Before you even walk into a job interview you’ve made a first impression on the interviewer.
How? Through your resume.
According to a study conducted by the job search site TheLadders.com, recruiters spend only about six seconds scanning a resume.
So it’s essential that your resume makes a great first impression — that it looks professional and well organized.
How do you do that?
You start by using a resume font people can actually read (that’s what this post is for), then you design a resume that stands out from the rest (here’s how you do that).
When you have both these things you go into Canva and design the thing for free in no time (here’s how you upload fonts from this article into Canva and here’s where you go in Canva to start your new resume design right now).
The Best Resume Fonts
Times New Roman is probably the most commonly chosen fonts for resumes — the very reason you should avoid it, and why it appears on our “Worst” list. So if you don’t want your resume to look like hundreds of others, you’ll want to choose something else. And Garamond is a great alternative. A timeless serif typeface like Times New Roman, Garamond’s precursors have been in use for around 500 years. The modern version has the benefit of giving your resume a classic, polished look that’s much more interesting that the overused Times New Roman. As a bonus, if you’re struggling to condense your resume to one to two pages (which is a good idea), Garamond can help you fit more text on a page without sacrificing readability by lowering the font size or crowding your design by tightening up the spacing.
02. Gill Sans
This simple, sophisticated sans-serif typeface, designed in England in the 1920s, will give your resume a look that is both classic and modern. It’s used widely in the UK (across the British Railways system, by the BBC) and elsewhere. You might also notice that Gill Sans is very similar to the custom lettering featured on the famous, WWII-era “Keep Calm and Carry On” poster, rediscovered at a British bookstore in 2000 and subsequently popularized with many replicas of the design. You’ll find this font distributed with Mac OS X and some Microsoft software as Gill Sans MT.
Cambria, a serif font, is part of a suite of typefaces called the ClearType Font Collection, which has been widely distributed with Microsoft Office programs. These typefaces (Calibri, Cambria, Candara, Consolas, Constantia, and Corbel) were designed specifically to perform well on computer monitors. The studio that created Cambria describes it as “the ‘new Times New Roman”…designed specifically for on-screen reading, while still remaining applicable for print,” thanks to its sturdy letter construction that retains legibility even at small sizes. This makes Cambria a good choice for both online and printed resumes.
Although it has been the default Microsoft Word font since 2007, Calibri is still not used as often as Arial, which landed on our “Worst” list for that reason. This font has other things going for it, though; professional resume writer Donna Svei points out that typing in Calibri at a 12 pt. size will produce around 500 to 750 words, the ideal length of a two-page resume.
Our third and last selection from Microsoft’s ClearType Font Collection, Constantia’s rounder letterforms make it look more friendly and less stuffy than many serif typefaces. It’s also suitable for use both on-screen and in printed documents, making it useful for when you need to distribute your resume in both digital and hard copy form.
Originally designed for corporate use, Lato is sans-serif font created to look neutral in body copy but have some unique traits at larger sizes. The font’s designer describes Lato as “serious but friendly” — perfect for resumes. It comes in a wide range of weights and styles, though the “hairline,” “thin,” and “light” weights will be too hard to see at small sizes. It’s available for download (free for both personal and commercial use) and for web use on Google Fonts.
Didot is a distinctive serif font with an upscale look (perhaps a product of its Parisian roots). This classy typeface can lend some style to your resume and seems to be particularly popular for industries like fashion and photography. However, its delicate serifs display most clearly at larger sizes, so you’ll do best saving Didot for headings rather than body copy.
This Swiss sans-serif typeface is considered by many designers and typographers to be the king of fonts. It even has its own self-titled documentary film. Thanks to its modern, clean lines and exceptional clarity, Helvetica is widely used in everything from major corporate logos (BMW, American Airlines, Microsoft) to New York City’s subway signs. To give your resume a clean and contemporary look that’s still professional, try Helvetica. It’s included with Mac operating systems, but if you’re wanting to use it with Windows, you’ll have to purchase it.
Georgia is another alternative to Times New Roman. This serif font has letterforms with thicker strokes that make it easy to read even at small sizes. Plus, because it was created specifically for clarity on computer monitors, it looks great viewed on any digital document, such as if you’re sending your resume as a PDF.
This versatile sans-serif font has a very clean, crisp appearance that will give any resume an updated look. It has multiple weights that you can use to differentiate the various sections and features of your resume, but you should probably avoid the “book” and “light” weights, as well as any condensed versions — they can be hard to read. Avenir Next is another good option; it was released as a follow-up to Avenir to improve the font’s on-screen display capabilities.
