, Howard (14 September 2004). 5589: 5353: 5273: 4806: 4680: 4423: 4329: 4008:. London: Cory, Adams & Mackay. pp. 56–7. 3892: 3852:"Stanley Morison: Significant Historian (obituary)" 3672: 3374: 3347: 3084: 2362: 2202:(2nd ed.). Hoboken, N.J.: Wiley. p. 171. 2161:

Typographically Speaking: The Art of Matthew Carter

1895: 1418:software. Various adapted versions exist including 1059:Monotype further sells a wider range of styles and 6709: 6422: 6261: 5473: 4851: 4246: 4198: 2956: 2930: 2915: 2867: 2622:Lang, Peggy (1946). "Times Roman: A Revaluation". 2314: 2004: 1979: 1883: 1859: 1610:are unsigned, but Monotype's newspaper consultant 1582:and other languages written in the Tibetan script. 1436:. In 2010, it was adopted for the redesign of the 7890:List of typefaces included with Microsoft Windows 6090: 5512: 4766: 4764: 4274: 4116:John Hudson; Annabelle Timsit (18 January 2023). 4072: 3968: 3821:"D.B. Updike Set Standard of Great Craftsmanship" 3576:"Modifications and extensions of a single series" 2884: 2882: 2195: 2163:. Princeton Architectural Press. pp. 31–34. 2111:"Chapter 8: Leipzig as a Centre of Type-Founding" 2068: 1973: 1971: 1969: 1692:faces in imitation of it, were common in Britain. 1680:Excluding some countries, such as Germany, where 1158:previous typeface from an article describing the 1051:, Arabic in italic fonts are in roman positions. 9243: 6567:. Cambridge University Press. pp. 295–371. 6287: 6046: 5804: 5051:Farey, Dave (2014). "A Life and Times, Part 2". 5036:Farey, Dave (2014). "A Life and Times, Part 1". 4903:"The Typography of News: Bigger, faster, better" 4786: 4596: 1347:. This was an ultra-premium electric 'golfball' 884: 658: 496:are also not seen in the standard digitisations. 7217: 6078:. Scientific and Technical Information Exchange 5648: 5605:Adrian Frutiger - Typefaces: The Complete Works 5445: 4960:"dot-font: The Typographic Texture of the News" 4845: 4843: 4841: 4839: 4510: 4042: 3899:. David R. Godine Publisher. pp. 270–294. 2300:. New York: David R. Godine. pp. 270–294. 1938: 1936: 1780:"The Times: A Revolution in Newspaper Printing" 655:, arts and fashion. It has not been digitised. 168:. It was commissioned by the British newspaper 6367: 6231: 6119: 5564: 5490:. 22 December 2014. p. 13. Archived from 5309:Hudson, John; Phinney, Thomas (6 March 2019). 5091: 4761: 4226: 3997: 3494:"Typographic Problems of the Illustrated Book" 2879: 2148: 1966: 1319:CG Times is a variant of Times family made by 583:came in to consult M about a new type for the 8698: 7914: 7203: 6695: 6029:"TeX Gyre Termes Font Free by GUST e-foundry" 5664:. Auckland University Press. pp. 102–5. 5634:. Greenwood Publishing Group. pp. 65–6. 5621: 5308: 5044: 5029: 4659: 4465:Thiago; Hardwig, Florian (10 February 2019). 4464: 3785: 2630: 2524: 2498:"The history of the Times New Roman typeface" 1428:was developed in 2003 and released under the 1398:produced a version of Times New Roman called 651:for headings in the lighter sections such as 623:Times Hever Titling from a Monotype specimen. 6585:Stanley Morison: His Typographic Achievement 6490:(1973). "The Evolution of Times New Roman". 6295:"Titus Is Testing Unicode Script-management" 6152: 4986:"dot-font: News on Paper in the Digital Age" 4836: 4516: 2617: 2615: 2613: 2491: 2489: 2487: 2463: 2249:: CS1 maint: multiple names: authors list ( 2189: 1933: 1516:package is a derivative of Liberation Serif. 6397: 6196: 5759: 5369:. Carnegie Museum of Art. pp. 268–270. 5123: 5121: 5119: 4492:""Times New Roman" Enhanced CSS Font Stack" 4286:"Ligatures: Is This Trip Really Necessary?" 4172: 4155:"Australian Government Branding Guidelines" 3798:. Laurence King Publishing. pp. 76–9. 2263: 2196:Clair, Kate; Busic-Snyder, Cynthia (2005). 1842:"Monotype Recorder: The Changing Newspaper" 1215: 9228: 8705: 8691: 8671: 7921: 7907: 7885: 7210: 7196: 6702: 6688: 6626: 5710: 5654: 5413:Journal of the Printing Historical Society 4537: 4535: 4210:"TypeTalk: Times Roman vs Times New Roman" 3886: 3738: 3531: 3341: 2824: 2762: 2636: 2439: 1877: 1822:: CS1 maint: location missing publisher ( 1771: 1127:Times Europa Office, a 2006 adaptation of 961:and received registration status in 1945. 647:and designed early on, it was used by the 310:is a larger proportion of the type height. 38: 7245: 6245:. University of Frankfurt. Archived from 5837:"A simple introduction to Font Licensing" 5704: 5451: 5092:Formby-Jackson, Alan (21 November 2006). 4444: 4134: 4003: 3938: 3932: 3791: 3676:; Barrett, P. R.; Batey, Charles (1954). 3397:"The Times: New roman and related founts" 3067: 2835: 2833: 2666: 2643:. Rotterdam: 010 Publishers. p. 94. 2610: 2484: 2257: 1606:"The Changing Newspaper" articles in the 801:and then its sister publications such as 6609:Letters of Credit: A View of Type Design 5678: 5627: 5116: 4467:"New Roman Times – Camper Van Beethoven" 4381: 4207: 4022: 3922:Inland Printer and American Lithographer 3511:'x' or the middle part of the lower-case 3461: 3131: 1942: 1757:looked unlike most typewritten documents 1454: 1441: 1370: 1333: 1278: 1266: 1150: 1094: 896: 888: 761: 618: 490: 445: 411: 407: 385: 357: 285: 249: 6486: 6269:"pub/communicator/extras/fonts/windows" 6184: 5684: 4796:(1973). "Walter Tracy, type designer". 4532: 4255: 4023:Bergmann, Christopher (16 March 2014). 3880: 3694: 3688: 2962: 2798: 2723: 2400: 2142: 2108: 2081:. Watson-Guptill Publications. p. 1977: 1839: 1635:, are narrower at equalised cap height. 318:and preserved in the collection of the 262:on the page and influences of European 14: 9287:Typefaces and fonts introduced in 1932 9244: 7928: 6462: 6158: 5246: 5127: 4871: 4849: 4541: 4283: 4135:Gillespie, Brandon (18 January 2023). 3712: 3403:from the original on 16 September 2015 3310: 3291: 3229: 3196: 3160: 3026: 2888: 2830: 2406: 2293: 2270:. John Wiley & Sons. p. 106. 