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Times Ten Alternatives

See also: Space Saving Fonts

Noah Nazir
T
Last edited July 26, 2018

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. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster.

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A nuclear war can ruin your whole day

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

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Do not write on the stalactites

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

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Slippery chicken hot pot young

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 Modern Face and was now replaced by this new innovative style, which mixed elements of Old Face, Transitional and Modern Face forms. Life's characters are based on the forms of Times and are the result of a time of change and experimentation.

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This shop does not receive the dog

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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

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Rabbits be cuddly or nutritious

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

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Slip away the hot chicken slice

ITC Legacy® was designed by American Ronald Arnholm, who was first inspired to develop the typeface when he was a graduate student at Yale. In a type history class, he studied the 1470 book by Eusebius that was printed in the roman type of Nicolas Jenson. Arnholm worked for years to create his own interpretation of the Jenson roman, and he succeeded in capturing much of its beauty and... Read More

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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.

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ITC Cheltenham font in its present form is the work of designer Tony Stan. Originally designed by architect Bertram Goodhue, it was expanded by Morris Fuller Benton and completed by Stan in 1975 with a larger x-height and improved italic details. ITC Cheltenham font is an example of an up-to-date yet classic typeface.

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Kis Classico™ is named after the Hungarian monk Miklós Kis who traveled to Amsterdam at the end of the seventeenth century to learn the art of printing. Amsterdam was a center of printing and punchcutting, and Kis cut his own type there in about 1685. For centuries, Kis's type was wrongly attributed to Anton Janson, a Dutch punchcutter who worked in Leipzig in the seventeenth century. Most... Read More

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Jan Tschichold designed Sabon™ in 1964, and it was produced jointly by three foundries: D. Stempel AG, Linotype and Monotype. This was in... Read More

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Worcester is a typeface from the rural english and anglo american life in the late 1920th.

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Haarlemmer is a recreation of a never-produced Jan Van Krimpen typeface that goes one step beyond authentic: it shows how he wanted it to be designed in the first place. The original, drawn in the late 1930s, was created for the Dutch Society for the Art of Printing and Books and was to be used to set a new edition of the Bible, using Monotype typesetting. Hence the problem: fonts for metal... Read More

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Remember to pillage before you burn

ITC Élan combines a gothic simplicity with elegance in a distinctive yet subtle typeface design. There is also a feeling of architectural strength which is derived primarily from an optically even line-weight and a sense of vertical stress. The small, almost Latin, serifs add distinction at both display and text sizes. The large x-height, minimum stroke variance, and open counters are ideal... Read More

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The idea for the Generis type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications... Read More

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You never must sausage a place

The Monotype Janson font family is based on types originally cut by the Hungarian punch-cutter, Nicolas Kis circa 1690. Named after Anton Janson, a Dutch printer. The original matrices came into the hands of the Stempel foundry in Germany in 1919. New type was cast and proofs made; these were used as the source for Monotype's version of Janson. The original hand cut Janson types have a number... Read More

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Get hold of arm rest to fall the wound

Released by Monotype in 1925, Horley Old Style was designed as an answer to Frederic W. Goudy's successful Kennerley typeface (issued in 1911, with the italic in 1918). As such, it is a good typeface for text work, and it can be used effectively in large sizes for display work.

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Entering shop by stroller you decline

With the help of Paul van der Laan for kerning, spacing and production, Mike Abbink developed FF Milo Serif as a companion for his FF Milo family. Nevertheless, FF Milo Serif is also perfectly suitable as a stand alone typeface, or for use together with any other sans serif. Like its counterpart, FF Milo Serif is also a resilient grain; although rooted with historical attributes it is truly a... Read More

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Please stop to steal our newspaper

ITC New Winchester is a revival of a typeface that never really had a first release. The original Winchester was an experimental design created by the American type designer W.A. Dwiggins in 1944. Dwiggins was interested in improving the legibility of the English language by reducing the number of ascenders and descenders; to do this, he gave Winchester very short descenders and created uncial... Read More

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He is a red sucker in our heart

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John Baskerville (1706-1775) was an accomplished writing master and printer from Birmingham, England. He was the designer of several... Read More

Francesco Simoncini and W. Bilz
Elsner+Flake 1964

Bitstream
Victor Lardent, Stanley Morison and Victor Lardent Stanley Morison
Monotype 1932
Stanley Morison
Linotype 1931
Francesco Simoncini and W. Bilz
Linotype
Otl Aicher
Monotype 1988
Morris Fuller Benton
Linotype 1917
Ronald Arnholm
ITC 1992
Jovica Veljovic
ITC 1986
Lyubov Kuznetsova
ParaType
Tony Stan
ITC 1978
Franko Luin and Nicholas (Miklós) Tótfalusi Kis
Linotype 1650
Frederic W. Goudy
Elsner+Flake 1919
Claude Garamond, Jan Tschichold and Akaki Razmadze
Linotype 1499
Jelle Bosma
Elsner+Flake 1991
Adrian Williams
Linotype 1974
Frank E. Blokland and Jan van Krimpen
Monotype 2002

Elsner+Flake
Albert Boton
ITC 1985
Erik Faulhaber
Linotype 2006
Nicholas (Miklós) Tótfalusi Kis, Robin Nicholas and Patricia Saunders
Monotype 1650
Robert Norton
Monotype 1977
American Type Founders and William Caslon
Linotype 1725
Jelle Bosma, Robin Nicholas and Steve Matteson
Microsoft Corporation 2004
Michael Abbink
FontFont 2009
Adrian Williams
Elsner+Flake

Elsner+Flake
Jim Spiece and William Addison Dwiggins
ITC 1944
Andrea Tinnes
primetype 2006
John Baskerville and John Quaranda
ITC 1706
Isay Slutsker
ParaType