The Worst Resume Fonts
01. Times New Roman
Surprised this one is on the list? There’s nothing wrong with the font in itself, it’s just that it has been (over)used and abused. Since everyone else is using it on their resumes, yours won’t stand out. Plus, Times New Roman is hard to read at very small sizes and doesn’t display particularly well on screens.
Like Gill Sans on our “Best” list, Futura was created in the 1920s. Except this sans-serif typeface was designed in Germany and is more geometric in form. Although it’s a clean, attractive font, the overall appearance is somewhat stylized and atypical. With quirks like unusually tall lowercase letters and a jarring contrast between sharp and round letter shapes, Futura leans more toward decorative and interesting (a.k.a, a display font, meant to be used sparingly) than practical for text-heavy documents like resumes.
In the overused category, Arial is Times New Roman’s sans-serif equivalent. Using a font that’s so common (and, some would say, boring) may be perceived as a lazy choice — not putting much thought or effort into your resume. Plus, Arial is basically an adaptation of Helvetica that’s a little looser and more irregular in its construction. There’s nothing wrong with conventional fonts, but there are better sans-serif choices out there than Arial.
Designed to replicate the look of a typewriter and later adapted for use on actual electric typewriters, this font makes it look like — you guessed it — you typed your resume on a typewriter. Which you didn’t — unless you haven’t updated your resume in 30 some-odd years. Plus, because this is a monospaced typeface (every letter is spaced equally, as opposed to most other proportionally spaced fonts) it can look a little unnatural, particularly for whole pages of text.
05. Brush Script
Tempted to put your name at the top of your resume in a script that looks like handwriting to give it a little personality? Don’t do it! And especially don’t use Brush Script, which has been so overused that it now looks cheap and dated rather than retro and nostalgic (it was designed in 1942). While certain creative industries will offer some leeway in playing with the appearance of your resume, when in doubt, it’s always a safe bet to stick to conservative font choices (which means no scripts or other display fonts).
06. Comic Sans
Unless you’ve been living under a rock for the past several years, you’ll know that using Comic Sans is considered the cardinal sin of font choices. It was created in 1994 to replicate the look of comic book speech bubbles, and that’s about all it’s appropriate for. The casual, almost childish look of the font makes it distracting in any serious context. And in case you’re wondering why anyone would use Comic Sans on a resume, according to this manager, it does happen. Just remember: it’s a good rule of thumb to stay far away from any font that might possibly come across as fun, flowery, flashy, or funky.
07. Century Gothic
Century Gothic has a sleek, modern look, but it’s probably a little too irregular for resumes. Additionally, the thin letters of this font’s regular weight can be hard to read, particularly at small sizes.
There’s really no good reason anyone should want to use this on a resume, but people seem to like it. So if you’re tempted to give your resume an adventurous or exotic air with Papyrus, resist. This font is so cliché (probably second only to Comic Sans) that is has become something of a joke — Fast Co. Design puts it this way: “as everyone who has written a school project over the last decade will tell you, Papyrus is the font you use to spell out the word “Egypt.”
Want to make a bold, confident impression with your resume? You don’t need a bold, heavy font to do it. Impact is most likely intended for use in all caps for headlines, but because it includes lowercase letters, people are sure to use it for body copy, where it’s almost impossible to read.
10. Trajan Pro
Yes, Trajan Pro has a dignified, important feel, but it would be more appropriate etched into stone than typed on your resume. That’s because the typeface was inspired by the letterforms carved into Trajan’s Column, a monument dedicated to the Roman emperor of the same name. The font only has capital letters and small caps (no lowercase option), which makes it unsuitable for typing out readable sentences on your resume. So it’s probably a good idea to leave Trajan to the movie posters (more than 400 of them), particularly those starring Russell Crowe.
For resumes, a font size of 10 to 12 pt. (depending on the particular font, but no smaller than that) is standard. Larger sizes are acceptable for headings or subheadings. Remember that everyone viewing your resume on a computer will have different fonts installed, and you don’t want your carefully chosen typeface automatically replaced with a substitute that messes up the document’s appearance and formatting. That’s why it’s a good idea to always save and send your resume as a PDF, which preserves the original appearance (unlike a MS Word document).
Do you have a favorite (or least favorite) font for resumes? Share in the comments below.
