Introduction of typeface by Diyu NI

INTRODUCTION of

TYPEFACES Diyu NI

Introduction of typefaces Diyu NI

The 10 Top Typefaces

Konw Your Type: Futura

Helvetica: Old and Neue

Times New Roman

A Letter from Editor

hen I start to think about the typegraphy, It seemed like a good venue for introducing different typrfaces.

Almost anyone who develops an interest in fonts is bound to be overwhelmed by the bewildering variety of letterforms available. The number of fonts available from commercial suppliers like Adobe, urw, LinoType and others runs into the thousands. A recent catalog issued by FontShop (Truong etal., 1998) alone lists over 25 000 different varieties.1 And somehow, although the differences of the individual letters are hardly noticable, each font has its own character, its own personality. Even the atmosphere elucidated by a text set from Adobe Garamond is noticably different from the atmosphere of the same text set from Stempel Garamond. Although decisions about the usage of fonts will always remain in the realm of esthetics, some knowledge about font characteristics may nevertheless help to create some order and to find out why certain design decisions just do not work. The main aim of this paper is to provide such background by describing the main aspects that might be used to describe a font. That is the reason why many people like typefaces so I decided to make this book and introduce 3 different kinds of typefaces. Hope you like this book. Love

Diyu NI

EDITOR-IN-CHIEF Diyu NI EXECUTIVE EDITOR John Homans EDITORIAL DIRECTOR Jared Hohlt MANAGING EDITOR Ann Clarke DEPUTY EDITOR David Haskell DESIGN DIRECTOR Thomas Alberty PHOTOGRAPHY DIRECTOR Jody Quon CULTURE EDITOR Lane Brown STRATEGIST EDITOR Ashlea Halpern SENIOR EDITORS Christopher Bonanos, Rebecca Milzoff, Raha Naddaf, Carl Rosen, Genevieve Smith, Alexis Swerdloff FASHION DIRECTOR Amy Larocca STAFF EDITOR Patti Greco EDITOR-AT-LARGE Carl Swanson SHOPPING EDITOR Jessica Silvester

Garamond Bold Condensed Italic” means the bold, condensed-width, italic version of ITC Garamond. It is a different font from “ITC Garamond Condensed Italic” and “ITC Garamond Bold Condensed,” but all are fonts within the same typeface, “ITC Garamond.” ITC Garamond is a different typeface from “Adobe Garamond” or “Monotype

In typography, a typeface (also known as font family) is a set of one or more fonts each composed of glyphs that share common design features. Each font of a typeface has a specific weight, style, condensation, width, slant, italicization, ornamentation, and designer or foundry (and formerly size, in metal fonts). For example, “ITC

Garamond.â&#x20AC;? (These are all alternative updates or digitisations of the typeface Garamond, originally created in the 16th century.) There are thousands of different typefaces in existence, with new ones being developed constantly.

TOP TYPEFACES 1. Akzidenz Grotesk

Probably the best typeface ever designed. First released by the Berthold Type Foundry in 1896 in Germany, its popularity increased after it was developed in the 1950s under the direction of Günter Gerhard Lange with a wider range of weights and variants.

2.New Baskerville

Probably the best serif typeface ever designed. Not showy but full of confidence, Baskerville is known as a transitional serif typeface and was originally designed in 1757 by John Baskerville (1706–1775) in Birmingham. A transitional typeface is positioned between the old-style typefaces of William Caslon, and the modern styles of Bodoni and Didot.

3. DIN 1451

Designed in 1931 for the German standards body DIN – Deutsches Institut für Normung (German Institute for Standardisation) – it looks and behaves as if it had been produced today. It extols all of the principles of the Bauhaus and has not dated in any way.

4. Franklin Gothic

Produced by the American type designer Morris Fuller Benton (1872–1948) in 1902, it reflects everything that America was aspiring to and would become – confident, bold and expressive. It’s American through and through. The bold version I think is best: its blackness is just so powerful.

