Как пишется times new roman

Times New Roman

Category	Serif
Classification	Mixed Transitional Old-style
Designer(s)	Stanley Morison Victor Lardent
Commissioned by	The Times
Foundry	Monotype
Date released	1932[1]
License	Proprietary
Design based on	Plantin

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

Asked to advise on a redesign, Morison recommended that The Times 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 Plantin as a basis for the design, and Times New Roman mostly matches Plantin’s dimensions. The main change was that the contrast between strokes was enhanced to give a crisper image. The new design made its debut in The Times on 3 October 1932. After one year, the design was released for commercial sale. In Times New Roman’s name, Roman is a reference to the regular or roman style (sometimes also called Antiqua), the first part of the Times New Roman family to be designed. Roman type has roots in Italian printing of the late 15th and early 16th centuries, but Times New Roman’s design has no connection to Rome or to the Romans.

The Times stayed with Times New Roman for 40 years, but new production techniques and the format change from broadsheet to tabloid in 2004 have caused it to switch typeface five times from 1972 to 2007. However, all the new fonts have been variants of the original New Roman typeface.

Design[edit]

Times New Roman has a robust colour on the page and influences of European early modern and Baroque printing.^[3][a] As a typeface designed for newspaper printing, Times New Roman has a high x-height, short descenders to allow tight linespacing and a relatively condensed appearance.^[5][b] (Although Hutt,^[6] 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.^[7])

The roman style of Plantin was loosely based on a metal type created in the late sixteenth century by the French artisan Robert Granjon and preserved in the collection of the Plantin-Moretus Museum of Antwerp.^{[8][9][10][11]} This style is sometimes categorised as part of the «old-style» of serif fonts (from before the eighteenth century).^{[12][13][14][c]} (The ‘a’ of Plantin was not based on Granjon’s work: the Plantin-Moretus Museum’s type had a substitute ‘a’ cut later.^[16]) Indeed, the working title of Times New Roman was «Times Old Style».^[15]

However, Times New Roman modifies the Granjon influence further than Plantin due to features such as its ‘a’ and ‘e’, with very large counters and apertures, its ball terminal detailing, a straight-sided ‘M’ and an increased level of contrast between thick and thin strokes, so it has often been compared to fonts from the late eighteenth century, the so-called ‘transitional’ genre, in particular the Baskerville typeface of the 1750s.^[17][18] Historian and sometime Monotype executive Allan Haley commented that compared to Plantin «serifs had been sharpened…contrast was increased and character curves were refined,» while Lawson described Times’s higher-contrast crispness as having «a sparkle [Plantin] never achieved».^[19][20]

Italic and bold[edit]

Morison described the companion italic as also being influenced by the typefaces created by the Didot family in the late 18th and early 19th centuries: a «rationalistic italic that owed nothing to the tradition of the sixteenth or seventeenth centuries. It has, indeed, more in common with the eighteenth century.»^[21][22][23] Morison had several years earlier attracted attention for promoting the radical idea that italics in book printing were too disruptive to the flow of text, and should be phased out.^[24][25] He rapidly came to concede that the idea was impractical, and later wryly commented to historian Harry Carter that Times’ italic «owes more to Didot than dogma.»^[10] 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.»^[26][27][d]

Rather than creating a companion boldface with letterforms similar to the roman style, Times New Roman’s bold has a different character, with a more condensed and more upright effect caused by making the horizontal parts of curves consistently the thinnest lines of each letter, and making the top serifs of letters like ‘d’ purely horizontal.^[30] This effect is not found in sixteenth-century typefaces (which, in any case, did not have bold versions); it is most associated with the Didone, or «modern» type of the early nineteenth century (and with the more recent ‘Ionic’ styles of type influenced by it that were offered by Linotype, discussed below).^{[20][31][32][33][34]} Some commentators have found Times’ bold unsatisfactory and too condensed, such as Walter Tracy.^[29]

Historical background[edit]

During the nineteenth century, the standard roman types for general-purpose printing were «Modern» or Didone designs,^[f] and these were standard in all newspaper printing.^[36][37] Designs in the nineteenth-century style remain a common part of the aesthetic of newspaper printing; for example in 2017 digital typeface designer Tobias Frere-Jones wrote that he kept his Exchange family, designed for the Wall Street Journal, based on the nineteenth-century model as it «had to feel like the news.»^[38] According to Mosley and Williamson the modern-face used by The Times was Monotype’s Series 7 or «Modern Extended», based on typefaces by Miller and Richard.^[39][40]

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.^[41][g] In 1925, the Mergenthaler Linotype Company, Monotype’s main competitor, launched a new newspaper typeface called Ionic, which became the first in a series known as the Legibility Group.^[43][33] These kept to the nineteenth-century model but greatly reduced the contrast of the letterform.^[44] The thinnest strokes of the letter were made thicker and strokes were kept as far apart as possible to maximise legibility. It proved extremely successful: Allen Hutt, Monotype’s newspaper printing consultant in the late 1930s,^[45] later noted that it «revolutionized newspaper text setting…within eighteen months it was adopted by 3,000 papers.»^[43] Although Times New Roman does not in any way resemble it, Walter Tracy, a prominent type designer who worked on a redesign of Times in the 1970s and wrote an analysis of its design in his book Letters of Credit (1986), commented that its arrival must at least have influenced the decision to consider a redesign.^[46]

The development of Times New Roman was relatively involved due to the lack of a specific pre-existing model – or perhaps a surfeit of possible choices. Morison wrote in a memo that he hoped for a design that would have relatively sharp serifs, matching the general design of the Times’ previous font, but on a darker and more traditional basic structure. Bulked-up versions of Monotype’s pre-existing but rather dainty Baskerville and Perpetua typefaces were considered for a basis, and the Legibility Group designs were also examined. (Perpetua, which Monotype had recently commissioned from sculptor Eric Gill at Morison’s urging, is considered a ‘transitional’ design in aesthetic, although it does not revive any specific model.) Walter Tracy, who knew Lardent, suggested in the 1980s that «Morison did not begin with a clear vision of the ultimate type, but felt his way along.»^[47]

Morison’s biographer Nicolas Barker has written that Morison’s memos of the time wavered over a variety of options before it was ultimately concluded that Plantin formed the best basis for a condensed font that could nonetheless be made to fill out the full size of the letter space as far as possible.^[48] (Morison ultimately conceded that Perpetua, which had been his pet project, was ‘too basically circular’ to be practical to condense in an attractive way.^[h])

Walter Tracy and James Moran, who discussed the design’s creation with Lardent in the 1960s, found that Lardent himself had little memory of exactly what material Morison gave him as a specimen to use to design the typeface, but he told Moran that he remembered working on the design from archive photographs of vintage type; he thought this was a book printed by Christophe Plantin, the sixteenth-century printer whose printing office the Plantin-Moretus Museum preserves and is named for.^[49] 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.^[50] (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.^[9]) The sharpened serifs somewhat recall Perpetua, although Morison’s stated reason for them was to provide continuity with the previous Didone design and the crispness associated with the Times’ printing; he also cited as a reason that sharper serifs looked better after stereotyping or printed on a rotary press.^[51] Although Morison may not have literally drawn the design, his influence on its concept was sufficient that he felt he could call it «my one effort at designing a font» in a letter to Daniel Berkeley Updike, a prominent American printing historian with whom he corresponded frequently.^[i] 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^[3] as «rather odd…it can only be regarded as a piece of Morisonian mystification».^[52]

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.»^[53] The design was adapted from Lardent’s large drawings by the Monotype drawing office team in Salfords, Surrey, which worked out spacing and simplified some fine details.^{[47][54][55][56][57]} Further changes were made after manufacturing began (the latter a difficult practice, since new punches and matrices had to be machined after each design change).^[47]

Morison continued to develop a close connection with the Times that would last throughout his life. Morison edited the History of the Times from 1935 to 1952, and in the post-war period, at a time when Monotype effectively stopped developing new typefaces due to pressures of austerity, took a post as editor of the Times Literary Supplement which he held from 1945 to 1948.^[58] Times New Roman remained Morison’s only type design; he designed a type to be issued by the Bauer Type Foundry of Frankfurt but the project was abandoned due to the war. Morison told his friend Ellic Howe that the test type sent to him just before the war was sent to the government to be «analysed in order that we should know whether the Hun is hard up for lead or antimony or tin.»^[51] Brooke Crutchley, Printer to Cambridge University,^[59] recorded in his diary a more informal discussion of the design’s origins from a conversation in the late 1940s:

SM thought that Dreyfus might in time be able to design a mathematical font but he would first have to get out of his system a lot of personal ideas and searching for effects. He, Morison, had to do all this before he could design the Times font. Will Carter came in to consult M about a new type for the Radio Times, on which he had been invited to experiment. M said that the answer was really Times and that if he worked out the problem from the bottom that was the sort of answer he would get…Will has been experimenting with Plantin, but it doesn’t come out well when printed from plates on rotaries, perhaps a face based on Plantin would do the trick. M said that was just how he got to Times.^[51]

Metal type versions[edit]

A large number of variants of Times were cut during the metal type period, in particular families of titling capitals for headlines.^[60] Walter Tracy in Letters of Credit, Allen Hutt and others have discussed these extensively in their works on the family.^[61][62][63]

Titling[edit]

Monotype also created some caps-only ‘titling’ designs to match Times New Roman itself, which was intended for body text.^[64] These are not sold by Monotype in digital format, although Linotype’s Times Eighteen in the same style (see below) is.^[65]

Times Hever Titling[edit]

An elegant titling caps design, quite different from Times New Roman with a Caslon-style A (with a serif at top left of the letter, suggesting a stroke written with a quill) and old-style C and W; Tracy suggests Monotype’s previous Poliphilus design as an influence.^[66] Named after Hever Castle, the home of the Times’ owner Lord Astor and designed early on, it was used by the Times for headings in the lighter sections such as society pages, arts and fashion.^[62] It has not been digitised.

Times Wide (1938, series 427)[edit]

A variant intended for book printing, avoiding the slight condensation of the original Times New Roman.^[68] Although it was popular in the metal type period for book printing, it was apparently never digitised. Monotype also created a version, series 627, with long descenders more appropriate to classic book typography.^[69] Optional text figures were also available.^[70]

Series 727 and 827[edit]

Monotype also produced Series 727, in which the heavier strokes of upper-case letters were made slightly thinner.^[71] This was done to produce a lighter effect in which capital letters do not stand out so much, and was particularly intended for German use, since in the German language capitals are far more common since they appear at the start of each noun.^[71] Series 827 modified some letters (notably the R) to correspond to their appearance in other typefaces popular in French printing. This production of what are now called stylistic alternates to suit national tastes was common at the time, and many alternates were also offered for Gill Sans for use in Europe.^[71]

Claritas[edit]

A modified 43⁄4 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.^[21]

Times 4-line Mathematics Series 569[edit]

This is a variant designed for printing mathematical formulae, using the 4‑line system for mathematics developed by Monotype in 1957.^[72][73] This modified version of Times Roman was designed for use as part of Monotype’s 4-line Mathematics system. The major changes to the Times Roman typeface itself were a reduction in the slope of italic characters to 12 degrees from 16 degrees, so as to reduce the need for kerning, and a change in the form of italic v and w so that italic v could be more easily distinguished from a Greek nu.^[72]

The 4-line system involved casting characters for 10-point Times Roman on 6-point bodies. The top of the character would overhang the slug, forming a kern which was less fragile than the normal kerns of foundry type, as it was on a slab of cast metal. This technique had been in previous use on Monotype machines, usually involving double-height matrices, to allow the automatic setting of «advertising figures» (numbers that occupy two or more lines, usually to clearly indicate a price in an advertisement set in small type). This meant that the same matrix could be used for both superscript and subscript numbers. More importantly, it allowed a variable or other item to have both a superscript and a subscript at the same time, one above the other, without inordinate difficulty.^[72]