2154: 1916:"Where Did Times New Roman Come From?" 1777: 1383:fonts used as alternatives, including 614: 593: 9233:List of typefaces included with macOS 8686: 7902: 7191: 6683: 6602: 6581: 6161:"Creative Characters: Steve Matteson" 6068: 5987:"TeX Gyre Termes – GUST Web Presence" 5862:"Times New Roman Font Family License" 5544: 5410: 5359: 5150:"Stanley Morison and Times New Roman" 5050: 5035: 4983: 4957: 4335: 4078: 3768:"It was never called Times Old Roman" 3449: 3368: 3285: 3050: 3038: 3014: 2997: 2768: 2756: 2729: 2703: 2571: 2222: 2074: 2045: 1901: 1569:. It supports text encoded using the 1034: 793:Some Aspects of Printing, Old and New 671: 7347: 6661:(different sizes, in hot metal type) 6513: 6504: 6202: 6125: 5736: 5452:Justus, Dana; Estoesa, Ivy Clarice. 5255:. London: British Library. pp. 5249:"Starling Burgess: No Type Designer" 4792: 4361: 3991: 3969:Whittington Press (14 April 2016). 3893:Alexander S. Lawson (January 1990). 3765: 3642: 3616: 3513:a 'large x' is bound to waste space 3380: 3353: 3105: 3093: 2939: 2924: 2873: 2621: 2495: 2351: 1889: 1865: 1366: 1078: 969: 635:design as an influence. Named after 8712: 8344:Palace and Dorchester Script (1938) 7981:(1911) and Italian Old Style (1919) 6558: 6455: 6243:Department of Empirical Linguistics 5427:"FAQ: infrequently asked questions" 5279: 5207:. Font Bureau. 2009. Archived from 5198:"Starling: A Revival for Our Times" 4208:Strizver, Ilene (14 October 2009). 4006:The Western Heritage of Type Design 3971:"Sales chart of Monotype die cases" 3294:Morison, Stanley Arthur (1889–1967) 3230:Savoie, Alice (21 September 2020). 3134:"My assumption that the Lardent..." 2944:. University of Reading (MA thesis) 2467:Type: The Secret History of Letters 2325: 2097:Times looks like Plantin on a diet. 1486:than Monotype's Times digitisation. 1410:in 1996, and is included with some 1402:in 1982. Nimbus Roman No9 L, URW's 1263:Designs inspired by Times New Roman 716:Times 4-line Mathematics Series 569 24: 5599:Osterer, Heidurn; Stamm, Philipp; 5379: 5147: 4934:"Face lift: new cuts at The Times" 4931: 4454:(Font digitisation). 16 July 2016. 4059:American Psychological Association 3849: 3818: 3264: 2839: 2445: 2368: 2010: 1786:. pp. 362–375. Archived from 1482:of Times New Roman, with a higher 977: 964: 846:American Psychological Association 353: 25: 9328: 6642: 5685:Phinney, Thomas (3 August 2006). 5518: 4877: 4772:"Times Europa Office Font Family" 3713:Heller, Steven (10 August 2015). 3645:"Three typefaces for mathematics" 3474:from the original on 17 July 2014 3132:Rhatigan, Dan (2 December 2022). 2676:MA Thesis (University of Reading) 2542:. Moretus Press. pp. 184–6. 2264:Allan Haley (15 September 1992). 1540:is a serif typeface developed by 1522:is a roman-only font released by 1135:numbers, mathematical signs, and 940:Linotype licensed its version to 394:Rather than creating a companion 379:that Times' italic "owes more to 9277:Newspaper and magazine typefaces 9227: 8670: 7884: 7172: 7171: 7118:Times Top 100 Graduate Employers 6335: 6309: 6178: 6021: 6000: 5979: 5957: 5928: 5904: 5879: 5854: 5829: 5779: 5545:Coles, Stephen (10 March 2013). 5538: 5419: 5404: 5328: 5311:"Comments on TypeDrawers thread" 5190: 5168: 5059: 4900: 4741: 4705: 4570: 4484: 4355: 4309: 4303: 4284:Felici, James (2 January 2013). 4147: 4128: 4109: 2894:"Optical scale in type founding" 2704:Coles, Stephen (10 March 2013). 2583: 1978:Morison, Stanley (7 June 1973). 1913: 1737: 1723: 1406:variant, was released under the 366:Morison described the companion 7141:Reynolds v Times Newspapers Ltd 7049:The Mysterious Affair at Styles 6648:Times Modern, by Dan Rhatigan: 6520:Journal of Typographic Research 5760:Thomson, Mark; Sowersby, Kris. 5628:Kalmbach, James Robert (1997). 4048: 3962: 3948:Business & Economic History 3856:The Alexander S. Lawson Archive 3304: 3249: 3223: 3181: 3154: 3125: 2697: 2449:. "Eric Gill's Perpetua Type". 2113:. In McKitterick, David (ed.). 1714: 1705: 1695: 1674: 1664: 1647: 1638: 1330:with single-storey 'a' and 'g'. 1220:In 1994 the printing historian 552:, took a post as editor of the 9282:Typefaces with infant variants 6516:"Times Roman: a re-assessment" 5938:. 28 June 1996. Archived from 5488:United States Copyright Office 5382:"Comments on Typophile thread" 4517:Jose Vilches (3 August 2007). 3715:"Happiness is Times New Roman" 3464:"Comments on Typophile thread" 2845:"Comments on Typophile thread" 2371:"Comments on Typophile thread" 2013:"Comments on Typophile thread" 1657:for instance." This refers to 1617: 1600: 1240:under the name of 'Starling'. 837:that discussed its design was 13: 1: 7104:The Times Literary Supplement 5965:"GNU FreeFont - Design notes" 4984:Berry, John (29 March 2004). 4958:Berry, John (12 April 2004). 4410:"Times New Roman font family" 4159:Digital Transformation Agency 3547:. Effra Press. Archived from 3462:Savoie, Alice; Hudson, John. 2464:Simon Loxley (12 June 2006). 2358:. British Museum. p. 33. 1765: 1745:Killian documents controversy 885:Linotype design (Times Roman) 839:Optical Scale in Typefounding 659:Times Wide (1938, series 427) 258:Times New Roman has a robust 215:style (sometimes also called 9272:Typefaces with optical sizes 9262:Transitional serif typefaces 6472:. Harvard University Press. 6349:. Free Tibetan Fonts Project 6343:"Free Tibetan Fonts Project" 5762:"Reputations: Kris Sowersby" 5739:"Tiempos Design Information" 4646:"Times New Roman Small Text" 4180:"Pencil To Pixel – Monotype" 3316:"Obituary: Brooke Crutchley" 2977:10.1080/17512786.2012.685556 2496:Alas, Joel (1 August 2009). 7: 9302:Typefaces with text figures 5152:. Ultrabold. Archived from 4229:"Low←tech Magazine website" 2586:"By printers, for printers" 2470:. I.B.Tauris. p. 134. 2420:. p. 5. Archived from 2355:Stanley Morison: A Portrait 1107: 987:, text figures, and italic 696: 345:' genre, in particular the 10: 9333: 8210:Zarotto/Mardersteig (1932) 6588:. London: Lund Humphries. 6509:. Oxford University Press. 6450: 6271:. Netscape. Archived from 5282:"William Starling Burgess" 4312:"Some history about Arial" 4095:10.7334/psicothema2012.141 3939:Badaracco, Claire (1991). 2294:Lawson, Alexander (1990). 1446:The Knowledge wordmark in 1430:GNU General Public License 1408:GNU General Public License 1082: 664:book typography. Optional 605: 146:Metrically compatible with 9297:Old style serif typefaces 9225: 9182: 9081: 9026: 8938:Helvetica, Helvetica Neue 8871: 8738: 8721: 8668: 8639: 8620: 8571: 8537: 8514: 8433: 8365: 8351: 8152: 8009: 7971: 7937: 7882: 7819: 7791: 7763: 7730: 7703: 7675: 7666: 7638: 7585: 7532: 7485: 7404: 7226: 7167: 7127: 7072: 7023: 6884: 6725: 6297:. University of Frankfurt 4367:"Monotype's Other Arials" 4004:Hutchings, R. S. (1963). 