Times New Roman is a serif typeface designed for legibility in body text. It was commissioned by the British newspaper The Times in 1931 and conceived by Stanley Morison, the artistic advisor to the British branch of the printing equipment company Monotype, in collaboration with Victor Lardent, 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 Stanley Morison of Monotype. 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.[a][b] 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.[c] 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. 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. The new design made its debut in The Times on 3 October 1932. After one year, the design was released for commercial sale. 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".[d] In Times New Roman's name, Roman is a reference to the regular style of a conventional serif font, or what is called its roman, the first part of the Times New Roman family to be designed. (The style is called Antiqua 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 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. Once released for commercial sale, Times New Roman became extremely successful, becoming Monotype's best-selling typeface of all time in metal type.
Times New Roman has a robust colour on the page and influences of European early modern and Baroque printing. The design is slightly condensed, with short ascenders and descenders and a high x-height (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 Robert Granjon and preserved in the collection of the Plantin-Moretus Museum of Antwerp. This style is sometimes categorised as part of the old-style of serif fonts. Morison admired this style for its solid structure and clarity.[f]
However, due to features such as its 'a' and 'e', with larger counters and apertures than in Granjon's design, its ball terminal 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 'transitional' genre, in particular the Baskerville 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.) Other changes from Plantin include a straight-sided 'M' and 'W' with three upper terminals not Plantin's four, both choices that move away from the old-style model.
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." 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. He rapidly came to concede that the idea was misguided, and later wryly commented to historian Harry Carter that Times' italic "owes more to Didot than dogma." 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."[g]
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. This effect is not found in sixteenth-century typefaces (which did not have bold versions); it is most associated with Didone 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), which were very dominant in contemporary newspaper printing. Some commentators have found Times' bold unsatisfactory and too condensed, such as Walter Tracy and Stephen Coles.
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 Ionic designs from Linotype, such as Excelsior, that were popular in newspaper printing at the time, 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."
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. (Morison ultimately conceded that Perpetua, which had been his pet project, was 'too basically circular' to be practical to condense in an attractive way.[i])
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, which Tracy suggests might have been the same specimen of type from the Plantin-Moretus Museum that Plantin had been based on, or a specimen of Plantin itself. 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 later cited reproduction after stereotyping as a reason for the choice. Morison's several accounts of his reasoning in designing the concept of Times New Roman were somewhat contradictory and many historians of printing have suggested that they were mostly composed to rationalise his aesthetic preferences; Monotype's newspaper printing consultant Allen Hutt, went so far as to describe his unsigned 1936 article on the topic after his death as "rather odd...it can only be regarded as a piece of Morisonian mystification".
During the project, Monotype and The Times examined research on legibility of type and carried out legibility tests on proof sheets. The design was refined extensively during the process of development by the Monotype drawing office team, and 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), and so obvious differences exist between Lardent's original drawings and the final release. Rhatigan has said that Lardent's originals show "the spirit of the final type, but not the details."[j]
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.
Metal type versions
A large number of variants of Times were cut. Walter Tracy in Letters of Credit, Allen Hutt and others have discussed these extensively in their works on the family.
Monotype also created some caps-only 'titling' designs to match Times New Roman itself, which was intended for body text. While these are not sold by Monotype in digital format, Linotype's Times Eighteen in the same style (see below) remains available and could be used as a substitute.
Times Hever Titling
An elegant titling caps design, quite different to 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. Named after Hever Castle, the home of the Times' owner Lord Astor. Designed early on, it was used by the Times for section headings. It has not been digitised.
Times Wide (1938, series 427)
A variant intended for book printing, avoiding the slight condensation of the original Times New Roman. Although it was popular in the metal type period for book printing, it was apparently never digitised.
Series 727 and 827
Monotype also produced Series 727, in which the heavier strokes of upper-case letters were made slightly thinner. 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. 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.
A modified 4¾ 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.
Times 4-line Mathematics Series 569
This is a variant designed for printing mathematical formulae, using the 4‑line system for mathematics developed by Monotype in 1957. 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.
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.
Previously, while the Monotype system, due to its flexibility, was widely used for setting mathematical formulas, the typeface Modern Series 7 was usually used for this purpose. 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. 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).
Times New Roman's popularity rapidly expanded beyond its original niche, becoming popular in book printing and general publishing. Monotype took advantage of this popularity by commissioning a widened version, Series 427, for book publishing, although many books ultimately used the original version.
An early use 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. It then was chosen by the Crowell-Collier magazines Woman's Home Companion and then its sister publications such as Collier's. A brochure was published to mark the change along with a letter from Morison hoping that the redesign would be a success.
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 actually problematic 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, and so it did not become popular among other newspapers: "Times Roman achieved its popularity chiefly in general printing, not in newspaper work." He described it as particularly used in "book work, especially non-fiction" such as the Encyclopaedia Britannica.