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.^[39][74] Because of the popularity of Times Roman at the time, Monotype chose to design a variant of Times Roman suited to mathematical composition, and recut many additional characters needed for mathematics, including special symbols as well as Greek and Fraktur alphabets, to accompany the system instead of designing it around the typeface that was being used, for which characters were already available.^[72] 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).^[72]

The Times also used a sans-serif wood type for printing newsbills which had no connection to Times New Roman. It was similar to Kabel Bold Condensed.^[75]

Usage[edit]

Times New Roman’s popularity rapidly expanded beyond its original niche, becoming popular in book printing and general publishing. Monotype promoted the typeface in their trade magazine, The Monotype Recorder, and took advantage of this popularity by cutting a widened version, Series 427, for book publishing, although many books ultimately used the original version.^[77] The first known book published in Times New Roman (the original 327 Monotype series) was Minnow Among Tritons, published by the Nonesuch Press and printed by R&R Clark in 1934.^[78] (Because the cover of the Monotype Recorder compared the new «Times New Roman» with a sample of the previous type labelled as «Times Old Roman», some writers have assumed that the Times’ previous typeface was actually called this, which it was not.^[79][40])

An early user of Times New Roman outside its origin was by Daniel Berkeley Updike, an influential historian of printing with whom Morison carried an extensive correspondence. Impressed by the design, he used it to set his book Some Aspects of Printing, Old and New.^[80][81][82] It then was chosen by the Crowell-Collier magazines Woman’s Home Companion and then its sister publications such as Collier’s.^[83][84][85] A brochure was published to mark the change along with a letter from Morison hoping that the redesign would be a success.^[76] Ultimately it became Monotype’s best-selling metal type of all time.^[86][87]

Walter Tracy, who worked on a redesign, however noted that the design’s compression and fine detail extending to the edge of the matrices was not ideal in the aggressive conditions of most newspaper printing, in which the Times was unusual for its particularly high standard of printing suiting its luxury market. Users found that in the hot metal period it was common for the molten metal to rapidly eat through the matrices as type was being cast, and so it did not become popular among other newspapers: «Times Roman achieved its popularity chiefly in general printing, not in newspaper work.»^[29] He described it as particularly used in «book work, especially non-fiction» such as the Encyclopaedia Britannica.^[29] Hutt also commented that Times New Roman’s relative condensation was less useful than might be expected for newspaper printing, since in a normal newspaper column frequent paragraph breaks tend to provide area that can absorb the space of wider letters without increasing the number of lines used–but The Times, whose house style in the 1930s was to minimise the number of paragraph breaks, was an exception to this.^[52][88]

A number of early reviews of Times New Roman were published in Morison’s lifetime that discussed aspects of its design.^[31] Most were appreciative (Morison was an influential figure in publishing) but several noted that it did not follow conventional expectations of newspaper typeface design.^[31][89] One article that discussed its design was Optical Scale in Typefounding, written by Harry Carter and published in 1937, which discussed the differences between small and large-size typeface designs. He commented «The small sizes of Plantin embody what are supposed to be the requirements of a good small type [but] Times Roman, which most people find the easiest to read of small text-types, runs counter to some of them…[Morison] avoided blunt serifs and thickened hairlines because he found they wore down more noticeably than sharper-cut features.»^[42]

Times New Roman remains popular in publishing, helped by the extremely large range of characters available for international and mathematics printing.^[69][90] For example, the American Psychological Association suggests using Times New Roman in papers written in its APA style.^[91][92]

Since 2004, the U.S. Department of State used Times New Roman as the standard font in its official documents; however, in 2023, the State Department switched to Calibri.^[93][94]

Linotype design (Times Roman)[edit]

Monotype originally created Times New Roman for its typesetting machines, but its rival Linotype rapidly began to offer its version of the typeface with subtle differences. A key reason is that many newspapers, including The Times, also used Linotype equipment for production. Linotype referred to its design as Times or Times Roman. Monotype and Linotype have since merged, but the lineage of Times has been split into two subtly different designs since its earliest days.

Although Times New Roman and Times are very similar, various differences developed between the versions marketed by Linotype and Monotype when the master fonts were transferred from metal to photo and digital media. For example, Linotype has slanted serifs on the capital S, while Monotype’s are vertical, and Linotype has an extra serif on the number 5.^[96] Most of these differences are invisible in body text at normal reading distances, or 10pts at 300 dpi. Subtle competition grew between the two foundries, as the proportions and details as well as the width metrics for their version of Times grew apart.^[98] 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),^[29] and in the percent sign in all weights (Linotype and STIX have a stroke connecting up the left-hand zero with a slash, Times New Roman does not). Monotype’s ‘J’ is non-descending, but Linotype’s in the bold weight descends below the baseline. Linotype’s metal version of Times had a shrunken ‘f’ due to a technical limitation of the Linotype system—it could not cast a kerning ‘f’, one that extended into the space of surrounding letters.^[99] This restriction was removed in the digital version.^[99]

Linotype licensed its version to Xerox and then Adobe and Apple, guaranteeing its importance in digital printing by making it one of the core fonts of the PostScript page description language.^[100][101] 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.^[102] Versions of Times New Roman from Monotype (discussed below) exist which vary from the PostScript metrics. Linotype applied for registration of the trademark name Times Roman and received registration status in 1945.^[98]

Modern releases[edit]

Monotype variants[edit]

Monotype released at least eight digital typefaces that carry the name Times New Roman.^[103]

Times New Roman[edit]

Since Windows 3.1, all versions of Microsoft Windows include Times New Roman.^[104] Version 6.87 of this typeface is available for purchase under the name Times New Roman OS (see below).^[105] The current version of Windows’ Times New Roman includes small capitals, text figures, and italic swash capitals.^[106] It omits automatic ligature insertion, but enabling the «discretionary ligatures» feature will provide ligatures for «fi» and «Th». More complex Unicode ligatures like «ffi» and «ft» are also available.^[108] A previous version of Times New Roman was also distributed as part of Microsoft’s Core Fonts for the Web package.^[109]

When the system font Times New Roman was expanded to support Arabic script, it was complemented with the Arabic character set from Simplified Arabic, a typeface that Compugraphic Corporation had plagiarized from Linotype and leased to Microsoft.^[110] Times New Roman with support for Arabic was first published in the Arabic version of Windows 3.1x.^[110]

Times New Roman OS[edit]

Also known as Times New Roman World, this is originally based on the version of Times New Roman bundled with Windows Vista.^[111] It includes fonts in WGL character sets, Hebrew and Arabic characters. Similar to Helvetica World, Arabic in italic fonts are in roman positions.

Others[edit]

Monotype further sells a wider range of styles and optical sizes in order to meet the needs of newspapers and books which print at a range of text sizes.^[21]

• 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).^[112] Times New Roman Pro and Std provide standard ligature for «fi».
• Times New Roman Seven is for smaller text and includes Regular and Bold with their italics.^[113]
• Times New Roman Small Text includes Regular, Italic, and Bold.^[114]

Linotype variants[edit]

«Times Ten» redirects here. For a relational database management system by Oracle, see TimesTen.

Times[edit]

This is the digitalisation of Linotype’s Times (see above). It is pre-installed on macOS but not on iOS,^[115] and is also widely available for purchase. Times provides standard ligature for «fi», but it does not provide any ligature for «Th».

Others[edit]

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

• Times Ten is a version specially designed for smaller text (12-point and below). It features wider characters and stronger hairlines.^[116][117] In 2004 prominent typeface designer Erik Spiekermann said that he believed that it was the best Times New Roman digitisation then available.^[118]
• Times Eighteen, a headline version for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. The current version has no italics, but does have a lower case (whereas some Times titling fonts were capitals only).^[65]
• Times Europa Office, a 2006 adaptation of The Times’s 1972 design Times Europa (see below). This is a complete family of designs intended for use on poor-quality paper. The updating, created by Akira Kobayashi, contains tabular numbers, mathematical signs, and currency symbols. Each character has the same advance width in all the fonts in the family so that changing from regular to bold or italic does not affect word wrap.^[119]

Later typefaces used by The Times[edit]

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

• Times Europa was designed by Walter Tracy in 1972 for The Times, as a sturdier alternative to the Times font family, designed for the demands of faster printing presses and cheaper paper.^[120] It has been released commercially by Adobe, among others, recently in an updating by Linotype as Times Europa Office (discussed above).^[121][119]
• Times Roman replaced Times Europa on 30 August 1982.^[122]
• Times Millennium was made in 1991, drawn by Gunnlaugur Briem on the instructions of Aurobind Patel, composing manager of News International.^[122][123]
• Times Classic first appeared in 2001.^{[124][125][126][127][128]} 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 font.^{[122][129][130]}
• Times Modern was unveiled on 20 November 2006, as the successor of Times Classic.^[122] Designed for improving legibility in smaller font sizes, it uses 45-degree angled bracket serifs. It was designed by Research Studios, led by designer Neville Brody with input from Ben Preston, deputy editor of The Times.^[131][132] (Other designs have been released called Times Modern; see below.) During the Times New Roman period The Times also sometimes used Perpetua Titling.^[10][64]

William Starling Burgess[edit]

In 1994 the printing historian Mike Parker published claims that the design of Times New Roman’s roman or regular style was based on a 1904 design of William Starling Burgess.^[133] This theory remains controversial.^[27] Parker and his friend Gerald Giampa, a Canadian printer who had bought up the defunct American branch of Lanston Monotype, claimed that, in 1904, Burgess created a type design for company documents at his shipyard in Marblehead, Massachusetts, and hired Lanston Monotype to issue it.^[133] However, Burgess abandoned the idea and Monotype shelved the sketches, ultimately reusing them as a basis for Times New Roman. Giampa claimed that he stumbled upon original material in 1987, after he had purchased Lanston Monotype, and that some of the papers that had been his evidence had been lost in a flood at his house, while Parker claimed that an additional source was material in a section of the Smithsonian now closed due to asbestos contamination.^[133][134] Giampa asked Parker to complete the type from the limited number of surviving letters, which was issued in June 2009 by Font Bureau under the name of ‘Starling’.^[27]

Reception to the claims was sceptical, with dismissal from Morison’s biographer Nicolas Barker and Luc Devroye among others; Barker suggested that the material had been fabricated in order to aid Giampa in embarrassing Monotype’s British branch, while Devroye and Thomas Phinney of FontLab suggested that the claim had begun as a prank.^{[134][135][136][137]} In 2010, writer Mark Owens described Parker’s article in retrospect as «the scantest of evidence» and a «fog of irrelevant details».^[138][j] Monotype executive Dan Rhatigan described the theory as implausible in 2011: «I’ll admit that I tend to side with the more fully documented (both in general, and in agreement with what little I can find within Monotype to support it) notion that Times New Roman was based on Plantin…I won’t rule out the possibility that Starling Burgess drew up the concept first, but Occam’s razor makes me doubt it.»^[79]

The Times Online web site credits the design to «Stanley Morrison, Victor Lardent and perhaps Starling Burgess».^[141]

Designs inspired by Times New Roman[edit]

In the phototypesetting and digital typesetting periods many font designs have been published inspired by Times New Roman. Although the digital data of Monotype and Linotype releases of Times New Roman are copyrighted, and the name Times is trademarked,^[142] the design is in many countries not copyrightable, notably in the United States, allowing alternative interpretations if they do not reuse digital data.^[143][144]

• Times Modern was a condensed and bold display variant published by, among others, Elsner+Flake. It was withdrawn from sale due to trademark disputes with the Times newspaper, which owns its own unrelated design named ‘Times Modern’ (see above).^[145]
• CG Times is a variant of Times family made by Compugraphic.
• Pelham is a version of Times Roman by DTP Types of Britain, which also designed an infant version with single-storey ‘a’ and ‘g’.^[146]

• In the mid-1960s, a derivative of Times New Roman known as ‘Press Roman’ was used as a font for the IBM Composer.^[147] This was an ultra-premium electric ‘golfball’ typewriter system, intended to be used for producing high-quality office documents or copy to be photographically enlarged for small-scale printing projects.^[147] Unlike most typewriters, the Composer produced proportional type, rather than monospaced letters. Ultimately the system proved a niche product, as it competed with increasingly cheap phototypesetting, and then in the 1980s was largely displaced by word processors and general-purpose computers.^{[148][149][k]}
• Among many digital-period designs loosely inspired by Times, Kris Sowersby’s popular Tiempos family is a loose Times New Roman revival; it was created for a Spanish newspaper (‘tiempo’ is Spanish for ‘time’).^[152][153]

Free alternatives[edit]

There are some free software fonts used as alternatives, including metric-compatible designs used for font substitution.^{[154][155][156][157]}

• URW++ produced a version of Times New Roman called Nimbus Roman in 1982. Nimbus Roman No9 L, URW’s PostScript variant, was released under the GNU General Public License in 1996,^[158][159] and is included with some free and open source software. Various adapted versions exist including FreeSerif,^[154][160] TeX Gyre Termes^[161] and TeX Gyre Termes Math.^[162][163] Like Times New Roman, many additional styles of Nimbus Roman exist that are only sold commercially, including condensed and extra-bold styles. URW also developed Nimbus Roman No. 4, which is metrically compatible with the slightly different CG Times.^[164]
• Linux Libertine developed in 2003 released under the GNU General Public License and the SIL Open Font License. Adopted for the redesign of the Wikipedia logo in 2010.