5. HTF Didot

This is a revival font. I could have chosen Bodoni, which I also love, but Didot gets the nod over its Italian sibling. However, it’s this particular cut by the type designers Jonathan Hoefler and Toby Frere-Jones that I think is something near to perfection.

6. Gotham

Released in 2000 by Hoefler and Frere-Jones, this clean, modern sans serif typeface has become possibly the most popular font for designers over the last 13 years. It is rumoured to be Obama’s favourite typeface but I’m not sure whether this is just an urban myth; it was, however, specifically used by the Obama campaign during the 2008 election.

7. Knockout

Knockout gets my vote almost just for its name. All the variants are based on different boxing weights. It is another design from the Hoefler and Frere-Jones type foundry, consisting of a family of 32 different sans serif weights.

8. Gill Shadow

Eric Gill designed this quintessentially English font in 1928, produced by the Monotype Corporation. The typeface was inspired by Edward Johnston’s Johnston typeface which was designed for the London Underground.

9. Rockwell

Rockwell is an instantly recognisable slab serif font where the serifs are similar in weight to the horizontal strokes of the letters. Designed by the Monotype foundry’s inhouse design department in 1934, its distinctiveness originates from its geometric form.

10. Sabon

Jan Tschichold was a pioneer of modern graphic design. Swiss by birth, Tschichold was active in possibly the most influential period in graphic design history. Between 1947 and 1949 he worked in England where he oversaw the redesign of hundreds of paperbacks for Penguin Books.

Know your type:

Futura

This is the third installment in the ‘Know your type’ series, where we take a look into the origins of some of the most interesting and commonly used typefaces in design today. This month, we look at the classic, geometric sans-serif, Futura.

Inspired by the Bauhaus

Following the Bauhaus design philosophy, German type designer Paul Renner first created Futura between 1924 and 1926. Although Renner was not a member of the Bauhaus, he shared many of its views, believing that a modern typeface should express modern models rather than be a rivial of a previous design. Futura was commercially released in 1927, commissioned by the Bauer type foundry. While designing Futura, Renner avoided creating any non-essential elements, making use of basic geometric proportions with no serifs or frills. Futura’s crisp, clean forms reflect the appearance of efficiency and forwardness even today. The success of Futura spawned a range of new geometric sans-serif typefaces, such as Kabel and Century Gothic, among others. Now over 80 years since its creation, many foundries have released variations of Futura in the digital form,

Adobe being the one of the most commonly used. Several international companies also use their own customized version of Futura, including Volkswagen (visible in their renowned advertising) and IKEA. Following the Bauhaus design philosophy, German type designer Paul Renner first created Futura between 1924 and 1926. Although Renner was not a member of the Bauhaus, he shared many of its views, believing that a modern typeface should express modern models rather than be a rivial of a previous design. Futura was commercially released in 1927, commissioned by the Bauer type foundry. While designing Futura, Renner avoided creating any non-essential elements, making use of basic geometric proportions with no serifs or frills. Futura’s crisp, clean forms reflect the appearance of efficiency and forwardness even today.

General Introduction

Futura is a geometric sans-serif typeface designed in 1927[1] by Paul Renner. It was designed as a contribution on the New Frankfurt-project. It is based on geometric shapes that became representative of visual elements of the Bauhaus design style of 1919–33.[2] Commissioned by the Bauer Type Foundry, in reaction to Ludwig & Mayer’s seminal Erbar of 1922, Futura was commercially released in 1936. Futura has an appearance of efficiency and forwardness. Although Renner was not associated with the Bauhaus, he shared many of its idioms and believed that a modern typeface should express modern models, rather than be a revival of a previous design. Renner’s design rejected the approach of previous sans-serif designs (now often called grotesques), which were based on the models of signpainting,

traditional serif typefaces and condensed lettering, in favour of simple geometric forms: near-perfect circles, triangles and squares. It is based on strokes of near-even weight, which are low in contrast. The lowercase has tall ascenders, which rise above the cap line. The uppercase characters present proportions similar to those of classical Roman capitals. The family was originally cast in Light, Medium, Bold, and Bold Oblique fonts in 1928. Light Oblique, Medium Oblique, Demibold, and Demibold Oblique fonts were later released in 1930. Book font was released in 1932. Book Oblique font was released in 1939. Extra Bold font was designed by Edwin W. Shaar in 1952. Extra Bold Italic font was designed in 1955 by Edwin W. Shaar and Tommy Thompson. Matrices for machine composition were made by Intertype.