3792:Blackwell, Lewis (2004). 3751:Monotype Corporation 1934 3674:Chaundy, Theodore William 3426:"Linotype Times Eighteen" 3163:Journal of Design History 2667:Miklavčič, Mitja (2006). 2109:Morison, Stanley (2009). 1952:. BRILL. pp. 226–7. 1840:Morison, Stanley (1936). 1054: 555:Times Literary Supplement 245: 174:in 1931 and conceived by 144: 134: 122: 114: 102: 90: 74: 58: 46: 37: 7955:French Round Face (1906) 7111:The Times Science Review 7083:Times Atlas of the World 6946:Arthur William à Beckett 6430:Thai Linux Working Group 6405:Thai Linux Working Group 5247:Barker, Nicolas (2003). 4452:Times New Roman, v. 6.96 2637:Middendorp, Jan (2004). 2407:Wardle, Tiffany (2000). 1986:. CUP Archive. pp. 1594: 1226:William Starling Burgess 1216:William Starling Burgess 1144:Later typefaces used by 1090: 1013:Compugraphic Corporation 857:U.S. Department of State 822:Encyclopaedia Britannica 757: 186:, a lettering artist in 182:, in collaboration with 8265:(for the Greynog Press) 5459:The National Law Review 5286:Type Design Information 4625:"Times New Roman Seven" 4316:Paul Shaw Letter Design 3682:Oxford University Press 3298:Oxford University Press 2786:10.1163/157006981X00274 2744:10.1163/157006971x00301 2526:Updike, Daniel Berkeley 1944:Vervliet, Hendrik D. L. 1920:New York Public Library 1778:Clarke, C.F.O. (1946). 1532:University of Frankfurt 1043:. It includes fonts in 9307:Latin-script typefaces 8863:Times, Times New Roman 7295:Franklin Gothic Medium 7097:Times Higher Education 7043:Harcourt interpolation 6804:Robert Barrington-Ward 6659:Times New Roman family 6633:Methods of Book Design 6394:(211). September 2002. 6054:"PCL Fonts (WF-C5290)" 5232:: CS1 maint: others ( 5182:. 2009. Archived from 4850:Driver, David (2006). 4542:Nemeth, Titus (2017). 4369:. Mark Simonson Studio 3545:"Composition matrices" 3292:Carter, H. G. (2004). 3108:"Time and Times again" 2267:Typographic Milestones 2155:Mosley, James (2003). 2052:Typographic Milestones 1653:Morison continued: "– 1461: 1450: 1376: 1339: 1284: 1276: 1163: 1100: 998:Core Fonts for the Web 902: 894: 798:Woman's Home Companion 767: 624: 591: 550:pressures of austerity 527:Daniel Berkeley Updike 497: 455: 421: 391: 363: 335:counters and apertures 320:Plantin-Moretus Museum 311: 255: 8297:(for R & R Clark) 6901:Daniel Whittle Harvey 6810:William Francis Casey 6786:George Sydney Freeman 6582:Moran, James (1971). 4882:. Gunnlaugur SE Briem 3896:Anatomy of a Typeface 3850:Lawson, Alexander S. 3819:Lawson, Alexander S. 3652:University of Reading 2799:Frere-Jones, Tobias. 2706:"Times Bold Modified" 2418:University of Reading 2410:The story of Perpetua 2297:Anatomy of a Typeface 2226:Fonts & Encodings 2075:Haley, Allen (1990). 2046:Haley, Allan (1992). 1688:types, or more often 1480:smaller 10-point size 1458: 1445: 1434:SIL Open Font License 1374: 1337: 1300:is in many countries 1282: 1270: 1154: 1098: 991:. It omits automatic 900: 892: 879:Australian Government 772:The Monotype Recorder 765: 668:were also available. 622: 572: 500:Morison's biographer 494: 449: 415: 408:Historical background 389: 361: 289: 253: 9257:Windows XP typefaces 8953:Microsoft Sans Serif 8884:Arial, Arial Rounded 8240:Felix Titling (1934) 7648:Microsoft Sans Serif 7610:Microsoft Sans Serif 7562:Microsoft Sans Serif 7305:Microsoft Sans Serif 7260:Arial, Arial Rounded 7063:The Secret Adversary 6834:Charles Douglas-Home 6544:Monotype Corporation 6514:Hutt, Allen (1970). 6505:Hutt, Allen (1960). 6376:(in Thai). Thaifaces 6368:Pracha Suveeranont. 5386:Typophile (archived) 5360:Owens, Mark (2010). 4814:"Adobe Times Europa" 4688:"Linotype Times Ten" 4578:"Times New Roman OS" 4431:"Times New Roman OS" 4051:"Fonts of Knowledge" 3697:Alphabet & Image 3314:(5 September 2003). 2624:Alphabet & Image 2375:Typophile (archived) 2328:"Changing the Times" 2017:Typophile (archived) 1296:is trademarked, the 1256:makes me doubt it." 1207:also sometimes used 776:Minnow Among Tritons 752:Kabel Bold Condensed 687:stylistic alternates 9267:Corporate typefaces 8893:Avenir, Avenir Next 8753:American Typewriter 8524:News Plantin (1979) 8081:(1926, private use) 7557:Lucida Sans Unicode 7458:Harlow Solid Italic 7300:Lucida Sans Unicode 7037:The Darkling Thrush 6935:1881: Neville Bruce 6919:Edward Tyrrel Smith 6774:George Earle Buckle 6762:John Thadeus Delane 6548:Monotype Newsletter 6526:(3). Archived from 6275:on 7 September 2008 5741:. Klim Type Foundry 5717:The Washington Post 5497:on 23 December 2014 5392:on 8 September 2011 5214:on 26 February 2024 4878:Briem, Gunnlaugur. 4122:The Washington Post 3831:on 20 December 2016 3175:10.1093/jdh/epaa025 3029:, pp. 286–302. 2965:Journalism Practice 2685:on 25 November 2011 2427:on 10 November 2006 2352:Barr, John (1971). 1990:–24, 106, 124 etc. 1790:on 27 February 2021 1585:2 typefaces in the 1199:, deputy editor of 1160:Balfour Declaration 778:, published by the 693:for use in Europe. 615:Times Hever Titling 594:Metal type versions 432:Wall Street Journal 401:Didone, or "modern" 34: 9252:Monotype typefaces 8062:Goudy Heavy (1925) 7984:Forum Title (1911) 7964:Goudy Light (1908) 7713:Microsoft JhengHei 7630:Traditional Arabic 7595:Arabic Typesetting 7438:Copperplate Gothic 7056:Ode of Remembrance 6926:1867: Edmund Scale 6561:McKitterick, David 6493:The Penrose Annual 6190:"Liberation Fonts" 5658:(1 October 2013). 5656:McEldowney, Dennis 5363:A Note on the Type 5186:on 5 January 2010. 5104:on 8 February 2007 5017:. 14 February 2002 4799:The Penrose Annual 4186:. 23 November 2012 3643:Rhatigan, Daniel. 3617:Rhatigan, Daniel. 3399:. Times/Monotype. 2940:Gaultney, Victor. 2803:. Frere-Jones Type 2534:McKitterick, David 2326:Morison, Stanley. 