  

• The STIX Fonts project is a four-style set of open-source fonts. They were created for scientific publishing by the Scientific and Technical Information Exchange consortium of publishers, but are also very suitable for general use, including Greek and Cyrillic support.^[165] The original version is installed by default on Mac OS X, and adapted as XITS. In 2016, a completely redesigned version was released by Ross Mills and John Hudson of Tiro Typeworks. Unlike the previous version, it is an original design loosely inspired by a smaller 10-point size of Times New Roman, with a higher x-height than Monotype’s Times digitisation.^[166][167]
• Liberation Serif by Steve Matteson is metrically equivalent to Times New Roman.^[168] It was developed by Ascender Corp. and published by Red Hat in 2007 under the GPL with the font exception.^[169] 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.^[170] Google’s Tinos in the Croscore fonts package is a derivative of Liberation Serif.
• Bitstream Cyberbit is a roman-only font released by Bitstream with an expanded character range intended to cover a large proportion of Unicode for scholarly use, with European alphabets based on Times New Roman.^[171][172] Bitstream no longer offers the font, but it remains downloadable from the University of Frankfurt.^[173]
• Doulos SIL is a serif typeface developed by SIL International.^[174]
• 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 PT Astra Serif, metrically compatible (analogs) with Times New Roman.

Notes[edit]

References[edit]

Sources[edit]

Cited literature[edit]

External links[edit]

• Times Modern, by Dan Rhatigan: Part 1 and Part 2
• Times New Roman family (different sizes, in hot metal type)
• Times New Roman font family — Typography | Microsoft Docs
• Fonts in Use: Times New Roman, Times

Times New Roman

Category	Serif
Classification	Mixed Transitional Old-style
Designer(s)	Stanley Morison Victor Lardent
Commissioned by	The Times
Foundry	Monotype
Date released	1932[1]
License	Proprietary
Design based on	Plantin

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

Asked to advise on a redesign, Morison recommended that The Times 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 Plantin as a basis for the design, and Times New Roman mostly matches Plantin’s dimensions. The main change was that the contrast between strokes was enhanced to give a crisper image. The new design made its debut in The Times on 3 October 1932. After one year, the design was released for commercial sale. In Times New Roman’s name, Roman is a reference to the regular or roman style (sometimes also called Antiqua), the first part of the Times New Roman family to be designed. Roman type has roots in Italian printing of the late 15th and early 16th centuries, but Times New Roman’s design has no connection to Rome or to the Romans.

The Times stayed with Times New Roman for 40 years, but new production techniques and the format change from broadsheet to tabloid in 2004 have caused it to switch typeface five times from 1972 to 2007. However, all the new fonts have been variants of the original New Roman typeface.

Design[edit]

Times New Roman has a robust colour on the page and influences of European early modern and Baroque printing.^[3][a] As a typeface designed for newspaper printing, Times New Roman has a high x-height, short descenders to allow tight linespacing and a relatively condensed appearance.^[5][b] (Although Hutt,^[6] 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.^[7])

The roman style of Plantin was loosely based on a metal type created in the late sixteenth century by the French artisan Robert Granjon and preserved in the collection of the Plantin-Moretus Museum of Antwerp.^{[8][9][10][11]} This style is sometimes categorised as part of the «old-style» of serif fonts (from before the eighteenth century).^{[12][13][14][c]} (The ‘a’ of Plantin was not based on Granjon’s work: the Plantin-Moretus Museum’s type had a substitute ‘a’ cut later.^[16]) Indeed, the working title of Times New Roman was «Times Old Style».^[15]

However, Times New Roman modifies the Granjon influence further than Plantin due to features such as its ‘a’ and ‘e’, with very large counters and apertures, its ball terminal detailing, a straight-sided ‘M’ and an increased level of contrast between thick and thin strokes, so it has often been compared to fonts from the late eighteenth century, the so-called ‘transitional’ genre, in particular the Baskerville typeface of the 1750s.^[17][18] Historian and sometime Monotype executive Allan Haley commented that compared to Plantin «serifs had been sharpened…contrast was increased and character curves were refined,» while Lawson described Times’s higher-contrast crispness as having «a sparkle [Plantin] never achieved».^[19][20]

Italic and bold[edit]

Morison described the companion italic as also being influenced by the typefaces created by the Didot family in the late 18th and early 19th centuries: a «rationalistic italic that owed nothing to the tradition of the sixteenth or seventeenth centuries. It has, indeed, more in common with the eighteenth century.»^[21][22][23] Morison had several years earlier attracted attention for promoting the radical idea that italics in book printing were too disruptive to the flow of text, and should be phased out.^[24][25] He rapidly came to concede that the idea was impractical, and later wryly commented to historian Harry Carter that Times’ italic «owes more to Didot than dogma.»^[10] 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.»^[26][27][d]

Rather than creating a companion boldface with letterforms similar to the roman style, Times New Roman’s bold has a different character, with a more condensed and more upright effect caused by making the horizontal parts of curves consistently the thinnest lines of each letter, and making the top serifs of letters like ‘d’ purely horizontal.^[30] This effect is not found in sixteenth-century typefaces (which, in any case, did not have bold versions); it is most associated with the Didone, or «modern» type of the early nineteenth century (and with the more recent ‘Ionic’ styles of type influenced by it that were offered by Linotype, discussed below).^{[20][31][32][33][34]} Some commentators have found Times’ bold unsatisfactory and too condensed, such as Walter Tracy.^[29]

Historical background[edit]

During the nineteenth century, the standard roman types for general-purpose printing were «Modern» or Didone designs,^[f] and these were standard in all newspaper printing.^[36][37] Designs in the nineteenth-century style remain a common part of the aesthetic of newspaper printing; for example in 2017 digital typeface designer Tobias Frere-Jones wrote that he kept his Exchange family, designed for the Wall Street Journal, based on the nineteenth-century model as it «had to feel like the news.»^[38] According to Mosley and Williamson the modern-face used by The Times was Monotype’s Series 7 or «Modern Extended», based on typefaces by Miller and Richard.^[39][40]

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.^[41][g] In 1925, the Mergenthaler Linotype Company, Monotype’s main competitor, launched a new newspaper typeface called Ionic, which became the first in a series known as the Legibility Group.^[43][33] These kept to the nineteenth-century model but greatly reduced the contrast of the letterform.^[44] The thinnest strokes of the letter were made thicker and strokes were kept as far apart as possible to maximise legibility. It proved extremely successful: Allen Hutt, Monotype’s newspaper printing consultant in the late 1930s,^[45] later noted that it «revolutionized newspaper text setting…within eighteen months it was adopted by 3,000 papers.»^[43] Although Times New Roman does not in any way resemble it, Walter Tracy, a prominent type designer who worked on a redesign of Times in the 1970s and wrote an analysis of its design in his book Letters of Credit (1986), commented that its arrival must at least have influenced the decision to consider a redesign.^[46]

The development of Times New Roman was relatively involved due to the lack of a specific pre-existing model – or perhaps a surfeit of possible choices. Morison wrote in a memo that he hoped for a design that would have relatively sharp serifs, matching the general design of the Times’ previous font, but on a darker and more traditional basic structure. Bulked-up versions of Monotype’s pre-existing but rather dainty Baskerville and Perpetua typefaces were considered for a basis, and the Legibility Group designs were also examined. (Perpetua, which Monotype had recently commissioned from sculptor Eric Gill at Morison’s urging, is considered a ‘transitional’ design in aesthetic, although it does not revive any specific model.) Walter Tracy, who knew Lardent, suggested in the 1980s that «Morison did not begin with a clear vision of the ultimate type, but felt his way along.»^[47]

Morison’s biographer Nicolas Barker has written that Morison’s memos of the time wavered over a variety of options before it was ultimately concluded that Plantin formed the best basis for a condensed font that could nonetheless be made to fill out the full size of the letter space as far as possible.^[48] (Morison ultimately conceded that Perpetua, which had been his pet project, was ‘too basically circular’ to be practical to condense in an attractive way.^[h])

Walter Tracy and James Moran, who discussed the design’s creation with Lardent in the 1960s, found that Lardent himself had little memory of exactly what material Morison gave him as a specimen to use to design the typeface, but he told Moran that he remembered working on the design from archive photographs of vintage type; he thought this was a book printed by Christophe Plantin, the sixteenth-century printer whose printing office the Plantin-Moretus Museum preserves and is named for.^[49] 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.^[50] (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.^[9]) The sharpened serifs somewhat recall Perpetua, although Morison’s stated reason for them was to provide continuity with the previous Didone design and the crispness associated with the Times’ printing; he also cited as a reason that sharper serifs looked better after stereotyping or printed on a rotary press.^[51] Although Morison may not have literally drawn the design, his influence on its concept was sufficient that he felt he could call it «my one effort at designing a font» in a letter to Daniel Berkeley Updike, a prominent American printing historian with whom he corresponded frequently.^[i] 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^[3] as «rather odd…it can only be regarded as a piece of Morisonian mystification».^[52]

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.»^[53] The design was adapted from Lardent’s large drawings by the Monotype drawing office team in Salfords, Surrey, which worked out spacing and simplified some fine details.^{[47][54][55][56][57]} Further changes were made after manufacturing began (the latter a difficult practice, since new punches and matrices had to be machined after each design change).^[47]

Morison continued to develop a close connection with the Times that would last throughout his life. Morison edited the History of the Times from 1935 to 1952, and in the post-war period, at a time when Monotype effectively stopped developing new typefaces due to pressures of austerity, took a post as editor of the Times Literary Supplement which he held from 1945 to 1948.^[58] Times New Roman remained Morison’s only type design; he designed a type to be issued by the Bauer Type Foundry of Frankfurt but the project was abandoned due to the war. Morison told his friend Ellic Howe that the test type sent to him just before the war was sent to the government to be «analysed in order that we should know whether the Hun is hard up for lead or antimony or tin.»^[51] Brooke Crutchley, Printer to Cambridge University,^[59] recorded in his diary a more informal discussion of the design’s origins from a conversation in the late 1940s:

SM thought that Dreyfus might in time be able to design a mathematical font but he would first have to get out of his system a lot of personal ideas and searching for effects. He, Morison, had to do all this before he could design the Times font. Will Carter came in to consult M about a new type for the Radio Times, on which he had been invited to experiment. M said that the answer was really Times and that if he worked out the problem from the bottom that was the sort of answer he would get…Will has been experimenting with Plantin, but it doesn’t come out well when printed from plates on rotaries, perhaps a face based on Plantin would do the trick. M said that was just how he got to Times.^[51]

Metal type versions[edit]

A large number of variants of Times were cut during the metal type period, in particular families of titling capitals for headlines.^[60] Walter Tracy in Letters of Credit, Allen Hutt and others have discussed these extensively in their works on the family.^[61][62][63]

Titling[edit]

Monotype also created some caps-only ‘titling’ designs to match Times New Roman itself, which was intended for body text.^[64] These are not sold by Monotype in digital format, although Linotype’s Times Eighteen in the same style (see below) is.^[65]

Times Hever Titling[edit]

An elegant titling caps design, quite different from Times New Roman with a Caslon-style A (with a serif at top left of the letter, suggesting a stroke written with a quill) and old-style C and W; Tracy suggests Monotype’s previous Poliphilus design as an influence.^[66] Named after Hever Castle, the home of the Times’ owner Lord Astor and designed early on, it was used by the Times for headings in the lighter sections such as society pages, arts and fashion.^[62] It has not been digitised.