“We live in a great city for cycling,” says Erlandsson. “You don’t realize it when you first get here, but biking makes perfect sense in Shanghai. I can get from the French Concession to the Bund in 18 minutes. Before midnight I can beat any other form of transportation around town.” And it beats sitting in the back of a sweltering cab, any day.

Futura’s success spawned a range of new geometric sans-serif typefaces from competing foundries, and remains one of the most used sans-serif types into the twenty-first century. Particularly during the 1950s it was used extensively by the publishing industry as a general purpose font. Futura remains an important typeface family and is used on a daily basis for print and digital purposes as both a headline and body font. The font is also used extensively in advertisements and logos, notably by IKEA (until 2010), Supreme, Party City, Volkswagen, Royal Dutch Shell, Crayola and HP in their print ads. For example, the font is used for the title logo of the 1999 film American Beauty. It was also used in various TV shows including Doug, Lost, Warehouse 13, the American version of Sesame Street, etc. Futura is also featured ubiquitously throughout the film adaptation of V for Vendetta, used for everything from the title logo and ending credits, to signs, newspapers, computer screens and other props. Wes Anderson is also fond of the font and has used it in all of his films. Futura was also Stanley Kubrick’s favorite typeface.

A bold version of the font was used for NBC Sports on-screen graphics from 1989-91, and would be used by CBS Sports from 1992-6. In 1997, the Pittsburgh Steelers (an American Football team) switched to rounded numbers on the jersey to match the number font (Futura Condensed) on their helmets. In 2012 the newly formed Western Sydney Wanderers Football Club use Futura on their logo and club documentation. Channel 4’s drama series Utopia uses Futura. It is also used on the Bell Canada and the current TV5 (Philippines) logo. Futura is also Animax Asia’s main typeface. All three of Vampire Weekend’s albums use Futura on the covers, with the first two being exclusively Futura. The Boston Celtics’ championship banners are also in Futura Condensed. 2008 science fiction-fantasy film City of Ember features Futura Medium in many prints through the story. The condensed version is the main font in the 2011 role-playing video game The Elder Scrolls V: Skyrim, as well as being used extensively throughout the Watchmen graphic novel as well as the movie based on it. The Medium version is a font used predominantly

alongside the Stratum 2 font in the 2014 racing video game Driveclub. In season 2 of Stargate: Universe, episode “Common Descent – Part 1” the ancestors of the crew state that one of the two continents was named “Futura”. There are several references to the name being a font in the episode. RAI, the Italian public service broadcaster, also uses this font from 2000. Futura also served as the typeface for UK television series Utopia‍ ‘s title cards, coloured white upon a neon yellow background (neon green in season two). More recently, Futura has seen widespread use in many films and video games; Destiny and Wolfenstein: The New Order both use Futura on their covers, with Wolfenstein using the font throughout the in-game menus also. The 2013 film Gravity and 2014 films Interstellar and Gone Girl also use Futura on their theatrical release posters.

The Helvetica® design can be seen virtually everywhere: in print, on the web, in the news and even in the movies (Helvetica, the film, is a must see!). Since its release in 1957, Helvetica has steadily been one of the most popular typefaces.