2023:on 13 October 2011 1520:Bitstream Cyberbit 1504:in 2007 under the 1467:STIX Fonts project 1462: 1451: 1377: 1340: 1285: 1277: 1164: 1101: 1035:Times New Roman OS 1011:, a typeface that 903: 895: 868:Russian Federation 768: 672:Series 727 and 827 639:, the home of the 625: 560:Bauer Type Foundry 511:Christophe Plantin 498: 456: 441:Miller and Richard 427:Tobias Frere-Jones 425:typeface designer 422: 392: 364: 312: 256: 192:personal computers 32: 9239: 9238: 9192:Apple Color Emoji 9178: 9177: 9099:Bradley Hand Bold 8680: 8679: 8647:Classic Grotesque 8506:(general release) 8421:(general release) 8312:Twentieth Century 8051:Italian Old Style 7896: 7895: 7726: 7725: 7528: 7527: 7481: 7480: 7400: 7399: 7387:Palatino Linotype 7343: 7342: 7219:Microsoft Windows 7185: 7184: 6964:William W. Hadley 6923:1858: E. W. Scale 6896:1821: Henry White 6822:William Rees-Mogg 6619:978-1-56792-240-0 6434:"tlwg/fonts-tlwg" 6159:Middendorp, Jan. 5887:"EULA - Monotype" 5787:"Rhymes typeface" 5671:978-1-86940-671-4 5641:978-1-56750-211-4 5433:. 25 January 2007 4713:"Adobe Times Ten" 4604:"Times New Roman" 4555:978-90-04-30377-5 4336:Hitchcock, Greg. 3906:978-0-87923-333-4 3805:978-1-85669-351-6 3795:20th-century Type 3583:Monotype Recorder 3501:Monotype Recorder 3312:Carter, Sebastian 3200:; Savoie, Alice. 3078:Whittington Press 2477:978-1-84511-028-4 2277:978-0-471-28894-7 2124:978-0-521-18316-1 2048:"Stanley Morison" 1997:978-0-521-09786-4 1959:978-90-04-16982-1 1849:Monotype Recorder 1732:Letters of Credit 1608:Monotype Recorder 1567:Open Font License 1542:SIL International 1500:and published by 1474:, and adapted as 1389:font substitution 1387:designs used for 1385:metric-compatible 1367:Free alternatives 1302:not copyrightable 1079:Linotype variants 1009:Simplified Arabic 970:Monotype variants 784:Monotype Recorder 600:Letters of Credit 473:Letters of Credit 156: 155: 16:(Redirected from 9324: 9317:Arabic typefaces 9231: 9230: 8913:Founders Grotesk 8888:Arial Unicode MS 8748:Academy Engraved 8736: 8735: 8707: 8700: 8693: 8684: 8683: 8674: 8673: 8607:Strayhorn (1995) 8578:Ellington (1990) 8481:Albertina (1964) 8460:(public release) 8408:Mercurius (1957) 8405:Castellar (1957) 8376:Festival Titling 8322:Van Dijck (1937) 8248:Van Dijck (1935) 8105:Pastonchi (1928) 8068:Horley Old Style 7923: 7916: 7909: 7900: 7899: 7888: 7887: 7673: 7672: 7483: 7482: 7443:Freestyle Script 7402: 7401: 7345: 7344: 7265:Arial Unicode MS 7243: 7242: 7212: 7205: 7198: 7189: 7188: 7175: 7174: 7016:2023: Ben Taylor 6744:John Walter, 2nd 6718:The Sunday Times 6704: 6697: 6690: 6681: 6680: 6637: 6628:Williamson, Hugh 6623: 6599: 6578: 6555: 6539: 6537: 6535: 6510: 6507:Newspaper Design 6501: 6483: 6456:Cited literature 6445: 6444: 6442: 6440: 6426: 6420: 6419: 6417: 6415: 6401: 6395: 6385: 6383: 6381: 6365: 6359: 6358: 6356: 6354: 6339: 6333: 6332: 6330: 6328: 6323:. 2 October 2014 6321:software.sil.org 6313: 6307: 6306: 6304: 6302: 6291: 6285: 6284: 6282: 6280: 6265: 6259: 6258: 6256: 6254: 6235: 6229: 6228: 6200: 6194: 6193: 6182: 6176: 6175: 6173: 6171: 6156: 6150: 6149: 6140: 6138: 6126:Twardoch, Adam. 6123: 6117: 6116: 6111: 6109: 6104:. Tiro Typeworks 6094: 6088: 6087: 6085: 6083: 6072: 6066: 6065: 6063: 6061: 6050: 6044: 6043: 6041: 6039: 6033:fontsquirrel.com 6025: 6019: 6018: 6016: 6014: 6004: 5998: 5997: 5995: 5993: 5983: 5977: 5976: 5974: 5972: 5967:. 4 October 2009 5961: 5955: 5954: 5952: 5950: 5945:on 24 April 2011 5944: 5932: 5926: 5925: 5923: 5921: 5916: 5908: 5902: 5901: 5899: 5897: 5883: 5877: 5876: 5874: 5872: 5858: 5852: 5851: 5849: 5847: 5833: 5827: 5826: 5824: 5822: 5817:. 4 October 2009 5811: 5802: 5801: 5799: 5797: 5783: 5777: 5776: 5774: 5772: 5757: 5751: 5750: 5748: 5746: 5737:Sowersby, Kris. 5734: 5728: 5727: 5725: 5723: 5708: 5702: 5701: 5699: 5697: 5691:The Typekit Blog 5682: 5676: 5675: 5652: 5646: 5645: 5625: 5619: 5618: 5601:Frutiger, Adrian 5596: 5587: 5586: 5584: 5582: 5568: 5562: 5561: 5559: 5557: 5542: 5536: 5535: 5533: 5531: 5519:Coles, Stephen. 5516: 5510: 5509: 5504: 5502: 5496: 5485: 5477: 5471: 5470: 5468: 5466: 5449: 5443: 5442: 5440: 5438: 5423: 5417: 5416: 5408: 5402: 5401: 5399: 5397: 5388:. Archived from 5377: 5371: 5370: 5368: 5357: 5351: 5350: 5348: 5346: 5332: 5326: 5325: 5323: 5321: 5306: 5297: 5296: 5294: 5292: 5277: 5271: 5270: 5244: 5238: 5237: 5231: 5223: 5221: 5219: 5213: 5202: 5194: 5188: 5187: 5172: 5166: 5165: 5163: 5161: 5156:on 13 March 2016 5145: 5134: 5133: 5132:. 31/32: 52–108. 5130:Printing History 5125: 5114: 5113: 5111: 5109: 5100:. Archived from 5089: 5083: 5082: 5080: 5078: 5063: 5057: 5056: 5048: 5042: 5041: 5033: 5027: 5026: 5024: 5022: 5007: 5001: 5000: 4998: 4996: 4981: 4975: 4974: 4972: 4970: 4955: 4949: 4948: 4946: 4944: 4929: 4923: 4922: 4920: 4918: 4913:on 15 April 2012 4909:. Archived from 4898: 4892: 4891: 4889: 4887: 4875: 4869: 4868: 4866: 4864: 4855: 4847: 4834: 4833: 4831: 4829: 4820:. Archived from 4810: 4804: 4803: 4790: 4784: 4783: 4781: 4779: 4768: 4759: 4758: 4756: 4754: 4739: 4733: 4732: 4730: 4728: 4719:. Archived from 4709: 4703: 4702: 4700: 4698: 4684: 4678: 4677: 4675: 4673: 4663: 4657: 4656: 4654: 4652: 4642: 4636: 4635: 4633: 4631: 4621: 4615: 4614: 4612: 4610: 4600: 4594: 4593: 4591: 4589: 4574: 4568: 4567: 4539: 4530: 4529: 4527: 4525: 4514: 4508: 4507: 4505: 4503: 4488: 4482: 4481: 4479: 4477: 4462: 4456: 4455: 4448: 4442: 4441: 4439: 4437: 4427: 4421: 4420: 4418: 4416: 4406: 4400: 4399: 4397: 4395: 4385: 4379: 4378: 4376: 4374: 4359: 4353: 4352: 4350: 4348: 4333: 4327: 4326: 4324: 4322: 4307: 4301: 4300: 4298: 4296: 4281: 4272: 4271: 4269: 4267: 4257:Bigelow, Charles 4253: 4244: 4243: 4241: 4239: 4224: 4218: 4217: 4205: 4196: 4195: 4193: 4191: 4176: 4170: 4169: 4167: 4165: 4151: 4145: 4144: 4132: 4126: 4125: 4113: 4107: 4106: 4076: 4070: 4069: 4067: 4065: 4046: 4040: 4039: 4037: 4035: 4020: 4014: 4013: 4001: 3995: 3994:, p. 74-75. 