Times Wide (1938, series 427)[edit]

A variant intended for book printing, avoiding the slight condensation of the original Times New Roman.^[68] Although it was popular in the metal type period for book printing, it was apparently never digitised. Monotype also created a version, series 627, with long descenders more appropriate to classic book typography.^[69] Optional text figures were also available.^[70]

Series 727 and 827[edit]

Monotype also produced Series 727, in which the heavier strokes of upper-case letters were made slightly thinner.^[71] This was done to produce a lighter effect in which capital letters do not stand out so much, and was particularly intended for German use, since in the German language capitals are far more common since they appear at the start of each noun.^[71] Series 827 modified some letters (notably the R) to correspond to their appearance in other typefaces popular in French printing. This production of what are now called stylistic alternates to suit national tastes was common at the time, and many alternates were also offered for Gill Sans for use in Europe.^[71]

Claritas[edit]

A modified 43⁄4 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.^[21]

Times 4-line Mathematics Series 569[edit]

This is a variant designed for printing mathematical formulae, using the 4‑line system for mathematics developed by Monotype in 1957.^[72][73] This modified version of Times Roman was designed for use as part of Monotype’s 4-line Mathematics system. The major changes to the Times Roman typeface itself were a reduction in the slope of italic characters to 12 degrees from 16 degrees, so as to reduce the need for kerning, and a change in the form of italic v and w so that italic v could be more easily distinguished from a Greek nu.^[72]

The 4-line system involved casting characters for 10-point Times Roman on 6-point bodies. The top of the character would overhang the slug, forming a kern which was less fragile than the normal kerns of foundry type, as it was on a slab of cast metal. This technique had been in previous use on Monotype machines, usually involving double-height matrices, to allow the automatic setting of «advertising figures» (numbers that occupy two or more lines, usually to clearly indicate a price in an advertisement set in small type). This meant that the same matrix could be used for both superscript and subscript numbers. More importantly, it allowed a variable or other item to have both a superscript and a subscript at the same time, one above the other, without inordinate difficulty.^[72]

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.^[39][74] Because of the popularity of Times Roman at the time, Monotype chose to design a variant of Times Roman suited to mathematical composition, and recut many additional characters needed for mathematics, including special symbols as well as Greek and Fraktur alphabets, to accompany the system instead of designing it around the typeface that was being used, for which characters were already available.^[72] 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).^[72]

The Times also used a sans-serif wood type for printing newsbills which had no connection to Times New Roman. It was similar to Kabel Bold Condensed.^[75]

Usage[edit]

Times New Roman’s popularity rapidly expanded beyond its original niche, becoming popular in book printing and general publishing. Monotype promoted the typeface in their trade magazine, The Monotype Recorder, and took advantage of this popularity by cutting a widened version, Series 427, for book publishing, although many books ultimately used the original version.^[77] The first known book published in Times New Roman (the original 327 Monotype series) was Minnow Among Tritons, published by the Nonesuch Press and printed by R&R Clark in 1934.^[78] (Because the cover of the Monotype Recorder compared the new «Times New Roman» with a sample of the previous type labelled as «Times Old Roman», some writers have assumed that the Times’ previous typeface was actually called this, which it was not.^[79][40])

An early user of Times New Roman outside its origin was by Daniel Berkeley Updike, an influential historian of printing with whom Morison carried an extensive correspondence. Impressed by the design, he used it to set his book Some Aspects of Printing, Old and New.^[80][81][82] It then was chosen by the Crowell-Collier magazines Woman’s Home Companion and then its sister publications such as Collier’s.^[83][84][85] A brochure was published to mark the change along with a letter from Morison hoping that the redesign would be a success.^[76] Ultimately it became Monotype’s best-selling metal type of all time.^[86][87]

Walter Tracy, who worked on a redesign, however noted that the design’s compression and fine detail extending to the edge of the matrices was not ideal in the aggressive conditions of most newspaper printing, in which the Times was unusual for its particularly high standard of printing suiting its luxury market. Users found that in the hot metal period it was common for the molten metal to rapidly eat through the matrices as type was being cast, and so it did not become popular among other newspapers: «Times Roman achieved its popularity chiefly in general printing, not in newspaper work.»^[29] He described it as particularly used in «book work, especially non-fiction» such as the Encyclopaedia Britannica.^[29] Hutt also commented that Times New Roman’s relative condensation was less useful than might be expected for newspaper printing, since in a normal newspaper column frequent paragraph breaks tend to provide area that can absorb the space of wider letters without increasing the number of lines used–but The Times, whose house style in the 1930s was to minimise the number of paragraph breaks, was an exception to this.^[52][88]

A number of early reviews of Times New Roman were published in Morison’s lifetime that discussed aspects of its design.^[31] Most were appreciative (Morison was an influential figure in publishing) but several noted that it did not follow conventional expectations of newspaper typeface design.^[31][89] One article that discussed its design was Optical Scale in Typefounding, written by Harry Carter and published in 1937, which discussed the differences between small and large-size typeface designs. He commented «The small sizes of Plantin embody what are supposed to be the requirements of a good small type [but] Times Roman, which most people find the easiest to read of small text-types, runs counter to some of them…[Morison] avoided blunt serifs and thickened hairlines because he found they wore down more noticeably than sharper-cut features.»^[42]

Times New Roman remains popular in publishing, helped by the extremely large range of characters available for international and mathematics printing.^[69][90] For example, the American Psychological Association suggests using Times New Roman in papers written in its APA style.^[91][92]

Since 2004, the U.S. Department of State used Times New Roman as the standard font in its official documents; however, in 2023, the State Department switched to Calibri.^[93][94]

Linotype design (Times Roman)[edit]

Monotype originally created Times New Roman for its typesetting machines, but its rival Linotype rapidly began to offer its version of the typeface with subtle differences. A key reason is that many newspapers, including The Times, also used Linotype equipment for production. Linotype referred to its design as Times or Times Roman. Monotype and Linotype have since merged, but the lineage of Times has been split into two subtly different designs since its earliest days.

Although Times New Roman and Times are very similar, various differences developed between the versions marketed by Linotype and Monotype when the master fonts were transferred from metal to photo and digital media. For example, Linotype has slanted serifs on the capital S, while Monotype’s are vertical, and Linotype has an extra serif on the number 5.^[96] Most of these differences are invisible in body text at normal reading distances, or 10pts at 300 dpi. Subtle competition grew between the two foundries, as the proportions and details as well as the width metrics for their version of Times grew apart.^[98] 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),^[29] and in the percent sign in all weights (Linotype and STIX have a stroke connecting up the left-hand zero with a slash, Times New Roman does not). Monotype’s ‘J’ is non-descending, but Linotype’s in the bold weight descends below the baseline. Linotype’s metal version of Times had a shrunken ‘f’ due to a technical limitation of the Linotype system—it could not cast a kerning ‘f’, one that extended into the space of surrounding letters.^[99] This restriction was removed in the digital version.^[99]

Linotype licensed its version to Xerox and then Adobe and Apple, guaranteeing its importance in digital printing by making it one of the core fonts of the PostScript page description language.^[100][101] 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.^[102] Versions of Times New Roman from Monotype (discussed below) exist which vary from the PostScript metrics. Linotype applied for registration of the trademark name Times Roman and received registration status in 1945.^[98]

Modern releases[edit]

Monotype variants[edit]

Monotype released at least eight digital typefaces that carry the name Times New Roman.^[103]

Times New Roman[edit]

Since Windows 3.1, all versions of Microsoft Windows include Times New Roman.^[104] Version 6.87 of this typeface is available for purchase under the name Times New Roman OS (see below).^[105] The current version of Windows’ Times New Roman includes small capitals, text figures, and italic swash capitals.^[106] It omits automatic ligature insertion, but enabling the «discretionary ligatures» feature will provide ligatures for «fi» and «Th». More complex Unicode ligatures like «ffi» and «ft» are also available.^[108] A previous version of Times New Roman was also distributed as part of Microsoft’s Core Fonts for the Web package.^[109]

When the system font Times New Roman was expanded to support Arabic script, it was complemented with the Arabic character set from Simplified Arabic, a typeface that Compugraphic Corporation had plagiarized from Linotype and leased to Microsoft.^[110] Times New Roman with support for Arabic was first published in the Arabic version of Windows 3.1x.^[110]

Times New Roman OS[edit]

Also known as Times New Roman World, this is originally based on the version of Times New Roman bundled with Windows Vista.^[111] It includes fonts in WGL character sets, Hebrew and Arabic characters. Similar to Helvetica World, Arabic in italic fonts are in roman positions.

Others[edit]

Monotype further sells a wider range of styles and optical sizes in order to meet the needs of newspapers and books which print at a range of text sizes.^[21]

• 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).^[112] Times New Roman Pro and Std provide standard ligature for «fi».
• Times New Roman Seven is for smaller text and includes Regular and Bold with their italics.^[113]
• Times New Roman Small Text includes Regular, Italic, and Bold.^[114]

Linotype variants[edit]

«Times Ten» redirects here. For a relational database management system by Oracle, see TimesTen.

Times[edit]

This is the digitalisation of Linotype’s Times (see above). It is pre-installed on macOS but not on iOS,^[115] and is also widely available for purchase. Times provides standard ligature for «fi», but it does not provide any ligature for «Th».

Others[edit]

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

• Times Ten is a version specially designed for smaller text (12-point and below). It features wider characters and stronger hairlines.^[116][117] In 2004 prominent typeface designer Erik Spiekermann said that he believed that it was the best Times New Roman digitisation then available.^[118]
• Times Eighteen, a headline version for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. The current version has no italics, but does have a lower case (whereas some Times titling fonts were capitals only).^[65]
• Times Europa Office, a 2006 adaptation of The Times’s 1972 design Times Europa (see below). This is a complete family of designs intended for use on poor-quality paper. The updating, created by Akira Kobayashi, contains tabular numbers, mathematical signs, and currency symbols. Each character has the same advance width in all the fonts in the family so that changing from regular to bold or italic does not affect word wrap.^[119]

Later typefaces used by The Times[edit]

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

• Times Europa was designed by Walter Tracy in 1972 for The Times, as a sturdier alternative to the Times font family, designed for the demands of faster printing presses and cheaper paper.^[120] It has been released commercially by Adobe, among others, recently in an updating by Linotype as Times Europa Office (discussed above).^[121][119]
• Times Roman replaced Times Europa on 30 August 1982.^[122]
• Times Millennium was made in 1991, drawn by Gunnlaugur Briem on the instructions of Aurobind Patel, composing manager of News International.^[122][123]
• Times Classic first appeared in 2001.^{[124][125][126][127][128]} 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 font.^{[122][129][130]}
• Times Modern was unveiled on 20 November 2006, as the successor of Times Classic.^[122] Designed for improving legibility in smaller font sizes, it uses 45-degree angled bracket serifs. It was designed by Research Studios, led by designer Neville Brody with input from Ben Preston, deputy editor of The Times.^[131][132] (Other designs have been released called Times Modern; see below.) During the Times New Roman period The Times also sometimes used Perpetua Titling.^[10][64]

William Starling Burgess[edit]

