By Charlie Stross Being a guy who writes science fiction, people expect me to be well-informed about the current state of the field—as if I'm a book reviewer who reads everything published in my own approximate area. This is a little like expecting a bus driver to have an informed opinion on every other form of four-wheeled road-going transport. Similarly, marketing folks keep sending me SF novels in the hope I'll read them and volunteer a cover quote.
Design[ edit ] Twenty-two lines in Times New Roman compared to its predecessor "modern" serif font. A digitisation of Times New Roman below the three typefaces originally considered as a basis for the Times project: PerpetuaBaskerville and Plantin.
Times is most based on Plantin, but with the letters made taller and its appearance "modernised" by adding eighteenth- and nineteenth-century influences, in particular enhancing the stroke contrast.
Compared to Baskerville and Perpetua, the x-height is higher and the letters narrower. The design was altered in smaller sizes to increase readability, particularly obvious in the widened spacing of the six and eight point samples at centre right of the diagram. 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.
Morison admired this style for its solid structure and clarity. The italic was made simpler than Plantin's, losing flourishes on the 'w' and 'v', and the entrance stroke to the letter also seen on Baskerville on letters like 'u' and 'n'.
It has, indeed, more in common with the eighteenth century. The bold weight has a different style, more "nineteenth-century" in appearance, with flat serifs on the tops of letters, an effect also seen in the vertical axis of the 'o'.
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 recent Legibility Group designs from Linotype, which had attracted considerable attention and may have influenced the decision to carry out a redesign, 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 s that "Morison did not begin with a clear vision of the ultimate type, but felt his way along.
After Morison's death Monotype's newspaper printing consultant Allen Hutt described his unsigned article on the topic after his death as "rather odd…it can only be regarded as a piece of Morisonian mystification". Rhatigan comments that Lardent's originals show "the spirit of the final type, but not the details.
Morison continued to develop a close connection with the Times that would last throughout his life. Morison edited the History of the Times from toand in the post-war period, at a time when Monotype effectively stopped developing new typefaces due to pressures of austeritytook a post as editor of the Times Literary Supplement which he held from to Times New Roman remained Morison's only type design; he designed a type to be issued by the Bauer Type Foundry of Frankfurt but the project was abandoned due to the war.
Walter Tracy in Letters of Credit, Allen Hutt and others have discussed these extensively in their works on the family. 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.
Designed early on, it was used by the Times for section headings. Times Wideseries [ edit ] A variant intended for book printing, avoiding the slight condensation of the original Times New Roman. Series and [ edit ] Monotype also produced Seriesin 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 usesince in the German language capitals are far more common since they appear at the start of each noun.
Series 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.
Listed as Times Newspaper Smalls, available as either Series orit was also referred to by the name Claritas. 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 point Times Roman on 6-point bodies.Citation Machine helps students and professionals properly credit the information that they use.
Cite your website in APA format for free. The Online Writing Lab (OWL) at Purdue University houses writing resources and instructional material, and we provide these as a free service of the Writing Lab at Purdue.
Buy term papers attheheels.com Custom attheheels.com attheheels.com personal statementArial Or Times New Roman For Dissertation arial or times new roman for dissertation debate times new roman or arial essay of employees 12 font in Times New attheheels.com Or Times New Roman For Dissertation, Chemistry Midterm attheheels.come /10().
Times New Roman The stint at Imprint magazine lasted from to Imprint was a short-lived periodical with an objective at improving standards in printing.
We provide essay writing assistance services with a mission to deliver top quality and affordable custom papers to clients across the globe. We provide custom-written papers on any topic in any field, including business, law, arts, engineering, health, history and literature.
Our writing service provides custom papers written from scratch in 80+ disciplines. Fast delivery, high quality, 24/7 online support. More than professional academic writers are ready to help .