3989: 3983: 3982: 3966: 3960: 3959: 3957: 3955: 3945: 3936: 3930: 3929: 3917: 3911: 3910: 3890: 3884: 3878: 3872: 3871: 3869: 3867: 3858:. Archived from 3847: 3841: 3840: 3838: 3836: 3827:. Archived from 3816: 3810: 3809: 3789: 3783: 3782: 3780: 3778: 3763: 3754: 3748: 3742: 3736: 3730: 3729: 3727: 3725: 3710: 3701: 3700: 3692: 3686: 3685: 3670: 3664: 3663: 3661: 3659: 3649: 3640: 3634: 3633: 3631: 3629: 3614: 3599: 3598: 3596: 3594: 3580: 3572: 3561: 3560: 3558: 3556: 3551:on 26 March 2023 3541: 3535: 3529: 3520: 3519: 3498: 3490: 3484: 3483: 3481: 3479: 3459: 3453: 3447: 3441: 3440: 3438: 3436: 3422: 3413: 3412: 3410: 3408: 3393: 3384: 3378: 3372: 3366: 3357: 3351: 3345: 3339: 3333: 3332: 3330: 3328: 3308: 3302: 3301: 3289: 3283: 3282: 3280: 3278: 3253: 3247: 3246: 3244: 3242: 3227: 3221: 3220: 3218: 3216: 3185: 3179: 3178: 3158: 3152: 3151: 3145: 3143: 3129: 3123: 3122: 3120: 3118: 3103: 3097: 3091: 3082: 3081: 3065: 3054: 3048: 3042: 3036: 3030: 3024: 3018: 3012: 3001: 2995: 2989: 2988: 2960: 2954: 2953: 2951: 2949: 2937: 2928: 2922: 2913: 2912: 2910: 2908: 2886: 2877: 2871: 2865: 2864: 2862: 2860: 2851:. Archived from 2837: 2828: 2822: 2813: 2812: 2810: 2808: 2796: 2790: 2789: 2766: 2760: 2754: 2748: 2747: 2727: 2721: 2720: 2718: 2716: 2701: 2695: 2694: 2692: 2690: 2684: 2678:. Archived from 2673: 2664: 2655: 2654: 2634: 2628: 2627: 2619: 2608: 2607: 2598: 2596: 2581: 2575: 2569: 2554: 2553: 2530:Morison, Stanley 2522: 2513: 2512: 2510: 2508: 2493: 2482: 2481: 2461: 2455: 2454: 2443: 2437: 2436: 2434: 2432: 2426: 2415: 2404: 2398: 2397: 2388: 2386: 2381:on 13 March 2013 2377:. Archived from 2366: 2360: 2359: 2349: 2343: 2342: 2340: 2338: 2323: 2312: 2311: 2291: 2282: 2281: 2261: 2255: 2254: 2248: 2240: 2220: 2214: 2213: 2193: 2187: 2186: 2152: 2146: 2140: 2129: 2128: 2106: 2100: 2099: 2072: 2066: 2065: 2043: 2037: 2036: 2030: 2028: 2019:. Archived from 2008: 2002: 2001: 1985: 1982:A Tally of Types 1975: 1964: 1963: 1940: 1931: 1930: 1928: 1926: 1914:Mann, Meredith. 1911: 1905: 1899: 1893: 1887: 1881: 1875: 1869: 1863: 1857: 1856: 1846: 1837: 1828: 1827: 1821: 1813: 1806: 1800: 1799: 1797: 1795: 1775: 1760: 1753:military service 1741: 1735: 1727: 1721: 1718: 1712: 1709: 1703: 1699: 1693: 1678: 1672: 1668: 1662: 1651: 1645: 1642: 1636: 1621: 1615: 1604: 1571:Unicode Standard 1490:Liberation Serif 1289:phototypesetting 1209:Perpetua Titling 1195:with input from 1137:currency symbols 1118:Erik Spiekermann 710: 709: 705: 574:SM thought that 568:Brooke Crutchley 521:or printed on a 461:Legibility Group 452:Legibility Group 418:Legibility Group 42: 35: 31: 21: 9332: 9331: 9327: 9326: 9325: 9323: 9322: 9321: 9242: 9241: 9240: 9235: 9221: 9174: 9162:Snell Roundhand 9103:Brush Script MT 9077: 9022: 8867: 8813:Iowan Old Style 8717: 8711: 8681: 8676: 8664: 8635: 8616: 8604:Columbus (1992) 8567: 8533: 8510: 8429: 8372:Condensa (1951) 8361: 8347: 8306:(for J.M. Dent) 8244:Tempest Titling 8213:Monoline Script 8205:Times New Roman 8166:Ashley Crawford 8148: 8053:(Goudy, 1924/7) 8005: 8000:Caslon Old Face 7967: 7961:(1907 and 1920) 7933: 7927: 7897: 7892: 7878: 7815: 7787: 7759: 7722: 7699: 7685:Microsoft YaHei 7662: 7634: 7625:Times New Roman 7581: 7577:Times New Roman 7524: 7477: 7396: 7392:Times New Roman 7339: 7236: 7231: 7222: 7216: 7186: 7181: 7163: 7159:Wapping dispute 7154:Times New Roman 7123: 7074: 7068: 7025: 7024:First published 7019: 6888: 6880: 6798:Geoffrey Dawson 6780:Geoffrey Dawson 6727: 6721: 6708: 6671:Times New Roman 6645: 6640: 6620: 6612:. D.R. Godine. 6596: 6575: 6533: 6531: 6530:on 5 March 2017 6480: 6469:Stanley Morison 6464:Barker, Nicolas 6458: 6453: 6448: 6438: 6436: 6427: 6423: 6413: 6411: 6402: 6398: 6379: 6377: 6370:"ฟอนต์แห่งชาติ" 6366: 6362: 6352: 6350: 6341: 6340: 6336: 6326: 6324: 6315: 6314: 6310: 6300: 6298: 6293: 6292: 6288: 6278: 6276: 6267: 6266: 6262: 6252: 6250: 6239:"Titus Unicode" 6237: 6236: 6232: 6217:10.1145/2742938 6201: 6197: 6183: 6179: 6169: 6167: 6157: 6153: 6136: 6134: 6124: 6120: 6107: 6105: 6096: 6095: 6091: 6081: 6079: 6074: 6073: 6069: 6059: 6057: 6052: 6051: 6047: 6037: 6035: 6027: 6026: 6022: 6012: 6010: 6006: 6005: 6001: 5991: 5989: 5985: 5984: 5980: 5970: 5968: 5963: 5962: 5958: 5948: 5946: 5942: 5934: 5933: 5929: 5919: 5917: 5914: 5910: 5909: 5905: 5895: 5893: 5885: 5884: 5880: 5870: 5868: 5860: 5859: 5855: 5845: 5843: 5835: 5834: 5830: 5820: 5818: 5813: 5812: 5805: 5795: 5793: 5785: 5784: 5780: 5770: 5768: 5758: 5754: 5744: 5742: 5735: 5731: 5721: 5719: 5709: 5705: 5695: 5693: 5683: 5679: 5672: 5653: 5649: 5642: 5626: 5622: 5615: 5597: 5590: 5580: 5578: 5572:"Pelham Infant" 5570: 5569: 5565: 5555: 5553: 5543: 5539: 5529: 5527: 5517: 5513: 5500: 5498: 5494: 5483: 5479: 5478: 5474: 5464: 5462: 5450: 5446: 5436: 5434: 5425: 5424: 5420: 5409: 5405: 5395: 5393: 5378: 5374: 5366: 5358: 5354: 5344: 5342: 5334: 5333: 5329: 5319: 5317: 5307: 5300: 5290: 5288: 5278: 5274: 5267: 5245: 5241: 5225: 5224: 5217: 5215: 5211: 5200: 5196: 5195: 5191: 5180:The Font Bureau 5174: 5173: 5169: 5159: 5157: 5148:Loxley, Simon. 5146: 5137: 5126: 5117: 5107: 5105: 5090: 5086: 5076: 5074: 5065: 5064: 5060: 5049: 5045: 5034: 5030: 5020: 5018: 5009: 5008: 5004: 4994: 4992: 4982: 4978: 4968: 4966: 4956: 4952: 4942: 4940: 4930: 4926: 4916: 4914: 4899: 4895: 4885: 4883: 4876: 4872: 4862: 4860: 4848: 4837: 4827: 4825: 4824:on 15 July 2015 4812: 4811: 4807: 4791: 4787: 4777: 4775: 4770: 4769: 4762: 4752: 4750: 4740: 4736: 4726: 4724: 4723:on 15 July 2015 4711: 4710: 4706: 4696: 4694: 4686: 4685: 4681: 4671: 4669: 4665: 4664: 4660: 4650: 4648: 4644: 4643: 4639: 4629: 4627: 4623: 4622: 4618: 4608: 4606: 4602: 4601: 4597: 4587: 4585: 4576: 4575: 4571: 4556: 4540: 4533: 4523: 4521: 4515: 4511: 4501: 4499: 4490: 4489: 4485: 4475: 4473: 4463: 4459: 4450: 4449: 4445: 4435: 4433: 4429: 4428: 4424: 4414: 4412: 4408: 4407: 4403: 4393: 4391: 4387: 4386: 4382: 4372: 4370: 4360: 4356: 4346: 4344: 4334: 4330: 4320: 4318: 4308: 4304: 4294: 4292: 4282: 4275: 4265: 4263: 4254: 4247: 4237: 4235: 4225: 4221: 4214:CreativePro.com 4206: 4199: 4189: 4187: 4178: 4177: 4173: 4163: 4161: 4153: 4152: 4148: 4133: 4129: 4114: 4110: 4077: 4073: 4063: 4061: 4047: 4043: 4033: 4031: 4021: 4017: 4011:considerations. 4002: 3998: 3990: 3986: 3967: 3963: 3953: 3951: 3943: 3937: 3933: 3919: 3918: 3914: 3907: 3891: 3887: 3879: 3875: 3865: 3863: 3848: 3844: 3834: 3832: 3817: 3813: 3806: 3790: 3786: 3776: 3774: 3766:Rhatigan, Dan. 3764: 3757: 3749: 3745: 3739:Williamson 1956 3737: 3733: 3723: 3721: 3711: 3704: 3693: 3689: 3671: 3667: 3657: 3655: 3647: 3641: 3637: 3627: 3625: 3615: 3602: 3592: 3590: 3578: 3574: 3573: 3564: 3554: 3552: 3543: 3542: 3538: 3532:Williamson 1956 3530: 3523: 3507:(2): 31. 1938. 