In 1994 the printing historian Mike Parker published claims that the design of Times New Roman’s roman or regular style was based on a 1904 design of William Starling Burgess.^[133] This theory remains controversial.^[27] Parker and his friend Gerald Giampa, a Canadian printer who had bought up the defunct American branch of Lanston Monotype, claimed that, in 1904, Burgess created a type design for company documents at his shipyard in Marblehead, Massachusetts, and hired Lanston Monotype to issue it.^[133] However, Burgess abandoned the idea and Monotype shelved the sketches, ultimately reusing them as a basis for Times New Roman. Giampa claimed that he stumbled upon original material in 1987, after he had purchased Lanston Monotype, and that some of the papers that had been his evidence had been lost in a flood at his house, while Parker claimed that an additional source was material in a section of the Smithsonian now closed due to asbestos contamination.^[133][134] Giampa asked Parker to complete the type from the limited number of surviving letters, which was issued in June 2009 by Font Bureau under the name of ‘Starling’.^[27]

Reception to the claims was sceptical, with dismissal from Morison’s biographer Nicolas Barker and Luc Devroye among others; Barker suggested that the material had been fabricated in order to aid Giampa in embarrassing Monotype’s British branch, while Devroye and Thomas Phinney of FontLab suggested that the claim had begun as a prank.^{[134][135][136][137]} In 2010, writer Mark Owens described Parker’s article in retrospect as «the scantest of evidence» and a «fog of irrelevant details».^[138][j] Monotype executive Dan Rhatigan described the theory as implausible in 2011: «I’ll admit that I tend to side with the more fully documented (both in general, and in agreement with what little I can find within Monotype to support it) notion that Times New Roman was based on Plantin…I won’t rule out the possibility that Starling Burgess drew up the concept first, but Occam’s razor makes me doubt it.»^[79]

The Times Online web site credits the design to «Stanley Morrison, Victor Lardent and perhaps Starling Burgess».^[141]

Designs inspired by Times New Roman[edit]

In the phototypesetting and digital typesetting periods many font designs have been published inspired by Times New Roman. Although the digital data of Monotype and Linotype releases of Times New Roman are copyrighted, and the name Times is trademarked,^[142] the design is in many countries not copyrightable, notably in the United States, allowing alternative interpretations if they do not reuse digital data.^[143][144]

• Times Modern was a condensed and bold display variant published by, among others, Elsner+Flake. It was withdrawn from sale due to trademark disputes with the Times newspaper, which owns its own unrelated design named ‘Times Modern’ (see above).^[145]
• CG Times is a variant of Times family made by Compugraphic.
• Pelham is a version of Times Roman by DTP Types of Britain, which also designed an infant version with single-storey ‘a’ and ‘g’.^[146]

• In the mid-1960s, a derivative of Times New Roman known as ‘Press Roman’ was used as a font for the IBM Composer.^[147] This was an ultra-premium electric ‘golfball’ typewriter system, intended to be used for producing high-quality office documents or copy to be photographically enlarged for small-scale printing projects.^[147] Unlike most typewriters, the Composer produced proportional type, rather than monospaced letters. Ultimately the system proved a niche product, as it competed with increasingly cheap phototypesetting, and then in the 1980s was largely displaced by word processors and general-purpose computers.^{[148][149][k]}
• Among many digital-period designs loosely inspired by Times, Kris Sowersby’s popular Tiempos family is a loose Times New Roman revival; it was created for a Spanish newspaper (‘tiempo’ is Spanish for ‘time’).^[152][153]

Free alternatives[edit]

There are some free software fonts used as alternatives, including metric-compatible designs used for font substitution.^{[154][155][156][157]}

• URW++ produced a version of Times New Roman called Nimbus Roman in 1982. Nimbus Roman No9 L, URW’s PostScript variant, was released under the GNU General Public License in 1996,^[158][159] and is included with some free and open source software. Various adapted versions exist including FreeSerif,^[154][160] TeX Gyre Termes^[161] and TeX Gyre Termes Math.^[162][163] Like Times New Roman, many additional styles of Nimbus Roman exist that are only sold commercially, including condensed and extra-bold styles. URW also developed Nimbus Roman No. 4, which is metrically compatible with the slightly different CG Times.^[164]
• Linux Libertine developed in 2003 released under the GNU General Public License and the SIL Open Font License. Adopted for the redesign of the Wikipedia logo in 2010.

  

• The STIX Fonts project is a four-style set of open-source fonts. They were created for scientific publishing by the Scientific and Technical Information Exchange consortium of publishers, but are also very suitable for general use, including Greek and Cyrillic support.^[165] The original version is installed by default on Mac OS X, and adapted as XITS. In 2016, a completely redesigned version was released by Ross Mills and John Hudson of Tiro Typeworks. Unlike the previous version, it is an original design loosely inspired by a smaller 10-point size of Times New Roman, with a higher x-height than Monotype’s Times digitisation.^[166][167]
• Liberation Serif by Steve Matteson is metrically equivalent to Times New Roman.^[168] It was developed by Ascender Corp. and published by Red Hat in 2007 under the GPL with the font exception.^[169] 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.^[170] Google’s Tinos in the Croscore fonts package is a derivative of Liberation Serif.
• Bitstream Cyberbit is a roman-only font released by Bitstream with an expanded character range intended to cover a large proportion of Unicode for scholarly use, with European alphabets based on Times New Roman.^[171][172] Bitstream no longer offers the font, but it remains downloadable from the University of Frankfurt.^[173]
• Doulos SIL is a serif typeface developed by SIL International.^[174]
• 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 PT Astra Serif, metrically compatible (analogs) with Times New Roman.

Notes[edit]

References[edit]

Sources[edit]

Cited literature[edit]

External links[edit]

• Times Modern, by Dan Rhatigan: Part 1 and Part 2
• Times New Roman family (different sizes, in hot metal type)
• Times New Roman font family — Typography | Microsoft Docs
• Fonts in Use: Times New Roman, Times

Шрифт Times New Roman. Гарнитура содержит 2 файла и поддерживает 40 языков.

Copyright

Typeface © The Monotype Corporation plc. Data © The Monotype Corporation plc/Type Solutions Inc. 1990-1992. All Rights Reserved

Дополнительная информация

Категории

Языки

Категории: Семейство Serif шрифтов, Стандартные шрифты

На нашем сайте, вы можете скачать шрифт Times New Roman для своего сайта, или на свой компьютер, абсолютно бесплатно!
Добавляйте выбранные начертания и шрифты в «Коллекцию» нажав кнопку [+], чтобы скачать ZIP архивом только те файлы шрифтов, которые Вам нужны.

Съешь ещё этих мягких французских булок, да выпей же чаю.
The quick brown fox jumps over the lazy dog
1234567890 !@#$%^&*()_+-=

TimesNewRomanRegular.ttf Eot Woff

Как установить шрифт TimesNewRoman Regular

1. Для того, чтобы установить шрифт TimesNewRoman Regular в свой HTML-проект, сперва скопируйе содержимое архива в папку /fonts, которая должна лежать в той-же директории, что и папка /css вашего HTML сайта.

Структура проекта после установки шрифтов:
/ (корневой каталог шаблона или проекта)
    /fonts (Шрифты из архива распаковываем в папку /fonts)
        /TimesNewRomanRegular

    /css (Папка со стилями должна находиться в той-же категории, что и /fonts)
        /stylename.css (Файл стилей, в котором подключаются русские шрифты)
                                

2. Далее вставляем код, указанный ниже, в файл стилей, который должен находиться в папке /css.

/* Код для подключения шрифта в /css/stylename.css */
@font-face { 
    font-family: "TimesNewRomanRegular";
    src: url("../fonts/TimesNewRomanRegular/TimesNewRomanRegular.eot");
    src: url("../fonts/TimesNewRomanRegular/TimesNewRomanRegular.eot?#iefix")format("embedded-opentype"),
    url("../fonts/TimesNewRomanRegular/TimesNewRomanRegular.woff") format("woff"),
    url("../fonts/TimesNewRomanRegular/TimesNewRomanRegular.ttf") format("truetype");
    font-style: normal;
    font-weight: 400;
}

Съешь ещё этих мягких французских булок, да выпей же чаю.
The quick brown fox jumps over the lazy dog
1234567890 !@#$%^&*()_+-=

TimesNewRomanBold.ttf Eot Woff

Как установить шрифт TimesNewRoman Bold

1. Для того, чтобы установить шрифт TimesNewRoman Bold в свой HTML-проект, сперва скопируйе содержимое архива в папку /fonts, которая должна лежать в той-же директории, что и папка /css вашего HTML сайта.

Структура проекта после установки шрифтов:
/ (корневой каталог шаблона или проекта)
    /fonts (Шрифты из архива распаковываем в папку /fonts)
        /TimesNewRomanBold

    /css (Папка со стилями должна находиться в той-же категории, что и /fonts)
        /stylename.css (Файл стилей, в котором подключаются русские шрифты)
                                

2. Далее вставляем код, указанный ниже, в файл стилей, который должен находиться в папке /css.

/* Код для подключения шрифта в /css/stylename.css */
@font-face { 
    font-family: "TimesNewRomanBold";
    src: url("../fonts/TimesNewRomanBold/TimesNewRomanBold.eot");
    src: url("../fonts/TimesNewRomanBold/TimesNewRomanBold.eot?#iefix")format("embedded-opentype"),
    url("../fonts/TimesNewRomanBold/TimesNewRomanBold.woff") format("woff"),
    url("../fonts/TimesNewRomanBold/TimesNewRomanBold.ttf") format("truetype");
    font-style: normal;
    font-weight: 700;
}

Съешь ещё этих мягких французских булок, да выпей же чаю.
The quick brown fox jumps over the lazy dog
1234567890 !@#$%^&*()_+-=

TimesNewRomanItalic.ttf Eot Woff

Как установить шрифт TimesNewRoman Italic

1. Для того, чтобы установить шрифт TimesNewRoman Italic в свой HTML-проект, сперва скопируйе содержимое архива в папку /fonts, которая должна лежать в той-же директории, что и папка /css вашего HTML сайта.

Структура проекта после установки шрифтов:
/ (корневой каталог шаблона или проекта)
    /fonts (Шрифты из архива распаковываем в папку /fonts)
        /TimesNewRomanItalic

    /css (Папка со стилями должна находиться в той-же категории, что и /fonts)
        /stylename.css (Файл стилей, в котором подключаются русские шрифты)
                                

2. Далее вставляем код, указанный ниже, в файл стилей, который должен находиться в папке /css.

/* Код для подключения шрифта в /css/stylename.css */
@font-face { 
    font-family: "TimesNewRomanItalic";
    src: url("../fonts/TimesNewRomanItalic/TimesNewRomanItalic.eot");
    src: url("../fonts/TimesNewRomanItalic/TimesNewRomanItalic.eot?#iefix")format("embedded-opentype"),
    url("../fonts/TimesNewRomanItalic/TimesNewRomanItalic.woff") format("woff"),
    url("../fonts/TimesNewRomanItalic/TimesNewRomanItalic.ttf") format("truetype");
    font-style: italic;
    font-weight: normal;
}

Съешь ещё этих мягких французских булок, да выпей же чаю.
The quick brown fox jumps over the lazy dog
1234567890 !@#$%^&*()_+-=

TimesNewRomanBoldItalic.ttf Eot Woff

Как установить шрифт TimesNewRoman BoldItalic

1. Для того, чтобы установить шрифт TimesNewRoman BoldItalic в свой HTML-проект, сперва скопируйе содержимое архива в папку /fonts, которая должна лежать в той-же директории, что и папка /css вашего HTML сайта.

Структура проекта после установки шрифтов:
/ (корневой каталог шаблона или проекта)
    /fonts (Шрифты из архива распаковываем в папку /fonts)
        /TimesNewRomanBoldItalic

    /css (Папка со стилями должна находиться в той-же категории, что и /fonts)
        /stylename.css (Файл стилей, в котором подключаются русские шрифты)
                                

2. Далее вставляем код, указанный ниже, в файл стилей, который должен находиться в папке /css.