Despite Monotype's key role in creating Times New Roman, its rival Linotype rapidly began to offer the design; The Times used Linotype equipment for much of its production. Linotype referred to the design as Times or Times Roman. Monotype and Linotype have since merged, but slight differences have split the lineage of Times into two subtly different designs.
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. 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. Vivid 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) 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.)
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. 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. It has been reported to have lighter capitals that were originally developed for printing German (where all nouns begin with a capital letter). Versions of Times New Roman from Monotype exist which vary from the Linotype metrics (i.e. not the same as the version for Microsoft).
Linotype applied for registration of the trademark name Times Roman and received registration status in 1945. In the 1980s, there was an attempt by a group of entrepreneurs to seek from Rupert Murdoch, who owned The Times, the right to use the Times Roman name; separately, a legal action was also initiated to clarify the right of Monotype to use the name in the US despite Linotype's registration. As a result of legal action, Linotype and its licensees continued to use the name Times Roman, while Monotype and its licensees used the name Times New Roman.
As Times New Roman
Monotype sells a wider range of styles and optical sizes for Times New Roman than are offered with Windows, in order to meet the needs of newspapers and books which print at a range of text sizes. Its current release includes Regular, Medium, Semi Bold and Bold weights with matching italics, Extra Bold, Condensed (in regular, italic and bold), Seven (for smaller text, in regular, italic, bold and bold italic) and Small Text (for very small text, in regular, italic and bold).
As of 2017, the version of Times New Roman included with Windows 10, version 6.96, includes small capitals, text figures, and italic swash capitals. The Microsoft/Monotype digitisation of Times New Roman omits automatic ligature insertion (although as of v. 6.96 it is selectable), which the version of Times installed with macOS has. (This can result in unsightly character collisions if the characters 'fi' are needed.)
Times New Roman World
This is a version based on fonts released with Windows Vista. It includes fonts in WGL character sets, Hebrew and Arabic characters. Similar to Helvetica World, Arabic in italic fonts are in roman positions.
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.
- 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).
- Times Europa Office, a 2006 adaptation of the Times newspaper'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.
Other typefaces used by The Times
From 1908 to 1932, The Times used a Didone serif font cut by Monotype, the same as or similar to Monotype Modern.[k]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. The typeface features more open counter spaces and a more strongly contrasting, calligraphic italic. It has been released commercially by Adobe, among others, recently in an updating by Linotype.
- Times Roman replaced Times Europa on 30 August 1982.
- Times Millennium was made in 1991, drawn by Gunnlaugur Briem on the instructions of Aurobind Patel, composing manager of News International.[l]
- Times Classic first appeared in 2001. Designed as an economical face by the British type team of Dave Farey and Richard Dawson, it took advantage of the new PC-based publishing system at the newspaper, while obviating the production shortcomings of its predecessor Times Millennium. The new typeface included 120 letters per font. Initially the family comprised ten fonts, but a condensed version was added in 2004.
- Times Modern was unveiled on 20 November 2006, as the successor of Times Classic. 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. (Other designs have been released called Times Modern; see below.)
During the Times New Roman period The Times also sometimes used Perpetua Titling, also from Monotype, and one of Morison's favourite type designs from his work at Monotype.
Times New Roman has been used for a wide range of newspapers around the world. In addition:
William Starling Burgess
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. This theory remains controversial. Parker and his friend Gerald Giampa, a Canadian printer, 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. 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. Giampa claimed 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. 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'.
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 suggested that the claim had begun as a prank. 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."
The Times Online web site credits the design to "Stanley Morrison, Victor Lardent and perhaps Starling Burgess".
Designs inspired by Times New Roman
Because of its popularity, the typeface has been influential in the subsequent development of a number of serif typefaces both before and after the start of the digital-font era.
- 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).
- CG Times is a variant of Times family made by Compugraphic Corporation foundry.
- Pelham is a version of Times Roman by DTP Types of Britain, which also cut an infant version with single-story versions of the letters a and g.
- In the mid-1960s, a derivative of Times New Roman known as 'Press Roman' was used as a font for the IBM Composer. 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. 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.[m]
Times Roman and Times New Roman are proprietary fonts. There are some free softwaremetric-compatible fonts used as free Times Roman and Times New Roman alternatives or used for font substitution:
- 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, and available in major free and open source operating systems. This was later adapted as FreeSerif. 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.
- 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. 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.
- Liberation Serif is metrically equivalent to Times New Roman. It was developed by Ascender Corp. and published by Red Hat in 2007 under the GPL license with some exceptions. It is used in some GNU/Linux distributions as a default font replacement for Times New Roman. 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.