3496: 3492: 3491: 3487: 3477: 3475: 3460: 3456: 3448: 3444: 3434: 3432: 3424: 3423: 3416: 3406: 3404: 3395: 3394: 3387: 3379: 3375: 3367: 3360: 3352: 3348: 3342:Williamson 1956 3340: 3336: 3326: 3324: 3309: 3305: 3290: 3286: 3276: 3274: 3265:Savoie, Alice. 3261:Wayback Machine 3254: 3250: 3240: 3238: 3228: 3224: 3214: 3212: 3202:"Women in Type" 3193:Wayback Machine 3186: 3182: 3159: 3155: 3141: 3139: 3130: 3126: 3116: 3114: 3112:ultrasparky.org 3106:Rhatigan, Dan. 3104: 3100: 3092: 3085: 3066: 3057: 3049: 3045: 3037: 3033: 3025: 3021: 3013: 3004: 2996: 2992: 2961: 2957: 2947: 2945: 2938: 2931: 2923: 2916: 2906: 2904: 2887: 2880: 2872: 2868: 2858: 2856: 2855:on 12 June 2012 2838: 2831: 2825:Williamson 1956 2823: 2816: 2806: 2804: 2797: 2793: 2767: 2763: 2755: 2751: 2728: 2724: 2714: 2712: 2702: 2698: 2688: 2686: 2682: 2671: 2665: 2658: 2651: 2635: 2631: 2620: 2611: 2594: 2592: 2582: 2578: 2570: 2557: 2550: 2523: 2516: 2506: 2504: 2502:Financial Times 2494: 2485: 2478: 2462: 2458: 2444: 2440: 2430: 2428: 2424: 2413: 2405: 2401: 2384: 2382: 2369:Mosley, James. 2367: 2363: 2350: 2346: 2336: 2334: 2324: 2315: 2308: 2292: 2285: 2278: 2262: 2258: 2242: 2241: 2237: 2221: 2217: 2210: 2194: 2190: 2171: 2153: 2149: 2141: 2132: 2125: 2107: 2103: 2093: 2073: 2069: 2062: 2044: 2040: 2026: 2024: 2011:Mosley, James. 2009: 2005: 1998: 1976: 1967: 1960: 1941: 1934: 1924: 1922: 1912: 1908: 1900: 1896: 1888: 1884: 1878:Williamson 1956 1876: 1872: 1864: 1860: 1844: 1838: 1831: 1815: 1814: 1812:. London. 1932. 1808: 1807: 1803: 1793: 1791: 1776: 1772: 1768: 1763: 1742: 1738: 1728: 1724: 1719: 1715: 1710: 1706: 1700: 1696: 1679: 1675: 1669: 1665: 1652: 1648: 1643: 1639: 1622: 1618: 1605: 1601: 1597: 1448:Linux Libertine 1426:Linux Libertine 1379:There are some 1369: 1265: 1218: 1149: 1110: 1093: 1088: 1081: 1057: 1049:Helvetica World 1037: 980: 978:Times New Roman 972: 967: 965:Modern releases 887: 760: 718: 707: 703: 702: 699: 674: 661: 617: 608: 596: 410: 356: 354:Italic and bold 278:to allow tight 248: 176:Stanley Morison 159:Times New Roman 135:Design based on 91:Commissioned by 83: 81:Stanley Morison 67: 33:Times New Roman 28: 23: 22: 15: 12: 11: 5: 9330: 9320: 9319: 9314: 9309: 9304: 9299: 9294: 9289: 9284: 9279: 9274: 9269: 9264: 9259: 9254: 9237: 9236: 9226: 9223: 9222: 9220: 9219: 9214: 9209: 9204: 9199: 9194: 9188: 9186: 9184:Non-alphabetic 9180: 9179: 9176: 9175: 9173: 9172: 9167: 9164: 9159: 9154: 9149: 9146: 9143: 9138: 9135: 9132: 9129: 9126: 9123: 9118: 9113: 9110: 9105: 9100: 9097: 9095:Apple Chancery 9091: 9089: 9079: 9078: 9076: 9075: 9072: 9067: 9062: 9057: 9052: 9043: 9038: 9032: 9030: 9024: 9023: 9021: 9020: 9015: 9010: 9005: 9000: 8995: 8990: 8985: 8980: 8975: 8970: 8965: 8960: 8955: 8950: 8945: 8940: 8935: 8930: 8925: 8920: 8915: 8910: 8905: 8900: 8895: 8890: 8881: 8877: 8875: 8869: 8868: 8866: 8865: 8860: 8855: 8850: 8845: 8843:Superclarendon 8840: 8835: 8830: 8825: 8820: 8815: 8810: 8805: 8800: 8795: 8790: 8785: 8780: 8775: 8770: 8765: 8763:Baskerville MT 8760: 8755: 8750: 8744: 8742: 8733: 8719: 8718: 8710: 8709: 8702: 8695: 8687: 8678: 8677: 8669: 8666: 8665: 8663: 8662: 8656: 8650: 8643: 8641: 8637: 8636: 8634: 8633: 8628: 8624: 8622: 8618: 8617: 8615: 8614: 8611: 8608: 8605: 8602: 8599: 8594: 8589: 8587:Century Gothic 8584: 8579: 8575: 8573: 8569: 8568: 8566: 8565: 8560: 8555: 8550: 8545: 8541: 8539: 8535: 8534: 8532: 8531: 8525: 8522: 8521:Photina (1972) 8518: 8516: 8512: 8511: 8509: 8508: 8500: 8494: 8488: 8485: 8482: 8479: 8474: 8468: 8463: 8456: 8450: 8444: 8437: 8435: 8431: 8430: 8428: 8427: 8424: 8415: 8409: 8406: 8403: 8400: 8397: 8391: 8388: 8385: 8379: 8373: 8369: 8367: 8363: 8362: 8360: 8359: 8355: 8353: 8349: 8348: 8346: 8345: 8342: 8337: 8332: 8329: 8323: 8320: 8314: 8309: 8300: 8291: 8285: 8279: 8274: 8268: 8259: 8256: 8249: 8246: 8241: 8238: 8235: 8232: 8229: 8223: 8222:Jocunda (1933) 8220: 8214: 8211: 8208: 8202: 8199: 8196: 8193: 8190: 8187: 8184: 8181: 8175: 8169: 8163: 8156: 8154: 8150: 8149: 8147: 8146: 8140: 8134: 8128: 8122: 8112: 8111:(1928 onwards) 8106: 8103: 8097: 8092: 8091:Othello (1928) 8089: 8086: 8083: 8075: 8069: 8066: 8063: 8060: 8054: 8048: 8038: 8032: 8026: 8020: 8013: 8011: 8007: 8006: 8004: 8003: 7997: 7991: 7985: 7982: 7975: 7973: 7969: 7968: 7966: 7965: 7962: 7956: 7953: 7947: 7941: 7939: 7935: 7934: 7926: 7925: 7918: 7911: 7903: 7894: 7893: 7883: 7880: 7879: 7877: 7876: 7871: 7866: 7861: 7856: 7851: 7846: 7841: 7836: 7831: 7825: 7823: 7817: 7816: 7814: 7813: 7808: 7803: 7797: 7795: 7789: 7788: 7786: 7785: 7780: 7775: 7769: 7767: 7761: 7760: 7758: 7757: 7752: 7747: 7742: 7736: 7734: 7728: 7727: 7724: 7723: 7721: 7720: 7715: 7709: 7707: 7701: 7700: 7698: 7697: 7692: 7687: 7681: 7679: 7670: 7664: 7663: 7661: 7660: 7655: 7650: 7644: 7642: 7636: 7635: 7633: 7632: 7627: 7622: 7617: 7612: 7607: 7602: 7597: 7591: 7589: 7583: 7582: 7580: 7579: 7574: 7569: 7564: 7559: 7554: 7549: 7544: 7538: 7536: 7530: 7529: 7526: 7525: 7523: 7522: 7517: 7515:OCR A Extended 7512: 7510:Lucida Console 7507: 7502: 7497: 7491: 7489: 7479: 7478: 7476: 7475: 7470: 7465: 7460: 7455: 7450: 7445: 7440: 7435: 7430: 7425: 7420: 7414: 7412: 7398: 7397: 7395: 7394: 7389: 7384: 7379: 7374: 7369: 7364: 7359: 7353: 7351: 7341: 7340: 7338: 7337: 7332: 7327: 7322: 7317: 7312: 7310:News Gothic MT 7307: 7302: 7297: 7292: 7287: 7285:Century Gothic 7282: 7277: 7272: 7267: 7262: 7257: 7251: 7249: 7240: 7224: 7223: 7215: 7214: 7207: 7200: 7192: 7183: 7182: 7180: 7179: 7168: 7165: 7164: 7162: 7161: 7156: 7151: 7144: 7137: 7131: 7129: 7125: 7124: 7122: 7121: 7114: 7107: 7100: 7093: 7090:TES (magazine) 7086: 7078: 7076: 7070: 7069: 7067: 7066: 7059: 7052: 7045: 7040: 7032: 7030: 7021: 7020: 7018: 7017: 7014: 7008: 7002: 6996: 6990: 6984: 6978: 6976:Denis Hamilton 6972: 6966: 6960: 6954: 6948: 6942: 6936: 6933: 6927: 6924: 6921: 6915: 6912: 6906: 6905:1824: Clarkson 6903: 6897: 6893: 6891: 6882: 6881: 6879: 6878: 6876:Tony Gallagher 6872: 6866: 6860: 6858:Robert Thomson 6854: 6852:Peter Stothard 6848: 6842: 6840:Charles Wilson 6836: 6830: 6824: 6818: 6812: 6806: 6800: 6794: 6788: 6782: 6776: 6770: 6768:Thomas Chenery 6764: 6758: 6752: 6746: 6740: 6733: 6731: 6723: 6722: 6707: 6706: 6699: 6692: 6684: 6678: 6677: 6669:Fonts in Use: 6667: 6662: 6656: 6644: 6643:External links 6641: 6639: 6638: 6624: 6618: 6600: 6594: 6579: 6573: 6556: 6540: 6511: 6502: 6484: 6478: 6459: 6457: 6454: 6452: 6449: 6447: 6446: 6421: 6396: 6360: 6334: 6308: 6286: 6260: 6249:on 9 July 2007 6230: 6195: 6188:(9 May 2007). 