/* Код для подключения шрифта в /css/stylename.css */
@font-face { 
    font-family: "TimesNewRomanBoldItalic";
    src: url("../fonts/TimesNewRomanBoldItalic/TimesNewRomanBoldItalic.eot");
    src: url("../fonts/TimesNewRomanBoldItalic/TimesNewRomanBoldItalic.eot?#iefix")format("embedded-opentype"),
    url("../fonts/TimesNewRomanBoldItalic/TimesNewRomanBoldItalic.woff") format("woff"),
    url("../fonts/TimesNewRomanBoldItalic/TimesNewRomanBoldItalic.ttf") format("truetype");
    font-style: italic;
    font-weight: 700;
}

А лучше, используйте «коллекции» чтобы получить готовый архив с css файлом и нужными шрифтами, для этого жмите [+] и выбраный шрифт попадет в вашу коллекцию, можно добавлять разные шрифты и начертания, чтобы скачать только те, которые Вам нужны.
Кроме того, вы можете скачать сгенерированный плагин для WordPress сайта, и установить шрифты через менеджер плагинов в админке!

Вы можете скачать шрифт «Times New Roman» одним zip-архивом, со всеми вариантами начертаний.

Полезное

Times New Roman

Категория	Засечки
Классификация	Смешанный Переходный Старый стиль
Дизайнер (ы)	Стэнли Морисон Виктор Лардент
По заказу	Времена
Литейный завод	Монотипия
Дата выпуска	1932[1]
Лицензия	Проприетарный
Дизайн основан на	Плантен

Times New Roman это засечки шрифт. По заказу британской газеты Времена в 1931 году и задумана Стэнли Морисон, художественный советник британского отделения компании по производству полиграфического оборудования. Монотипия, в сотрудничестве с Виктор Лардент, художник надписи в The Times рекламный отдел. Он стал одним из самых популярных шрифтов всех времен и установлен на большинстве настольные компьютеры.

На просьбу дать совет по редизайну Морисон рекомендовал Времена изменить свой шрифт текста с тонкого лица девятнадцатого века на более прочный, солидный дизайн, вернувшись к традициям печати восемнадцатого века и ранее. Это соответствовало общей тенденции вкусов печати того периода. Морисон предложил более старый шрифт Monotype под названием Плантен в качестве основы для дизайна, а Times New Roman в основном соответствует размерам Плантена. Основное изменение заключалось в том, что контраст между штрихами был увеличен для получения более четкого изображения. Новый дизайн дебютировал в Времена 3 октября 1932 г. Через год проект был выпущен в коммерческую продажу. В названии Times New Roman слово Roman является ссылкой на обычный или Роман стиль (иногда также называемый Antiqua ), первая часть семейства Times New Roman. Римский шрифт имеет корни в итальянской печати конца 15 — начала 16 веков, но дизайн Times New Roman не имеет никакого отношения к Рим или в Римляне.

Времена оставался с Times New Roman в течение 40 лет, но новые методы производства и формат меняются от листовка к таблоид в 2004 году привели к тому, что с 1972 по 2007 год он пять раз сменил шрифт. Однако все новые шрифты были вариантами исходного шрифта New Roman.

дизайн

Times New Roman имеет надежный цвет на странице и влияния европейских ранний модерн и Барокко печать.^[3][а] Как шрифт, предназначенный для газетной печати, Times New Roman имеет высокую x-высота, короткая спусковые устройства позволить плотно межстрочный интервал и относительно сжатый вид.^[5][b]

Римский стиль Плантена был основан на металлическом шрифте, созданном в конце шестнадцатого века французским мастером. Роберт Гранжон и хранится в коллекции Музей Плантена-Моретуса из Антверпен.^{[8][9][10][11]} Этот стиль иногда относят к категории «Старый стиль «шрифтов с засечками (до восемнадцатого века).^{[12][13][14][c]} (Буква «а» Плантена не была основана на работе Гранжона: шрифт Музея Плантена-Моретуса имел замену «а» позже.^[16]Действительно, рабочее название Times New Roman было «Times Old Style».^[15]

Однако Times New Roman изменяет влияние Гранжона дальше, чем Плантен, благодаря таким особенностям, как «а» и «е» с очень большими счетчики и проемы, его шаровой терминал детализацию и повышенный уровень контраста между толстыми и тонкими мазками, поэтому его часто сравнивают со шрифтами конца восемнадцатого века, так называемымипереходный ‘жанр, в частности Баскервиль шрифт 1750-х гг.^[17][18] Историк, а иногда и исполнительный директор Monotype Аллан Хейли заметил, что по сравнению с Плантеном «засечки были более резкими … контраст был увеличен, а изгибы символов были уточнены», в то время как Лоусон охарактеризовал более контрастную четкость Times как «искорку [Плантен], которой никогда не достигалось».^[19][20] Другие изменения от Плантена включают прямые буквы «М» и «W» с тремя верхними клеммами, а не четыре Плантина, оба варианта, которые отходят от модели старого стиля.^[21]

Курсив и жирный

Морисон описал собеседника курсив а также под влиянием шрифтов, созданных Семья Дидо в конце 18-го и начале 19-го веков: «рационалистический курсив, не имеющий ничего общего с традицией шестнадцатого или семнадцатого веков. Он действительно имеет больше общего с восемнадцатым веком».^[22][23][24] Несколькими годами ранее Морисон привлек внимание за продвижение радикальной идеи о том, что курсив в книгопечатании слишком мешает потоку текста и должен быть постепенно убран.^[25][26] Он быстро пришел к выводу, что эта идея непрактична, и позже криво прокомментировал это историку. Гарри Картер что курсив Times больше обязан Дидот чем догма «.^[10] Морисон написал в личном письме о смешанном наследии Times New Roman, что он «имеет то достоинство, что не выглядит так, как если бы он был разработан кем-то конкретным».^[27][28][d]

Вместо того, чтобы создавать компаньона жирный шрифт с формами букв, подобными римскому стилю, полужирный шрифт Times New Roman имеет другой характер, с более сжатым и вертикальным эффектом, вызванным тем, что горизонтальные части кривых последовательно превращаются в тончайшие линии каждой буквы, а верхние засечки букв похожи на ‘ d ‘чисто горизонтально.^[31] Этого эффекта нет в гарнитурах шестнадцатого века (которые, в любом случае, не имели жирных версий); это больше всего связано с Дидона, или «современный» тип начала девятнадцатого века (и с более поздними «ионными» стилями шрифта, на которые он повлиял, которые были предложены Linotype, обсуждаемым ниже).^{[20][32][33][34][35]} Некоторые комментаторы, например Уолтер Трейси, сочли жирный шрифт Times неудовлетворительным и слишком сжатым.^[30]

Историческое прошлое

В течение девятнадцатого века стандартными римскими шрифтами для универсальной печати были «современные» или дидонские рисунки,^[f] и они были стандартными для всех газетных изданий.^[37][38] Дизайн в стиле девятнадцатого века остается общей частью эстетики газетной печати.^[г] Согласно Мосли и Уильямсону, современное лицо, используемое Времена была серия 7 от Monotype или «Modern Extended», основанная на шрифтах Миллер и Ричард.^[40][41]

К 1920-м годам некоторые представители издательской индустрии сочли, что модель с современным лицом была слишком тонкой и высококонтрастной для оптимальной разборчивости при небольших размерах и жестких методах печати газетной печати.^[42][час] В 1925 году компания Mergenthaler Linotype, главный конкурент Monotype, выпустила новый газетный шрифт под названием Ionic, который стал первым в серии, известной как Группа удобочитаемости.^[44][34] Они соответствовали модели девятнадцатого века, но значительно снизили контрастность букв.^[45] Самые тонкие штрихи буквы делались более толстыми, а штрихи держались как можно дальше друг от друга, чтобы сделать их читаемее. Это оказалось чрезвычайно успешным: Аллен Хатт, консультант по газетной печати Monotype в конце 1930-х годов,^[46] позже отмечал, что он «произвел революцию в редактировании газетных текстов … в течение восемнадцати месяцев он был принят 3000 газетами».^[44] Хотя Times New Roman ни в чем не похож на него, Уолтер Трейси, известный шрифтовик, который работал над редизайном Times в 1970-х и написал анализ его дизайна в своей книге Аккредитивы (1986), отметили, что его появление должно было по крайней мере повлиять на решение рассмотреть вопрос о редизайне.^[47]

Разработка Times New Roman была относительно сложной из-за отсутствия конкретной ранее существовавшей модели — или, возможно, из-за избытка возможных вариантов. Морисон написал в служебной записке, что надеется на дизайн с относительно острыми засечками, соответствующими общему дизайну предыдущего шрифта Times, но с более темной и более традиционной базовой структурой. Увеличенные версии ранее существовавших, но довольно изящных Baskerville и Monotype Perpetua За основу были взяты гарнитуры шрифтов, а также был исследован дизайн группы удобочитаемости. (Perpetua, которую Monotype недавно заказал у скульптора Эрик Гилл по настоянию Морисона, с эстетической точки зрения он считается «переходным» дизайном, хотя он не возрождает какую-либо конкретную модель.) Уолтер Трейси, который знал Лардента, предположил в 1980-х, что «Морисон не начинал с ясного видения окончательного типа, но нащупал свой путь «.^[48]

Биограф Морисона Николас Баркер написал, что записки Морисона того времени колебались по множеству вариантов, прежде чем был в конечном итоге сделан вывод, что Плантен является лучшей основой для сжатого шрифта, который, тем не менее, можно было заставить заполнять полный размер буквенного пространства, насколько это возможно. (Морисон в конечном итоге признал, что Perpetua, который был его любимым проектом, был « слишком в основном круглым », чтобы быть практичным, чтобы привлекательно конденсировать.^[я])

Уолтер Трейси и Джеймс Моран, которые обсуждали создание дизайна с Ларденом в 1960-х годах, обнаружили, что сам Лардент мало помнил, какой именно материал Морисон дал ему в качестве образца для разработки шрифта, но он сказал Морану, что помнит, как работал над ним. дизайн из архивных фотографий винтажного типа; он думал, что это книга, напечатанная Кристоф Плантен, принтер шестнадцатого века, типография которого находится в музее Плантена-Моретуса и названа в честь нее.^[49] Моран и Трейси предположили, что на самом деле это мог быть тот же самый образец из музея Плантена-Моретуса, на котором был основан Плантен.^[50] (Хотя шрифт Plantin основан на типе из коллекции Музея, на самом деле он основан на шрифте Granjon, матрицы (формы) для которого поступили в коллекцию только после смерти Плантена.^[9]Заостренные засечки отчасти напоминают Perpetua, хотя заявленная причина их использования Морисоном заключалась в обеспечении преемственности с предыдущим дизайном Didone и четкости, связанной с Раз ‘ печать; он также назвал причину, по которой более резкие засечки выглядят лучше после стереотипы или напечатаны на роторный пресс.^[51] Хотя Морисон, возможно, не нарисовал дизайн буквально, его влияние на концепцию было достаточно, чтобы он мог назвать это «моей единственной попыткой разработать шрифт» в письме к Дэниел Беркли Апдайк, видный американский историк книгопечатания, с которым он часто переписывался.^[j] Несколько отчетов Морисона о его рассуждениях при разработке концепции Times New Roman были несколько противоречивыми, и историки книгопечатания предположили, что на практике они в основном были составлены для рационализации его существовавших ранее эстетических предпочтений: после смерти Морисона Аллен Хатт зашел так далеко, что описал его неподписанная статья 1936 года на эту тему^[3] как «довольно странное… это можно рассматривать только как часть морисонианской мистификации».^[52]

Оригинальные рисунки Лардента, согласно Ратигану, утеряны, но есть фотографии его рисунков. Рэтиган комментирует, что оригиналы Лардента показывают «дух окончательного типа, но не детали».^[53] Дизайн был адаптирован из больших рисунков Лардента командой чертежного офиса Monotype в г. Salfords, Суррей, который проработал интервалы и упростил некоторые мелкие детали.^[48] Дальнейшие изменения были внесены после начала производства (последнее было сложной практикой, поскольку новые пуансоны и матрицы приходилось обрабатывать после каждого изменения конструкции).^[48]