Helvetica: Old and Neue

The history of Helvetica includes a number of twists and turns. There are, in fact, two versions of Helvetica. The first one is the original design, which was created by Max Miedinger and released by Linotype in 1957. And secondly, in 1983, D. Stempel AG, Linotype’s daughter company, released the Neue Helvetica® font design, which was a re-working of the 1957 original. In addition, Linotype released the Neue Helvetica Pro design in 2004, which is an OpenType version with expanded foreign language support. So why was this classic redesigned in 1983? Since its original launch, Helvetica had been worked on by a variety of designers to adapt it for successive methods of composition, from hot metal to photocomposition to digital. In addition, given the technical limitations of some methods, the character weights, widths and spacing were inconsistent and compromised. As technologies improved, these limitations were removed, allowing total design freedom. It was these changes that led to the reworking of this very popular workhorse in 1983, when the complete Helvetica font family was carefully redrawn and expanded. The outcome was the Neue Helvetica design, a synthesis of aesthetic and technical refinements and modifications that resulted in improved appearance, legibility and usefulness.

“The information about the child’s cognitive state is conveyed sub rosa — below the surface of ordinary conversation.” What’s new in Helvetica Neue? Many changes, some subtle and some more obvious, were made to the original Helvetica design. They include: Refinement of characters. A number of characters were subtly changed to be more consistent and more harmonious with the overall design characteristics, as well as to improve legibility. For instance, widened crossbars on the lowercase f and t increase character recognition in text. Improved punctuation. Some of the punctuation has been reworked for better balance and improved results in reproduction. Additional weights. The entire Neue Helvetica font family, which can be viewed here, includes eight weights plus italics for the regular, obliques for the expanded versions, as well as nine weights plus obliques for the condensed. There is also a bold outline version for the regular width. The resulting total is 51 weights in all – many more than in the original family.

New numbering system. Each weight is identified by a number - in addition to the weight name – for easy reference, similar to the Univers® and Frutiger® designs. Cap and x-height adjustments. The cap height is now consistent throughout the family, correcting subtle differences in the previous version. The x-height has been adjusted to appear visually the same in all weights. The x-heights in previous versions were all the same actual height, but, since type tends to look shorter as it gets heavier, the new x-heights compensate for this optical illusion. Regardless of whether Helvetica is part of your daily fare, an occasional treat or a typographic taboo, it is certainly a typographic tour de force to be reckoned with!

Its subject is a typeface so ubiquitous that it has become recognizable to practically anyone who has lived since its introduction in the late 1950s. Since most people donâ&#x20AC;&#x2122;t actively look at words but instead read them, the story about Helvetica itself remains a mystery.

Influences of Helvetica included Schelter-Grotesk and Haas’ Normal Grotesk. Attracting considerable attention on its release as Neue Haas Grotesk, Linotype adopted Neue Haas Grotesk for widespread release. It is a neo-grotesque or realist design, one influenced by the famous 19th century typeface Akzidenz-Grotesk and other German and Swiss designs. Known as the “invisible typeface” due to the extent of its visibility and influence, it is among of the most popular typefaces of the 20th century, its use became a hallmark of the International Typographic Style that emerged from the work of Swiss designers in the 1950s and 60s. Over the years a wide range of variants have been released in different weights, widths and sizes, as well as matching designs for a range of non-Latin alphabets. Notable features of Helvetica include the termination of all strokes on exactly horizontal or vertical lines and unusually tight letter spacing, which give it a dense, compact appearance.

Regardless of whether Helvetica is part of your daily fare, an occasional treat or a typographic taboo, it is certainly a typographic tour de force to be reckoned with!

It seems like the majority of the designing world loves Helvetica (except for auto-correct, apparently.) It’s a “ubiquitous” typeface that feels at home on shirts, shoes, billboards, planes, and the human body. An explanation for the perfection of the typeface can be found in the reasonably universal thought that nothing about the typeface needs to be changed; that every attempt to make it better has failed miserably and that any possible alteration to the letterforms should be halted immediately. The Helvetica® design can be seen virtually everywhere: in print, on the web, in the news and even in the movies (Helvetica, the film, is a must see!). Since its release in 1957, Helvetica has steadily been one of the most popular typefaces. The history of Helvetica includes a number of twists and turns. There are, in fact, two versions of Helvetica. The first one is the original design, which was created by Max Miedinger and released by Linotype in 1957. And secondly, in 1983, D. Stempel AG, Linotype’s daughter company, released the Neue Helvetica® font design, which was a re-working of the 1957 original. In addition, Linotype released the Neue Helvetica Pro design in 2004, which is an OpenType version with expanded foreign language support. So why was this classic redesigned in 1983? Since its original launch, Helvetica had been worked on by a variety of designers to adapt it for successive methods of composition, from hot metal to photocomposition to digital. In addition, given the technical limitations of some methods, the character weights, widths and spacing were inconsistent and compromised. As technologies improved, these limitations were removed, allowing total design freedom. It was these changes that led to the reworking of this very popular workhorse in 1983, when the complete Helvetica font family was carefully redrawn and expanded. The outcome was the Neue Helvetica design, a synthesis of aesthetic and technical refinements and modifications that resulted in improved appearance, legibility and usefulness.