6177: 6151: 6118: 6089: 6076:"STIX Project" 6067: 6045: 6020: 5999: 5978: 5956: 5927: 5903: 5878: 5853: 5828: 5803: 5778: 5752: 5729: 5703: 5677: 5670: 5647: 5640: 5620: 5614:978-3764385811 5613: 5588: 5563: 5547:"Times Modern" 5537: 5511: 5472: 5444: 5418: 5403: 5380:Hudson, John. 5372: 5352: 5327: 5298: 5280:Devroye, Luc. 5272: 5265: 5239: 5189: 5167: 5135: 5115: 5098:Visual Editors 5084: 5073:on 23 May 2012 5058: 5043: 5028: 5002: 4976: 4950: 4932:Baines, Phil. 4924: 4893: 4870: 4835: 4805: 4785: 4774:. Linotype.com 4760: 4734: 4704: 4679: 4667:"System Fonts" 4658: 4637: 4616: 4595: 4569: 4554: 4531: 4509: 4483: 4457: 4443: 4422: 4401: 4380: 4363:Simonson, Mark 4354: 4328: 4302: 4273: 4245: 4219: 4197: 4171: 4146: 4127: 4108: 4071: 4055:APA Style Blog 4049:Lee, Chelsea. 4041: 4015: 3996: 3984: 3977:) – via 3961: 3931: 3912: 3905: 3885: 3883:, p. 172. 3873: 3862:on 27 May 2016 3842: 3811: 3804: 3784: 3755: 3743: 3741:, p. 103. 3731: 3719:Print magazine 3702: 3687: 3665: 3635: 3600: 3562: 3536: 3534:, p. 102. 3521: 3485: 3454: 3452:, p. 208. 3442: 3414: 3385: 3383:, p. 107. 3373: 3371:, p. 207. 3358: 3356:, p. 270. 3346: 3334: 3303: 3284: 3248: 3222: 3180: 3169:(3): 209–224. 3153: 3124: 3098: 3096:, p. 264. 3083: 3055: 3053:, p. 199. 3043: 3041:, p. 196. 3031: 3019: 3017:, p. 202. 3002: 3000:, p. 194. 2990: 2955: 2929: 2914: 2878: 2866: 2829: 2814: 2791: 2780:(4): 302–324. 2761: 2759:, p. 181. 2749: 2722: 2696: 2656: 2649: 2629: 2609: 2576: 2574:, p. 204. 2555: 2548: 2514: 2483: 2476: 2456: 2438: 2399: 2393:'sloped roman' 2361: 2344: 2313: 2306: 2283: 2276: 2256: 2235: 2215: 2208: 2188: 2182:Robert Granjon 2169: 2147: 2145:, p. 166. 2130: 2123: 2101: 2091: 2067: 2060: 2038: 2003: 1996: 1965: 1958: 1932: 1906: 1904:, p. 197. 1894: 1892:, p. 261. 1882: 1880:, p. 117. 1870: 1868:, p. 263. 1858: 1829: 1801: 1769: 1767: 1764: 1762: 1761: 1749:George W. Bush 1736: 1722: 1713: 1704: 1694: 1673: 1663: 1659:Frederic Goudy 1646: 1637: 1616: 1598: 1596: 1593: 1592: 1591: 1587:National Fonts 1583: 1560:Tibetan script 1553: 1550:PT Astra Serif 1545: 1535: 1517: 1514:Croscore fonts 1510:font exception 1498:Ascender Corp. 1494:Steve Matteson 1487: 1453: 1452: 1438:Knowledge logo 1423: 1368: 1365: 1364: 1363: 1360: 1353: 1332: 1331: 1328:infant version 1324: 1317: 1264: 1261: 1217: 1214: 1213: 1212: 1188: 1184: 1181: 1178: 1148: 1142: 1141: 1140: 1125: 1121: 1109: 1106: 1092: 1089: 1080: 1077: 1076: 1075: 1072: 1069: 1056: 1053: 1036: 1033: 1023:and leased to 989:swash capitals 985:small capitals 979: 976: 971: 968: 966: 963: 886: 883: 780:Nonesuch Press 759: 756: 717: 714: 698: 695: 673: 670: 660: 657: 616: 613: 607: 604: 595: 592: 502:Nicolas Barker 409: 406: 355: 352: 316:Robert Granjon 247: 244: 184:Victor Lardent 154: 153: 148: 142: 141: 136: 132: 131: 126: 120: 119: 116: 112: 111: 106: 100: 99: 92: 88: 87: 85:Victor Lardent 78: 72: 71: 62: 60:Classification 56: 55: 50: 44: 43: 27:Serif typeface 26: 9: 6: 4: 3: 2: 9329: 9318: 9315: 9313: 9312:IPA typefaces 9310: 9308: 9305: 9303: 9300: 9298: 9295: 9293: 9290: 9288: 9285: 9283: 9280: 9278: 9275: 9273: 9270: 9268: 9265: 9263: 9260: 9258: 9255: 9253: 9250: 9249: 9247: 9234: 9224: 9218: 9217:Zapf Dingbats 9215: 9213: 9210: 9208: 9205: 9203: 9200: 9198: 9197:Apple Symbols 9195: 9193: 9190: 9189: 9187: 9185: 9181: 9171: 9168: 9165: 9163: 9160: 9158: 9155: 9153: 9150: 9148:Sauber Script 9147: 9144: 9142: 9139: 9136: 9133: 9130: 9127: 9124: 9122: 9119: 9117: 9114: 9111: 9109: 9106: 9104: 9101: 9098: 9096: 9093: 9092: 9090: 9088: 9084: 9080: 9073: 9071: 9068: 9066: 9063: 9061: 9058: 9056: 9053: 9051: 9047: 9044: 9042: 9041:Apple Braille 9039: 9037: 9034: 9033: 9031: 9029: 9025: 9019: 9016: 9014: 9011: 9009: 9006: 9004: 9001: 8999: 8996: 8994: 8993:San Francisco 8991: 8989: 8986: 8984: 8981: 8979: 8976: 8974: 8971: 8969: 8966: 8964: 8961: 8959: 8958:Myriad Arabic 8956: 8954: 8951: 8949: 8948:Lucida Grande 8946: 8944: 8941: 8939: 8936: 8934: 8931: 8929: 8926: 8924: 8921: 8919: 8916: 8914: 8911: 8909: 8908:Euphemia UCAS 8906: 8904: 8901: 8899: 8896: 8894: 8891: 8889: 8885: 8882: 8879: 8878: 8876: 8874: 8870: 8864: 8861: 8859: 8856: 8854: 8851: 8849: 8846: 8844: 8841: 8839: 8836: 8834: 8831: 8829: 8826: 8824: 8821: 8819: 8816: 8814: 8811: 8809: 8806: 8804: 8801: 8799: 8796: 8794: 8791: 8789: 8786: 8784: 8781: 8779: 8776: 8774: 8771: 8769: 8766: 8764: 8761: 8759: 8756: 8754: 8751: 8749: 8746: 8745: 8743: 8741: 8737: 8734: 8732: 8728: 8724: 8720: 8715: 8708: 8703: 8701: 8696: 8694: 8689: 8688: 8685: 8667: 8660: 8657: 8654: 8651: 8648: 8645: 8644: 8642: 8638: 8632: 8629: 8626: 8625: 8623: 8619: 8612: 8609: 8606: 8603: 8600: 8598: 8595: 8593: 8590: 8588: 8585: 8583: 8580: 8577: 8576: 8574: 8570: 8564: 8561: 8559: 8556: 8554: 8551: 8549: 8546: 8544:Nimrod (1980) 8543: 8542: 8540: 8536: 8529: 8526: 8523: 8520: 8519: 8517: 8513: 8507: 8504: 8501: 8498: 8497:Fleet Titling 8495: 8492: 8489: 8486: 8483: 8480: 8478: 8475: 8472: 8469: 8467: 8464: 8461: 8457: 8454: 8451: 8448: 8445: 8442: 8441:New Clarendon 8439: 8438: 8436: 8432: 8426:Pepita (1959) 8425: 8422: 8419: 8416: 8413: 8410: 8407: 8404: 8402:Headline Bold 8401: 8398: 8395: 8394:Ashley Script 8392: 8389: 8386: 8383: 8380: 8377: 8374: 8371: 8370: 8368: 8364: 8358:Figaro (1940) 8357: 8356: 8354: 8350: 8343: 8341: 8338: 8336: 8333: 8331:Matura (1938) 8330: 8327: 8324: 8321: 8318: 8315: 8313: 8310: 8307: 8304: 8301: 8298: 8295: 8292: 8289: 8286: 8283: 8280: 8278: 8275: 8272: 8269: 8266: 8263: 8260: 8257: 8254: 8253:(for Collins) 8250: 8247: 8245: 8242: 8239: 8236: 8233: 8230: 8227: 8224: 8221: 8218: 8215: 8212: 8209: 8206: 8203: 8200: 8197: 8194: 8191: 8188: 8185: 8182: 8179: 8176: 8173: 8170: 8167: 8164: 8161: 8158: 8157: 8155: 8151: 8144: 8141: 8138: 8135: 8132: 8129: 8126: 8123: 8120: 8116: 8113: 8110: 8107: 8104: 8101: 8098: 8096: 8093: 8090: 8087: 8084: 8082: 