Times New Roman Mixed Commissioned by Date released 1932 Design based on Times New Roman is a designed for legibility in. It was commissioned by the British newspaper in 1931 and conceived by, the artistic advisor to the British branch of the printing equipment company, in collaboration with, a lettering artist in the Times' advertising department. Although no longer used by The Times, Times New Roman is still very common in book and general printing. It has become one of the most popular and influential typefaces in history and a standard typeface on most desktop computers. Times New Roman's creation took place through the influence of of. Morison was an artistic director at Monotype, historian of printing and informal adviser to The Times. Asked to advise on a redesign, he recommended that they change their text typeface from a spindly and somewhat dated nineteenth-century face to a more robust, solid design, returning to traditions of printing from the eighteenth century and before.

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This matched a common trend in printing tastes of the period. The new face was drawn by Victor Lardent, an artist from the advertising department of The Times, with Morison consulting, before refinement by the Monotype drawing office.

Morison proposed an older Monotype typeface named 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. As a typeface designed for newspaper printing, Times New Roman has a high, short descenders to allow tight linespacing and a relatively condensed appearance. World Software Developers. The new design made its debut in The Times on 3 October 1932. After one year, the design was released for commercial sale.

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Although Morison may not have literally drawn the design, his influence on its concept was sufficient that he felt that he could take credit for it as 'my one effort at designing a font'. In Times New Roman's name, Roman is a reference to the regular style of a conventional serif font, or what is called its, the first part of the Times New Roman family to be designed.

(The style is called in some countries.) Roman type has some roots in Italian (and other European) printing of the late 15th and early 16th centuries, but Times New Roman's design has no connection to or to the. The Times stayed with Times New Roman for 40 years, but new production techniques and the format change from to 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. Once released for commercial sale, Times New Roman became extremely successful, becoming Monotype's best-selling typeface of all time in metal type. Free Download Komik Trigan.

A Ludlow Typograph specimen of Times New Roman Type Specimen from the metal type period. The design was altered in smaller sizes to increase readability, particularly obvious in the widened spacing of the six and eight point samples at centre right of the diagram. Times New Roman has a robust on the page and influences of European and printing. The design is slightly condensed, with short and and a high (tall lower-case letters), all effects that save space and increase clarity.

The ultimate origin of the 'Roman' (regular) style of Plantin and Times New Roman was a metal type created in the late sixteenth century by the French artisan and preserved in the collection of the of. This style is sometimes categorised as part of the of serif fonts. Morison admired this style for its solid structure and clarity. However, due to features such as its 'a' and 'e', with larger than in Granjon's design, its detailing and an increased level of contrast between thick and thin strokes, it has also been compared to fonts from the late eighteenth century, the so-called ' genre, in particular the typeface of the 1750s. Historian and sometime Monotype executive Allan Haley commented that compared to Plantin 'serifs had been sharpened.contrast was increased and character curves were refined,' while Lawson described Times's higher-contrast crispness as having 'a sparkle [Plantin] never achieved.' (The 'a' of Plantin was already not directly sourced from Granjon's work: the sheet from the Plantin-Moretus Museum used as a specimen for Monotype to use in designing Plantin had an 'a' from the wrong font.