What’s new in Helvetica Neue? Many changes, some subtle and some more obvious, were made to the original Helvetica design. They include: Refinement of characters. A number of characters were subtly changed to be more consistent and more harmonious with the overall design characteristics, as well as to improve legibility. For instance, widened crossbars on the lowercase f and t increase character recognition in text.Improved punctuation. Some of the punctuation has been reworked for better balance and improved results in reproduction. Additional weights. The entire Neue Helvetica font family, which can be viewed here, includes eight weights plus italics for the regular, obliques for the expanded versions, as well as nine weights plus obliques for the condensed. There is also a bold outline version for the regular width. The resulting total is 51 weights in all – many more than in the original family. New numbering system. Each weight is identified by a number – in addition to the weight name – for easy reference, similar to the Univers® and Frutiger® designs. Cap and x-height adjustments. The cap height is now consistent throughout the family, correcting subtle differences in the previous version. The x-height has been adjusted to appear visually the same in all weights. The x-heights in previous versions were all the same actual height, but, since type tends to look shorter as it gets heavier, the new x-heights compensate for this optical illusion.

Helvetica has been featured by MOMA in New York and has received a number of awards and worldwide recognition. There’s even a documentary and a few books about it. But why is Helvetica so popular? What is it about this font that seemingly tries to be inconspicuous that has made it such a part of our culture and daily lives? We see it dozens of times every day, from product logos, to websites, to packaging, and numerous other items. Read on for more information about Helvetica and why you might want to consider it in your next design project.

Developed by the Haas’sche Schriftgiesserei (Haas Type Foundry) of Münchenstein, Switzerland, its release was planned to match a trend: a resurgence of interest in turn-of-the-century grotesque typefaces among European graphic designers that also saw the release of Univers by Adrian Frutiger the same year. Hoffmann was the president of the Haas Type Foundry, while Miedinger was a freelance graphic designer who had formerly worked as a Haas salesman and designer. Miedinger and Hoffmann set out to create a neutral typeface that had great clarity, no intrinsic meaning in its form, and could be used on a wide variety of signage. Originally named Neue Haas Grotesk, it was rapidly licensed by Linotype and renamed after the Latin adjective for Switzerland. A feature-length film directed by Gary Hustwit was released in 2007 to coincide with the 50th anniversary of the typeface’s introduction in 1957.Shanghai was one of five cities which were opened to trade as treaty Ports. Shanghai grew amazingly after that; until then nearby cities like Hangzhou, Suzhou and Nanjing had been far more important, but today Shanghai is definitely the center of the region.

A tattoo in Helvetica.

Times New Roman

Times New Roman gets its name from the Times of London, the British newspaper. In 1929, the Times hired typographer Stanley Morison of Monotype, a British font foundry, to create a new text font. Morison led the project and supervised Victor Lardent, an advertising artist for the Times, who drew the letterforms.