8079: 8076: 8073: 8072:Grotesque 215 8070: 8067: 8064: 8061: 8058: 8055: 8052: 8049: 8046: 8042: 8039: 8036: 8033: 8030: 8027: 8024: 8021: 8018: 8015: 8014: 8012: 8008: 8001: 7998: 7995: 7992: 7989: 7986: 7983: 7980: 7977: 7976: 7974: 7970: 7963: 7960: 7957: 7954: 7951: 7948: 7946: 7943: 7942: 7940: 7936: 7931: 7924: 7919: 7917: 7912: 7910: 7905: 7904: 7901: 7891: 7881: 7875: 7872: 7870: 7867: 7865: 7862: 7860: 7857: 7855: 7852: 7850: 7847: 7845: 7842: 7840: 7837: 7835: 7832: 7830: 7827: 7826: 7824: 7822: 7818: 7812: 7809: 7807: 7804: 7802: 7799: 7798: 7796: 7794: 7793:Indic scripts 7790: 7784: 7781: 7779: 7776: 7774: 7771: 7770: 7768: 7766: 7762: 7756: 7755:Malgun Gothic 7753: 7751: 7748: 7746: 7743: 7741: 7738: 7737: 7735: 7733: 7729: 7719: 7716: 7714: 7711: 7710: 7708: 7706: 7702: 7696: 7693: 7691: 7688: 7686: 7683: 7682: 7680: 7678: 7674: 7671: 7669: 7665: 7659: 7656: 7654: 7653:Segoe UI Mono 7651: 7649: 7646: 7645: 7643: 7641: 7637: 7631: 7628: 7626: 7623: 7621: 7618: 7616: 7613: 7611: 7608: 7606: 7603: 7601: 7598: 7596: 7593: 7592: 7590: 7588: 7584: 7578: 7575: 7573: 7570: 7568: 7567:Segoe UI Mono 7565: 7563: 7560: 7558: 7555: 7553: 7550: 7548: 7545: 7543: 7540: 7539: 7537: 7535: 7531: 7521: 7518: 7516: 7513: 7511: 7508: 7506: 7503: 7501: 7498: 7496: 7493: 7492: 7490: 7488: 7484: 7474: 7471: 7469: 7466: 7464: 7461: 7459: 7456: 7454: 7451: 7449: 7446: 7444: 7441: 7439: 7436: 7434: 7431: 7429: 7428:Comic Sans MS 7426: 7424: 7421: 7419: 7416: 7415: 7413: 7411: 7407: 7403: 7393: 7390: 7388: 7385: 7383: 7380: 7378: 7375: 7373: 7370: 7368: 7365: 7363: 7360: 7358: 7355: 7354: 7352: 7350: 7346: 7336: 7333: 7331: 7328: 7326: 7323: 7321: 7318: 7316: 7313: 7311: 7308: 7306: 7303: 7301: 7298: 7296: 7293: 7291: 7288: 7286: 7283: 7281: 7278: 7276: 7273: 7271: 7268: 7266: 7263: 7261: 7258: 7256: 7253: 7252: 7250: 7248: 7244: 7241: 7239: 7234: 7229: 7225: 7220: 7213: 7208: 7206: 7201: 7199: 7194: 7193: 7190: 7178: 7170: 7169: 7166: 7160: 7157: 7155: 7152: 7150: 7149: 7148:Walter v Lane 7145: 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6751: 6750:John Stoddart 6747: 6745: 6741: 6739: 6735: 6734: 6732: 6730: 6724: 6720: 6719: 6714: 6713: 6705: 6700: 6698: 6693: 6691: 6686: 6685: 6682: 6676: 6672: 6668: 6666: 6663: 6660: 6657: 6655: 6651: 6647: 6646: 6635: 6634: 6629: 6625: 6621: 6615: 6611: 6610: 6605: 6604:Tracy, Walter 6601: 6597: 6591: 6587: 6586: 6580: 6576: 6570: 6566: 6562: 6557: 6553: 6549: 6545: 6541: 6529: 6525: 6521: 6517: 6512: 6508: 6503: 6499: 6495: 6494: 6489: 6488:Dreyfus, John 6485: 6481: 6479:9780674834255 6475: 6471: 6470: 6465: 6461: 6460: 6435: 6431: 6425: 6410: 6406: 6400: 6393: 6389: 6375: 6371: 6364: 6348: 6344: 6338: 6322: 6318: 6312: 6296: 6290: 6274: 6270: 6264: 6248: 6244: 6240: 6234: 6226: 6222: 6218: 6214: 6210: 6206: 6199: 6191: 6187: 6186:Webbink, Mark 6181: 6166: 6162: 6155: 6148: 6146: 6133: 6129: 6122: 6115: 6103: 6099: 6093: 6077: 6071: 6055: 6049: 6034: 6030: 6024: 6009: 6003: 5988: 5982: 5966: 5960: 5941: 5937: 5931: 5913: 5907: 5892: 5888: 5882: 5867: 5863: 5857: 5842: 5838: 5832: 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4620: 4605: 4599: 4583: 4579: 4573: 4565: 4561: 4557: 4551: 4547: 4546: 4538: 4536: 4520: 4513: 4498:. 19 May 2021 4497: 4493: 4487: 4472: 4468: 4461: 4453: 4447: 4432: 4426: 4411: 4405: 4390: 4384: 4368: 4364: 4358: 4343: 4339: 4332: 4317: 4313: 4306: 4291: 4287: 4280: 4278: 4262: 4258: 4252: 4250: 4234: 4230: 4223: 4215: 4211: 4204: 4202: 4185: 4181: 4175: 4160: 4156: 4150: 4142: 4138: 4131: 4123: 4119: 4112: 4104: 4100: 4096: 4092: 4088: 4084: 4083: 4075: 4060: 4056: 4052: 4045: 4030: 4026: 4019: 4012: 4007: 4000: 3993: 3988: 3980: 3976: 3972: 3965: 3949: 3942: 3935: 3927: 3923: 3916: 3908: 3902: 3898: 3897: 3889: 3882: 3877: 3861: 3857: 3853: 3846: 3830: 3826: 3822: 3815: 3807: 3801: 3797: 3796: 3788: 3773: 3769: 3762: 3760: 3752: 3747: 3740: 3735: 3720: 3716: 3709: 3707: 3698: 3691: 3683: 3679: 3675: 3669: 3653: 3646: 3639: 3624: 3620: 3613: 3611: 3609: 3607: 3605: 3589:(3): 14. 1956 3588: 3584: 3577: 3571: 3569: 3567: 3550: 3546: 3540: 3533: 3528: 3526: 3518: 3516: 3512: 3506: 3502: 3495: 3489: 3473: 3469: 3465: 3458: 3451: 3446: 3431: 3427: 3421: 3419: 3402: 3398: 3392: 3390: 3382: 3377: 3370: 3365: 3363: 3355: 3350: 3344:, p. 39. 3343: 3338: 3323: 3322: 3317: 3313: 3307: 3299: 3295: 3288: 3272: 3268: 3262: 3258: 3252: 3237: 3233: 3226: 3211: 3207: 3203: 3199: 3194: 3190: 3184: 3176: 3172: 3168: 3164: 3157: 3150: 3138: 3135: 3128: 3113: 3109: 3102: 3095: 3090: 3088: 3079: 3075: 3071: 3064: 3062: 3060: 3052: 3047: 3040: 3035: 3028: 3023: 3016: 3011: 3009: 3007: 2999: 2994: 2986: 2982: 2978: 2974: 2970: 2966: 2959: 2943: 2936: 2934: 2927:, p. 55. 2926: 2921: 2919: 2903: 2899: 2895: 2891: 2890:Carter, Harry 2885: 2883: 2876:, p. 54. 2875: 2870: 2854: 2850: 2846: 2842: 2841:Mosley, James 2836: 2834: 2827:, p. 97. 2826: 2821: 2819: 2802: 2795: 2787: 2783: 2779: 2775: 2771: 2770:Unger, Gerard 2765: 2758: 2753: 2745: 2741: 2737: 2733: 2726: 2711: 2707: 2700: 2681: 2677: 2670: 2663: 2661: 2652: 2650:9789064504600 2646: 2642: 2641: 2633: 2625: 2618: 2616: 2614: 2606: 2604: 2591: 2587: 2584:Hare, Steve. 2580: 2573: 2568: 2566: 2564: 2562: 2560: 2551: 2549:9780896790018 2545: 2541: 2540: 2535: 2531: 2527: 2521: 2519: 2503: 2499: 2492: 2490: 2488: 2479: 2473: 2469: 2468: 2460: 2452: 2448: 2447:Mosley, James 2442: 2423: 2419: 2412: 2411: 2403: 2396: 2394: 2380: 2376: 2372: 2365: 2357: 2356: 2348: 2333: 2329: 2322: 2320: 2318: 2309: 2307:9780879233334 2303: 2299: 2298: 2290: 2288: 2279: 2273: 2269: 2268: 2260: 2252: 2246: 2238: 2236:9780596102425 2232: 2228: 2227: 2219: 2211: 2209:9781118399880 2205: 2201: 2200: 2192: 2185: 2183: 2178: 2172: 2170:9781568984278 2166: 2162: 2158: 2151: 2144: 2139: 2137: 2135: 2126: 2120: 2116: 2112: 2105: 2098: 2094: 2092:9780823000531 2088: 2084: 2080: 2079: 2078:ABC's of type 2071: 2063: 2061:9780471288947 2057: 2053: 2049: 2042: 2035: 2022: 2018: 2014: 2007: 1999: 1993: 1989: 1984: 1983: 1974: 1972: 1970: 1961: 1955: 1951: 1950: 1945: 1939: 1937: 1921: 1917: 1910: 1903: 1898: 1891: 1886: 1879: 1874: 1867: 1862: 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