Морисон продолжал развивать тесные связи с Раз это продлится всю его жизнь. Морисон редактировал History of the Times с 1935 по 1952 год и в послевоенный период, когда Monotype фактически прекратил разрабатывать новые шрифты из-за давление жесткой экономии, занял должность редактора Литературное приложение Times который он держал с 1945 по 1948 год.^[54] Times New Roman оставался единственным шрифтовым дизайном Морисона; он разработал шрифт, который будет выпущен Литейный завод типа Бауэра Франкфурта, но проект был заброшен из-за войны. Друг Морисона, Брук Кратчли, записал в своем дневнике, как Морисон сказал ему, что образец теста, присланный ему незадолго до войны, был отправлен правительству для «анализа, чтобы мы могли узнать, страдают ли гунны от свинца, сурьмы или олова. . «^[51]

Версии металлического типа

Большое количество вариантов Times было вырезано в период металлического шрифта, в частности, семейства заглавных букв для заголовков.^[55] Уолтер Трейси в Аккредитивы, Аллен Хатт и другие подробно обсуждали это в своих работах о семье.^[56][57][58]

Заголовок

Компания Monotype также создала несколько заглавных букв, которые соответствовали самой Times New Roman, предназначенной для основного текста.^[59] Они не продаются Monotype в цифровом формате, хотя Times Eighteen от Linotype в том же стиле (см. Ниже) продается.^[60]

Times Hever Titling

Элегантный дизайн заглавных букв, сильно отличающийся от Times New Roman с Caslon-стиль A (с засечками в верхнем левом углу буквы, предполагающими штрих, написанный пером) и C и W в старом стиле; Трейси предлагает предыдущую версию Monotype. Полифил дизайн как влияние.^[61] Названный в честь Замок Хевер, дом Раз ‘ владелец Лорд астор и разработан на раннем этапе, он использовался Раз для заголовков в более легких разделах, таких как страницы общества, искусство и мода.^[57] Он не оцифрован.

Times Wide (1938, серия 427)

Вариант, предназначенный для книжной печати, без небольшого уплотнения оригинального Times New Roman.^[63] Хотя он был популярен в период печатания книг металлическим шрифтом, он, по-видимому, никогда не переводился в цифровую форму. Monotype также создала версию, серию 627, с длинными нисходящими элементами, более подходящими для классической книжной типографии.^[64] Необязательный текстовые рисунки были также доступны.^[65]

Серии 727 и 827

Monotype также выпустила серию 727, в которой более жирные штрихи заглавных букв были сделаны немного тоньше.^[66] Это было сделано для получения более светлого эффекта, при котором заглавные буквы не так сильно выделяются, и было специально предназначено для Немецкое использование, поскольку в немецком языке заглавные буквы встречаются гораздо чаще, так как они появляются в начале каждого существительного.^[66] Серия 827 изменила некоторые буквы (в частности, р), чтобы соответствовать их внешнему виду в других шрифтах, популярных во французской печати. Это производство того, что сейчас называется стилистические альтернативы соответствовать национальным вкусам было обычным делом в то время, и многие альтернативы также предлагались Гилл Санс для использования в Европе.^[66]

Claritas

Модифицированный шрифт Times Roman размером 4¾ был изготовлен Monotype для использования в печатных материалах, требующих очень маленького шрифта. Перечисленный как Times Newspaper Smalls, доступный как Series 333 или 335, он также упоминался под названием Claritas.^[22]

Математика, 4 строки, ряд 569

Это вариант, разработанный для печати математических формул с использованием 4-строчной математической системы, разработанной Monotype в 1957 году.^[67][68] Эта модифицированная версия Times Roman была разработана для использования в рамках четырехстрочной математической системы Monotype. Основными изменениями в самом шрифте Times Roman стали уменьшение наклона курсивных символов до 12 градусов с 16 градусов, чтобы уменьшить потребность в кернинге, и изменение формы курсива v и w, чтобы курсив v мог легче отличить от греческого nu.^[67]

В 4-строчной системе использовались символы шрифта Times Roman с 10 кеглями и 6 кеглей. тела. Верх персонажа будет нависать над пулей, образуя керн который был менее хрупким, чем обычные керны литейного типа, так как находился на литой металлической пластине. Этот метод ранее использовался на машинах Monotype, обычно с использованием матриц двойной высоты, чтобы обеспечить автоматическую установку «рекламных фигур» (чисел, занимающих две или более строк, обычно для четкого указания цены в рекламе, набранной мелким шрифтом. ). Это означало, что одна и та же матрица может использоваться как для надстрочных, так и для подстрочных чисел. Что еще более важно, это позволяло переменной или другому элементу иметь одновременно верхний и нижний индекс, один над другим, без особых трудностей.^[67]

Ранее, в то время как система Monotype из-за ее гибкости широко использовалась для задания математических формул, для этой цели обычно использовалась система Modern Series 7 компании Monotype.^[40][69] Из-за популярности Times Roman в то время, Monotype решила разработать вариант Times Roman, подходящий для математической композиции, и заново вырезать множество дополнительных символов, необходимых для математики, включая специальные символы, а также греческий алфавит и алфавит Fraktur, чтобы вместо этого сопровождать систему. о разработке его вокруг шрифта, который использовался, для которого уже были доступны символы.^[67] Матрицы для примерно 700 символов были доступны как часть Times Roman Series 569, когда он был выпущен в 1958 году, а новые символы постоянно добавлялись в течение более десяти лет после этого (таким образом, в 1971 году было включено 8000 символов, а новые добавлялись в из расчета около 5 в неделю).^[67]

Применение

Популярность Times New Roman быстро вышла за пределы своей первоначальной ниши, став популярной в книгопечатании и общем издательском деле. Monotype продвигала шрифт в своем торговом журнале, Регистратор монотипии воспользовались этой популярностью, вырезав расширенную версию Series 427 для публикации книг, хотя многие книги в конечном итоге использовали исходную версию.^[71] (Потому что обложка Монотипный рекордер сравнивая новый шрифт «Times New Roman» с образцом предыдущего шрифта, обозначенным как «Times Old Roman», некоторые авторы предположили, что предыдущий шрифт Times назывался именно так, но это не так.^[72][41])

Одним из первых пользователей Times New Roman за пределами его происхождения был Дэниел Беркли Апдайк, влиятельный историк книгопечатания, с которым Морисон вел обширную переписку. Впечатленный дизайном, он использовал его для установки своей книги Некоторые аспекты печати, старые и новые.^[73][74][75] Затем его выбрали журналы Crowell-Collier. Домашний компаньон женщины а затем его родственные публикации, такие как Collier’s.^[76][77][78] Брошюра была опубликована, чтобы отметить изменение, вместе с письмом от Морисона, надеющегося, что редизайн будет успешным.^[70] В конце концов, он стал самым продаваемым металлическим стилем Monotype за все время.^[79][80]

Уолтер Трейси, который работал над редизайном, однако, заметил, что сжатие дизайна и мелкие детали простираются до края матрицы был не идеален в агрессивных условиях типографии большинства газет, в которых Раз был необычен своим особенно высоким стандартом печати, подходящим для рынка роскоши. Пользователи обнаружили, что в период горячего металла расплавленный металл обычно быстро разъедал матрицы при отливке шрифта, и поэтому он не стал популярным среди других газет: «Times Roman достигла своей популярности в основном в общей печати, а не в газетной работе «.^[30] Он описал его как особенно используемое в «книжной работе, особенно в научно-популярной литературе», такой как Британская энциклопедия.^[30] Хатт также отметил, что относительное сжатие Times New Roman было менее полезным, чем можно было бы ожидать для газетной печати, поскольку в обычной газетной колонке частые разрывы абзацев, как правило, создают область, которая может занять пространство более широких букв без увеличения количества используемых строк, но Времена, чья домашний стиль в 1930-х годах было минимизировать количество разрывов абзаца, было исключением из этого правила.^[52]

При жизни Морисона было опубликовано несколько ранних обзоров Times New Roman, в которых обсуждались аспекты его дизайна.^[32] Большинство из них были признательны (Морисон был влиятельной фигурой в издательском деле), но некоторые отметили, что это не соответствовало общепринятым ожиданиям от дизайна газетных шрифтов.^[32][81] Одна статья, в которой обсуждался его дизайн, была Оптическая шкала в поиске текста, написанный Гарри Картером и опубликованный в 1937 году, в котором обсуждались различия между дизайном мелкого и большого шрифта. Он прокомментировал: «Маленькие размеры Плантена воплощают то, что должно быть требованиями хорошего мелкого шрифта, [но] Times Roman, который большинство людей считает самым легким для чтения из мелких текстовых шрифтов, противоречит некоторым из них … [Морисон] избегал тупых засечек и утолщенных линий волос, потому что он обнаружил, что они изнашиваются более заметно, чем более резкие черты «.^[43]

Times New Roman остается популярным в издательском деле, чему способствует чрезвычайно широкий диапазон символов, доступных для международной и математической печати.^[64][82] Например, Американская психологическая ассоциация предлагает использовать Times New Roman в статьях, написанных на его Стиль APA.^[83][84]

Релизы линотипов

Несмотря на ключевую роль Monotype в создании Times New Roman, ее конкурент Линотип стремительно начали предлагать дизайн; Времена использовала оборудование Linotype для большей части своего производства. Линотип назвал этот дизайн Раз или Times Roman. С тех пор монотипия и линотипия объединились, но небольшие различия разделили линию Times на два слегка разных дизайна.

Хотя Times New Roman и Times очень похожи, между версиями, продаваемыми Linotype и Monotype, возникли различные различия, когда основные шрифты были перенесены с металла на Фото и цифровые медиа. Например, линотип наклонил засечки на заглавной S, в то время как Monotype вертикальные, а у Linotype есть дополнительные засечки на цифре 5.^[86] Большинство из этих различий незаметны в основном тексте на обычном расстоянии чтения или 10 пунктов при 300 dpi. Между двумя производителями росла тонкая конкуренция, поскольку пропорции и детали, а также показатели ширины для их версии Times расходились.^[88] Различия между двумя версиями действительно происходят в нижнем регистре z в курсиве (у Times Linotype есть загиб, который также использовался в возрождении STIX, Times New Roman является прямым),^[30] и в знаке процента во всех весах (линотипы и STIX имеют черту, соединяющую левый ноль с косой чертой, Times New Roman нет). Буква J монотипа не убывающая, но жирный шрифт линотипа опускается ниже базовой линии. В металлической версии Times от Linotype была сокращена буква «f» из-за технических ограничений системы Linotype — она ​​не могла использовать кернинг ‘f’, который простирается в пространство окружающих букв.^[89] В цифровой версии это ограничение снято.^[89]

Linotype предоставил лицензию на свою версию Ксерокс а потом Adobe и яблоко, гарантируя его важность в цифровой печати, делая его одним из основных шрифтов PostScript язык описания страницы.^[90][91] Версия Microsoft Times New Roman лицензирована Monotype, отсюда и первоначальное название. Для совместимости Monotype пришлось немного перерисовать свой дизайн, чтобы он соответствовал ширине из версии Adobe / Linotype.^[92] Существуют версии Times New Roman от Monotype (обсуждаемые ниже), которые отличаются от показателей PostScript. Linotype подала заявку на регистрацию названия торговой марки Times Roman и получил регистрационный статус в 1945 году.^[88]

Современные релизы

Как Times New Roman

Monotype предлагает более широкий выбор стилей и оптические размеры для Times New Roman, чем предлагается с Windows, чтобы удовлетворить потребности газет и книг, которые печатаются с различными размерами текста.^[22] Его текущий выпуск включает в себя обычный, средний, полужирный и полужирный шрифт с соответствующим курсивом, дополнительный полужирный, сжатый (обычный, курсив и полужирный), семь (для меньшего текста, обычный, курсив, полужирный и полужирный курсив) и мелкий текст ( для очень мелкого текста — обычным, курсивом и жирным шрифтом).^[93] Версия с четырьмя весами, включенная в Windows, также распространялась как часть Microsoft Основные шрифты для Интернета пакет.^[94]

По состоянию на 2017 год версия Times New Roman, включенная в Windows 10, версия 6.96, включает малые столицы, текстовые цифры и курсив наклонить заглавные буквы.^[95] Оцифровка Microsoft / Monotype Times New Roman пропускает автоматическую лигатура вставка, которая может привести к некрасивым столкновениям символов, если требуются символы ‘fi’;^[95] он включен в версию Times, установленную с macOS.^[97]

Times New Roman World

Это версия, основанная на шрифтах, выпущенных с Виндоус виста.^[98] Включает шрифты в WGL наборы символов, еврейские и арабские символы. Похожий на Мир Helvetica, Арабский шрифт курсивным шрифтом находится в латинских позициях.