millions of new users. The number of documents set in Times New Roman exploded. As a work of design, it’s hard to complain about Times New Roman. It was created for a newspaper, so it’s a bit narrower than most text fonts—especially the bold style. (Newspapers prefer narrow fonts because they fit more text per line.) The italic is mediocre. But those aren’t fatal flaws. Times After Monotype completed Times New Roman, it New Roman is a workhorse font that’s been had to license the design to then-rival Linotype, successful for a reason. because the Times used Linotype’s typesetting machines. (Think of Monotype and Linotype as Yet it’s an open question whether its longevity is the Depression-era Microsoft and Apple.) Since attributable to its quality or merely to its ubiquity. then, Monotype has sold the font as “Times New Helvetica still inspires enough affection to have Roman” and Linotype has marketed its version been the subject of a 2007 documentary feature. as “Times Roman.” Times New Roman, meanwhile, has not attracted similar acts of homage. Meanwhile, typesetting technology has evolved, but due to its enduring popularity, Times New Why not? Fame has a dark side. When Times Roman has always been one of the first fonts New Roman appears in a book, document, or available in each new format. advertisement, it connotes apathy. It says, “I submitted to the font of least resistance.” Times This, in turn, has only increased its reach. In 1984, New Roman is not a font choice so much as the Apple licensed Times Roman for the Macintosh; absence of a font choice, like the blackness of in 1992, Microsoft licensed Times New Roman deep space is not a color. To look at Times New for Windows. This put the font into the hands of Roman is to gaze into the void.

If you have a choice about using Times New Roman, please stop. Use something else. See font recommendations for other options. Did you make your business cards and letterhead at your local copy shop? No, you didn’t, because you didn’t want them to look shoddy and cheap. If you cared enough to avoid the copy shop, then you care enough to avoid Times New Roman. Times New Roman connotes apathy. You are not apathetic.he made $10 an hour.

A brief history of Times New Roman Times New Roman gets its name from the Times of London, the British newspaper. In 1929, the Times hired typographer Stanley Morison of Monotype, a British font foundry, to create a new text font. Morison led the project and supervised Victor Lardent, an advertising artist for the Times, who drew the letterforms. After Monotype completed Times New Roman, it had to license the design to then-rival Linotype, because the Times used Linotype’s typesetting machines. (Think of Monotype and Linotype as the Depression-era Microsoft and Apple.) Since then, Monotype has sold the font as “Times New Roman” and Linotype has marketed its version as “Times Roman.” Typesetting technology has evolved, but due to its enduring popularity, Times New Roman has always been one of the first fonts available in each new format. This, in turn, has only increased its reach.

Objectively, there’s nothing wrong with Times New Roman. It was designed for a newspaper, so it’s a bit narrower than most text fonts — especially the bold style. (Newspapers prefer narrow fonts because they fit more text per line.) The italic is mediocre. But those aren’t fatal flaws. Times New Roman is a workhorse font that’s been successful for a reason. Yet it’s an open question whether its longevity is attributable to its quality or merely to its ubiquity. Helvetica still inspires enough affection to have been the subject of a 2007 documentary feature. Times New Roman, meanwhile, has not attracted similar acts of homage. Why not? Fame has a dark side. When Times New Roman appears in a book, document, or advertisement, it connotes apathy. It says, “I submitted to the font of least resistance.” Times New Roman is not a font choice so much as the absence of a font choice, like the blackness

of deep space is not a color. To look at Times New Roman is to gaze into the void. If you have a choice about using Times New Roman, please stop. Use something else. See font recommendations for other options. Did you make your business cards and letterhead at your local copy shop? No, you didn’t, because you didn’t want them to look shoddy and cheap. If you cared enough to avoid the copy shop, then you care enough to avoid Times New Roman. Times New Roman connotes apathy. You are not apathetic. If you don’t have a choice about using Times New Roman, make Times New Roman look its best. Both Windows 7 and Mac OS X now ship with Monotype’s Times New Roman. Monotype offers additional styles in the Times New Roman family that will improve its versatility and appearance, like small caps and additional weights hour.

Times New Roman is a serif typeface commissioned by the British newspaper The Times in 1931, created by Victor Lardent at the English branch of Monotype.