- Google's Tinos in the Croscore fonts package is a derivation and expansion of Liberation Serif, also designed by Steve Matteson.
- Bitstream Cyberbit is a roman-only font released by Bitstream for non-commercial use, with European alphabets based on Times New Roman. It has an expanded character range intended to cover a large proportion of Unicode for scholarly use. Bitstream no longer offers the font, but it remains downloadable from the University of Frankfurt.
- Linux Libertine is a proportional serif typeface inspired by 19th century book type and is intended as a replacement for the Times font family. The typeface has five styles.
- ^The Times's previous font was a Didone or Modern design; James Mosley reports that it is the face Monotype sold as Series 7 or "Modern Extended", based on typefaces by Miller and Richard. Fonts of its kind were standard in nineteenth- and early-twentieth century newspaper printing. Now little-known, the success of its replacement has led to it sometimes being called Times Old Roman in reference to its successor and a famous cover of Monotype's trade journal Monotype Recorder which presented it under this name. Computer Modern is somewhat similar.
- ^"The Changing Newspaper" articles in the Monotype Recorder are unsigned, but Allen Hutt, who also co-authored the issue, attributed them to Morison.
- ^Exactly what direction Morison gave Lardent is uncertain: Morison said that he had given Lardent basic drawings which Lardent worked up; Lardent that Morison had only given him basic directions and some photographs as a model; see below.
- ^Spelling modernised. Morison wrote "fount", the usual spelling in British English at the time.
- ^"Modern" in typography is a generic term referring to designs in the modern or Didone style of the nineteenth century.
- ^Times New Roman was called "Times Old Style" in an early stage of its development.
- ^Morison continued: "– Mr. Goudy for instance." This refers to Frederic Goudy, one of the leading American type designers of the period. Morison considered his very organic tastes in letter design somewhat florid and self-indulgent.
- ^It will be noted in the roman style that the high serifs of the 'v' do not sit well with the lower shape of the 'i'. In his commentary on Times, Walter Tracy commented that the designers should have tested the font using words like 'divide' and 'jump' to avoid this.
- ^Dreyfus shows proofs of the experimental recut of Perpetua with shortened descenders to allow tighter linespacing. Morison later commented that "it stared at the reader", presumably meaning it was too wide and circular.
- ^Lardent's original drawings are according to Rhatigan lost, but were photographed. Tracy provides a reproduction.
- ^Monotype's article on the creation of the new type provides a side-by-side comparison of text in both typefaces.
- ^Briem has written that a complicated three-way lawsuit followed in which Patel unsuccessfully claimed to have co-designed Times Millennium himself.
- ^The system returned to public attention in 2004, during the Killian documents controversy, when some documents apparently from the 1970s and presenting the future U.S. president George W. Bush's somewhat chequered military service in an unfavourable light were presented by the American news network CBS. The documents were typeset in a form of Times New Roman. As the documents looked unlike most typewritten documents, having proportional spacing rather than the monospacing of almost all typewritten documents, some defenders of the documents suggested that they might have been typed using this method. It is now accepted that they were forged on a modern computer, according to digital font expert Thomas Phinney in the Linotype version of Times New Roman.
- ^Loxley, Simon (2006). Type: the secret history of letters. I. B. Tauris & Co. Ltd. pp. 130–131. ISBN 1-84511-028-5.
- ^ abcdHutt, Allen (1970). "Times Roman: a re-assessment". Journal of Typographic Research. 4 (3): 259–270. Retrieved 5 March 2017.
- ^ abcDreyfus, John (1973). "The Evolution of Times New Roman". The Penrose Annual. 66: 165–174.
- ^Farey, Dave (2014). "A Life and Times, Part 1". Ultrabold (16): 16–25.
- ^Farey, Dave (2014). "A Life and Times, Part 2". Ultrabold (15): 3–13.
- ^ abRhatigan, Dan. "Time and Times again". Monotype. Retrieved 28 July 2015.
- ^Carter, H. G. (2004). ‘Morison, Stanley Arthur (1889–1967)’. Oxford Dictionary of National Biography,. rev. David McKitterick. Oxford University Press,.
- ^Mosley, James. "Comments on Typophile thread". Typophile. Archived from the original on 12 June 2012. Retrieved 27 July 2015.
- ^ abRhatigan, Dan. "It was never called Times Old Roman". Ultrasparky. Retrieved 27 July 2015.
- ^Frere-Jones, Tobias. "Decompiled & Remixed History: The Making of Exchange". Frere-Jones Type. Retrieved 1 August 2017.
- ^ abcdMorison, Stanley. "Changing the Times". Eye. Retrieved 28 July 2015.