Варианты линотипов

Как и Monotype, Linotype выпустила дополнительные версии Times для текста разных размеров. Они включают:

• Times Ten — это версия, специально разработанная для текста меньшего размера (12 пунктов и ниже). Он имеет более широкие персонажи и более сильные волосы.^[99][100] В 2004 году выдающийся шрифтовой дизайнер Эрик Шпикерманн сказал, что, по его мнению, это была лучшая на тот момент оцифровка Times New Roman.^[101]
• Times Eighteen, заголовок для кеглей от 18 и более. Персонажи слегка сгущены, а линии волос более тонкие. Текущая версия не имеет курсива, но имеет строчные буквы (тогда как в некоторых шрифтах Times для заголовков использовались только заглавные буквы).^[60]
• Times Europa Office, адаптация 2006 г. The Times Дизайн 1972 года Times Europa (см. Ниже). Это полное семейство дизайнов, предназначенных для использования на некачественной бумаге. Обновление, созданное Акирой Кобаяши, содержит табличный числа, математические знаки и символы валюты. Каждый символ имеет одинаковую ширину продвижения во всех шрифтах в семействе, поэтому изменение обычного шрифта на полужирный или курсив не влияет на перенос слов.^[102]

Более поздние гарнитуры, используемые Времена

Времена Газета заказала различных преемников Times New Roman:

• Times Europa была разработана Уолтером Трейси в 1972 году для Времена, как более надежная альтернатива семейству шрифтов Times, разработанная для более быстрых печатных машин и более дешевой бумаги.^[103] Он был коммерчески выпущен компанией Adobe, среди прочих, недавно в обновлении Linotype под названием Times Europa Office (обсуждалось выше).^[104][102]
• Times Roman заменил Times Europa 30 августа 1982 г.^[105]
• Times Millennium был создан в 1991 году и нарисован Гуннлаугуром Брием по поручению Ауробинда Пателя, менеджера по композициям News International.^[105][106]
• Times Classic впервые появился в 2001 году.^{[107][108][109][110][111]} Созданный как экономичное лицо Дэйвом Фэри и Ричардом Доусоном, он использовал преимущества новой издательской системы на базе ПК в газете; новый шрифт включал 120 букв на шрифт.^{[105][112][113]}
• Times Modern был представлен 20 ноября 2006 года как преемник Times Classic.^[105] Разработанный для улучшения разборчивости шрифтов меньшего размера, он использует угловые скобки с засечками под углом 45 градусов. Он был разработан Research Studios во главе с дизайнером Невилл Броуди с участием Бен Престон, заместитель редактора Времена.^[114][115] (Были выпущены и другие дизайны под названием Times Modern; см. Ниже.) В период Times New Roman Времена также иногда используется Perpetua Titling.^[10][59]

Уильям Старлинг Берджесс

В 1994 г. историк книгопечатания Майк Паркер опубликовал утверждение, что дизайн римского или обычного стиля Times New Roman был основан на дизайне 1904 года Уильям Старлинг Берджесс.^[116] Эта теория остается спорной.^[28] Паркер и его друг Джеральд Джампа, канадский типограф, купивший несуществующий американский филиал Lanston Monotype, утверждал, что в 1904 году Берджесс создал шрифт для документов компании на своей верфи в Марблхеде, штат Массачусетс, и нанял Lanston Monotype для его выпуска.^[116] Однако Бёрджесс отказался от этой идеи, и Monotype отложила эскизы, в конечном итоге повторно использовав их в качестве основы для Times New Roman. Джампа утверждал, что наткнулся на исходный материал в 1987 году, после того, как купил Lanston Monotype, и что некоторые из документов, которые были его доказательствами, были потеряны в результате наводнения в его доме, в то время как Паркер утверждал, что дополнительным источником был материал в секция Смитсоновского института закрыта из-за асбест загрязнение.^[116][117] Джампа попросил Паркера закончить шрифт из ограниченного числа уцелевших букв, который был выпущен в июне 2009 г. Бюро шрифтов под названием «Скворец».^[28]

Отношение к претензиям было скептическим, биограф Морисона Николас Баркер уволил его. Люк Деврой среди прочего; Баркер предположил, что материал был сфабрикован, чтобы помочь Джампе поставить в неловкое положение британское отделение Monotype, в то время как Деврой и Томас Финни из FontLab предположил, что иск начался как шутка.^{[117][118][119][120]} В 2010 году писатель Марк Оуэнс ретроспективно охарактеризовал статью Паркера как «скудное свидетельство» и «туман не относящихся к делу подробностей».^[121][k] Исполнительный директор Monotype Дэн Рэтиган назвал эту теорию неправдоподобной в 2011 году: «Я признаю, что склоняюсь к более полно задокументированному (как в целом, так и в согласии с тем немногим, что я могу найти в Monotype для ее поддержки) о том, что Times New Roman был основан на Плантене … Я не исключаю, что идею первой разработала Старлинг Берджесс, но бритва Оккама заставляет меня в этом сомневаться «.^[72]

Веб-сайт Times Online приписывает дизайн «Стэнли Моррисону, Виктору Лардену и, возможно, Старлинг Берджесс».^[124]

Дизайн, вдохновленный Times New Roman

в фотонабор и периоды цифрового набора текста, многие дизайны шрифтов были опубликованы на основе Times New Roman. Хотя цифровые данные выпусков Monotype и Linotype Times New Roman защищены авторским правом, а название Раз является товарным знаком,^[125] то дизайн во многих странах не охраняется авторским правом, особенно в Соединенных Штатах, разрешая альтернативные интерпретации, если они не используют повторно цифровые данные.^[126][127]

• Times Modern был сжатым и жирным вариантом отображения, опубликованным, среди прочего, Эльснер + Флаке. Он был снят с продажи из-за споров о товарных знаках с Раз газета, имеющая собственный дизайн под названием Times Modern (см. выше).^[128]
• CG Times — это вариант семейства Times, созданный Компьютерный.
• Pelham — это версия Times Roman от DTP Types of Britain, которая также разработала детская версия с одноэтажными «а» и «ж».^[129]

• В середине 1960-х годов производное от Times New Roman, известное как Press Roman, использовалось в качестве шрифта для IBM Composer.^[130] Это был ультрапремиальный электрический мяч для гольфа. печатная машинка Система, предназначенная для создания высококачественных офисных документов или копий для фотографического увеличения для небольших полиграфических проектов.^[130] В отличие от большинства пишущих машинок, Composer печатал пропорциональный шрифт, а не моноширинные буквы. В конечном итоге система оказалась нишевым продуктом, поскольку она конкурировала со все более дешевым фотонабором, а затем в 1980-х годах была в значительной степени вытеснена текстовыми процессорами и компьютерами общего назначения.^{[131][132][l]}
• Среди множества дизайнов цифрового периода, вдохновленных Times, Крис Соуэрсби популярная семья Tiempos — это свободное возрождение Times New Roman; он был создан для испанской газеты («tiempo» в переводе с испанского означает «время»).^[135][136]

Бесплатные альтернативы

Есть некоторые свободное программное обеспечение шрифты, используемые в качестве альтернативы, включая метрическая совместимость конструкции, используемые для замена шрифта.^{[137][138][139][140]}

• URW ++ выпустил версию Times New Roman под названием Нимбус Роман в 1982. Nimbus Roman №9 L, URW’s PostScript вариант, был выпущен под Стандартная общественная лицензия GNU в 1996 г.^[141][142] и включен в некоторые свободный и Открытый исходный код программного обеспечения. Существуют различные адаптированные версии, включая FreeSerif,^[137][143] TeX Gyre Termes^[144] и TeX Gyre Termes Math.^[145][146] Как и в Times New Roman, существует множество дополнительных стилей Nimbus Roman, которые продаются только на коммерческой основе, в том числе сокращенные и выделенные жирным шрифтом стили. URW также разработал Nimbus Roman No. 4, который метрически совместим с немного другими CG Times.^[147]
• Linux Libertine разработан в 2003 г., выпущен под Стандартная общественная лицензия GNU и Лицензия открытого шрифта SIL. Принято для изменения дизайна логотипа Википедии в 2010 году.

  

• В Проект STIX Fonts представляет собой набор шрифтов с открытым исходным кодом в четырех стилях. Они были созданы для научных публикаций консорциумом издателей по обмену научной и технической информацией, но также очень подходят для общего использования, включая поддержку греческого и кириллического языков.^[148] Исходная версия по умолчанию устанавливается на Mac OS X, и адаптирован как XITS. В 2016 году Росс Миллс и Джон Хадсон из Tiro Typeworks выпустили полностью переработанную версию. В отличие от предыдущей версии, это оригинальный дизайн, вдохновленный меньший размер 10 пунктов Times New Roman с более высоким x-высота чем оцифровка Monotype’s Times.^[149][150]
• Liberation Serif от Стив Мэттесон метрически эквивалентен Times New Roman.^[151] Он был разработан Ascender Corp. и опубликовано Красная Шапка в 2007 г. GPL с исключение шрифта.^[152] Помимо ширины, он не особенно похож на Times New Roman, поскольку имеет более квадратную форму с менее мелкими деталями и тупыми концами, чем шариковые наконечники.^[153] Тинос от Google в Шрифты Croscore package является производным от Liberation Serif.
• Bitstream Cyberbit это шрифт только для латинского алфавита, выпущенный Bitstream с расширенным диапазоном символов, предназначенным для покрытия большей части Unicode для научных целей, с европейскими алфавитами на основе Times New Roman.^[154][155] Bitstream больше не предлагает шрифт, но его можно загрузить с Франкфуртский университет.^[156]

Заметки

использованная литература

Источники

Цитированная литература

внешние ссылки

• Times Modern, Дэн Рэтиган: Часть 1 и Часть 2
• Семья Times New Roman (разные размеры, в чугунном исполнении)
• Семейство шрифтов Times New Roman — Типография | Документы Microsoft
• Используемые шрифты: Times New Roman, Раз

Шрифт Times New Roman разработан с использованием Victor Lardent в сотрудничестве с британским отделением агентства печати Monotype Imaging.

Этот замечательный шрифт впервые появился в 1932 году в лондонской газете Times, для которой он был разработан. Впоследствии он стал одним из самых успешных типов творений в мире. Оригинальные рисунки были сделаны под руководством Стэнли Морисона исполнителя Victor Lardent на раз. Затем он прошел обширный итерационный процесс, включающий дальнейшую работу в типографском бюро Monotype.

Он имеет много характеристик старого стиля, но был адаптирован, чтобы дать отличную разборчивость в сочетании с хорошей экономией. Широко использованный в книгах и журналах, для отчетов, документов офиса и также для дисплея и рекламы.

Copyright: Typeface © The Monotype Corporation plc. Data © The Monotype Corporation plc/Type Solutions Inc. 1990-1992. All Rights Reserved
Семейство: Times New Roman
Подсемейство: Regular
Идентификатор: Monotype:Times New Roman Regular:Version 2.82 (Microsoft)
Полное название шрифта: Times New Roman
Версия: Version 2.82
PostScript название: TimesNewRomanPSMT
Торговая марка: Times New Roman® Trademark of The Monotype Corporation plc registered in the US Pat & TM Off. and elsewhere.
Изготовитель: Times-New-Roman
Дизайнер: Monotype Type Drawing Office — Stanley Morison, Victor Lardent 1932
URL лицензии: http://www.monotype.com/html/type/license.html
Размер: 176 Кб.

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