If you open up your word processing software and start typing, chances are you’re looking at Times New Roman. It’s so ubiquitous that we take it for granted, but just like Spider-Man or Wolverine, this super-typeface has its own origin story. You might be surprised to learn that Times New Roman began as a challenge, when esteemed type designer Stanley Morison criticized London’s newspaper The Times for being out-of-touch with modern typographical trends. So The Times asked him to create something better. Morison enlisted the help of draftsman Victor Lardent and began conceptualizing a new typeface with two goals in mind: efficiency—maximizing the amount of type that would fit on a line and thus on a page—and readability. Morison wanted any printing in his typeface to be economical, a necessity in the newspaper business, but he also wanted the process of reading to be easy on the eye. Morison looked to classical type designs for inspiration. He liked the look of the modern typeface Plantin, which was based on the older typeface Gros Cicero, designed by Robert Granjon. The “cicero” in Gros Cicero was a contemporary term for the size of the type—today, we would describe cicero’s size as 11.5-point— and the “gros” referred to the proportions of the letters. The Rare Book Division has an example of Gros Cicero in Surius’ Commentarivs Brevis Rervm In Orbe Gestarvm, printed in 1574. To achieve efficiency, Morison raised what is called the “x-height” of the letters. This is the distance between the top and bottom of a lower-case letter without ascending or descending parts, like a, c, or m. This is easier to illustrate than describe, so check out this handy diagram:

He also reduced the “tracking,” or spacing between each letter, to make a more condensed typeface. As you might imagine, moving letters closer together could also make them harder to read. To protect his second goal of readability, Morison had to alter the shape of the letterforms. The thicker portions of each letter—for example, the vertical lines of the “n” above—were widened, so that the letters held more ink and appeared darker when printed, which contrasted more clearly against the paper. The intersections of these thicker strokes were thinned; for example, where the vertical lines of the “n” meet its serifs. This kept the shape of the letters from becoming muddled and also gave them a rounder, more legible look. All of these differences can be clearly seen in a comparison of the old typeface with Morison and Lardent’s new creation, which The Times published in a pamphlet around the time of the change. The Times tested its type thoroughly. In 1926, the British Medical Research Council had published a Report on the Legibility of Print, and the new typeface followed its recommendations. Before final approval, test pages were also submitted to a “distinguished ophthalmic authority,” (Morison, vol. 21, no. 247, p. 14) leading The Times to announce that its typeface had “the approval of the most eminent medical opinion.” The newspaper recognized that scientific analysis was well and good, but an equally important test was actually reading it. Members of the team practiced reading for long periods of time, under both natural and artificial light. After test upon test and proof upon proof, the final design was approved, and “The Times New Roman” was born. On October 3, 1932, The Times unveiled its new typeface with great fanfare. “From September 26th to October 3rd,” notes The Monotype Recorder, “all the readers of The Times were reminded, daily, of the importance of type and printing.” It was the first time that a newspaper had designed its own typeface, and The Times owned its exclusive rights for one year. In the following years, American publishers were slow to adopt Times New Roman because in order to look its best, it required an amount of ink and quality of paper that American newspapers were initially unwilling to shell out for. It eventually caught on as a typeface for books and magazines, with its first big American client being Woman’s Home Companion in December 1941. The Chicago Sun-Times began printing with it in 1953.

Bibliography http://typographyforlawyers.com/a-brief-history-of-times-newroman.html http://practicaltypography.com/times-new-roman.html http://www.webdesignerdepot.com/2010/01/the-simplicity-ofhelvetica/ http://art-63.tumblr.com/post/42308033862/helvetica-good-orbad http://www.fonts.com/content/learning/fyti/typefaces/helveticaold-and-neue http://www.fontbureau.com/nhg/history/ http://www.tandfonline.com/doi/abs/10.1080/02650487.2000.111 04823 http://www.titleist.com/news-archive/story/1238/THE%20 FUTURA%20IS%20NOW%20WITH%20INTRODUCTION%20 OF%20NEW%20SCOTTY%20CAMERON%20BY%20TITLEIST%20 PUTTERS.aspx

This book introduces three different kinds of typefaces and analyses them deeply. If you are interested in typefaces, Introduction of Typefaces is a good choice.