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Times New Roman Alternatives
See also: Maybe
In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called "Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers.Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer.
In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older... Read More
As its name implies, Photina was created specifically for phototypesetting, the technology that preceded digital and laser typesetting. Photina was designed by Jose Mendoza y Almeida in 1971 and was the third face made by the Monotype Corporation for phototypesetting systems. Its high typographic quality, robustness, and refined detail have made Photina popular for magazine and book text.
In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older... Read More
The appeal of Calisto as a text face lies in its very even color on the page, while its robust construction means that it can work equally well at display sizes. The slightly calligraphic treatment of letter shapes and the classical proportions give Calisto a clean elegance on the page. The Calisto font is a graceful and interesting addition to the typographer's repertoire and will prove... Read More
Check also: Times
Compugraphic released this version of the universally popular serif, Times. Like the others Times fonts, CG Times combines great clarity... Read More
Check also: Cambria Alternatives
Semper is slightly angular since it is in part based on callygraphic lettering. That is not as evident as in the italic of Jenson... Read More
Check also: Cambria Alternatives
Life font was designed in 1964 by W. Bilz and marks the beginning of a new generation of newsprint fonts. The Ionic style had replaced... Read More
Check also: Cambria Alternatives
Ragnar can be called a typeface for compact typography. It is loosely related to the Saga typeface in many ways, even including its name.... Read More
Check also: babe /headings
The design of Sabon Next™ by Jean François Porchez, a revival of a revival, was a double challenge: to try to discern Jan Tschichold´s... Read More
Check also: babe /headings
Rotis is a large typeface family consisting of, Serif, Semi Serif, Semi Serif and Sans Serif font styles. Agfa Rotis was created for Agfa... Read More
1910s, 1920s contemporary
The eText fonts from the Monotype Baskerville have been specially tuned by our type design experts for a better on screen readability ... Read More
Check also: iOS Fonts (selection)
Palatino Arabic is a collaboration between Lebanese designer Nadine Chahine and Prof. Hermann Zapf. The design is based on the Al-Ahram... Read More
Check also: Cambria Alternatives
Méridien™ was developed in the mid-1950s, and released by the French foundry Deberny & Peignot in 1957. After studying a typeface from... Read More
ITC Gamma font is the work of designer Jovica Veljović. Named after the third letter of the Greek alphabet, ITC Gamma has almost no sharp corners. Its serifs, stroke endings and terminals are all rounded, a feature best seen in larger point sizes.
Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches... Read More
Linotype Monticello was designed by C.H. Griffith in 1946. Its design is based on James Ronaldsons Roman No.1 and Oxford Typefaces from American Type Founders and was revised by Matthew Carter while he was working at Linotype between 1965 -1981.
Jan Tschichold designed Sabon™ in 1964, and it was produced jointly by three foundries: D. Stempel AG, Linotype and Monotype. This was in response to a request from German master printers to make a font family that was the same design for the three metal type technologies of the time: foundry type for hand composition, linecasting, and single-type machine composition. Tschichold turned to the... Read More
Linotype 1931
Monotype 1972
Linotype 1931
Bitstream
Elsner+Flake 1964
Elsner+Flake
Wiescher Design 2005
Monotype
Monotype
Linotype 1993
Bitstream 1860
ParaType
Bitstream 1987
Linotype
Linotype 1993
Linotype
Monotype 1988
Monotype 1706
Linotype 1951
Elsner+Flake 1958
Elsner+Flake
Linotype 1957
ITC 1986
Linotype 1499
Linotype 1946
Linotype 1499
Monotype
Monotype 1932
Monotype 1932
Monotype 1932
Monotype 1932
Check also: Times Alternatives and Times Alternatives