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The roman style of Plantin was loosely based on 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.[8][9][10][11] This style is sometimes categorised as part of the "old-style" of serif fonts (from before the eighteenth century).[12][13][14][c] (The 'a' of Plantin was not based on Granjon's work: the Plantin-Moretus Museum's type had a substitute 'a' cut later.[16]) Indeed, the working title of Times New Roman was "Times Old Style".[15]

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; he thought this was a book printed by Christophe Plantin, the sixteenth-century printer whose printing office the Plantin-Moretus Museum preserves and is named for.[49] Moran and Tracy suggested that this actually might have been the same specimen of type from the Plantin-Moretus Museum that Plantin had been based on.[50] (Although Plantin is based on a Granjon type in the collection of the Museum, that specific type was only acquired by Plantin's heirs after his death.[9]) 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 cited as a reason that sharper serifs looked better after stereotyping or printed on a rotary press.[51] Although Morison may not have literally drawn the design, his influence on its concept was sufficient that he felt he could call it "my one effort at designing a font" in a letter to Daniel Berkeley Updike, a prominent American printing historian with whom he corresponded frequently.[i] Morison's several accounts of his reasoning in designing the concept of Times New Roman were somewhat contradictory and historians of printing have suggested that in practice they were mostly composed to rationalise his pre-existing aesthetic preferences: after Morison's death Allen Hutt went so far as to describe his unsigned 1936 article on the topic[3] as "rather odd...it can only be regarded as a piece of Morisonian mystification".[52]

A variant intended for book printing, avoiding the slight condensation of the original Times New Roman.[68] Although it was popular in the metal type period for book printing, it was apparently never digitised. Monotype also created a version, series 627, with long descenders more appropriate to classic book typography.[69] Optional text figures were also available.[70]

An early user 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.[80][81][82] It then was chosen by the Crowell-Collier magazines Woman's Home Companion and then its sister publications such as Collier's.[83][84][85] A brochure was published to mark the change along with a letter from Morison hoping that the redesign would be a success.[76] Ultimately it became Monotype's best-selling metal type of all time.[86][87]

Also known as Times New Roman World, this is originally based on the version of Times New Roman bundled with Windows Vista.[111] It includes fonts in WGL character sets, Hebrew and Arabic characters. Similar to Helvetica World, Arabic in italic fonts are in roman positions.

Given the situation explained above, it is hardly possible to give reliable font size recommendations. An easily legible font size for longer body text as used in magazines and books usually ranges between 8 and 12 points. To narrow down further, you have to know which font is used to make a reliable statement. The same applies to business cards or letterheads for which a font size between 8 and 12 pt is equally well suited. Captions, copyright information, footnotes and similar annotations may still be legible in 7 pt. But this strongly depends on the font used and on other details, such as the line length, the amount of text or the background. 6 pt fonts usually require the reader to wear good spectacles or are used for the fine print in contracts which nobody wants to read anyway.

PREAMBLEThe goals of the Open Font License (OFL) are to stimulate worldwide development of collaborative font projects, to support the font creation efforts of academic and linguistic communities, and to provide a free and open framework in which fonts may be shared and improved in partnership with others.

The OFL allows the licensed fonts to be used, studied, modified and redistributed freely as long as they are not sold by themselves. The fonts, including any derivative works, can be bundled, embedded, redistributed and/or sold with any software provided that any reserved names are not used by derivative works. The fonts and derivatives, however, cannot be released under any other type of license. The requirement for fonts to remain under this license does not apply to any document created using the fonts or their derivatives.

Kaomoji are sometimes referred to as "Japanese emoticons" and are composed of characters from various character sets, including CJK and Indic fonts. For example, the following set of packages covers most of existing kaomoji: gnu-free-fonts, ttf-arphic-uming, and ttf-indic-otf.

Times new roman font is a serif font that comes under old-style and traditional classification. It was designed by 2 notable British designers Stanley Morison and Victor Lardent. Both were known for being consummate designers who did a lot of worth appreciating work in the designing field. Time New Roman was designed under Monotype Foundry and was commissioned in 1931 by a newspaper, The Times.

It is one of the highly acknowledged and used typefaces that despite many years of release is still popular everywhere. The font is commonly used in book publishing and trading. Books and newspapers are the two notable platforms where this font was often seen being applied. You can also give a touch to your typography project with Source Sans Pro Font.

The font can be easily attainable to be used free of cost for personal projects. If you want to use the free version, the link is mentioned below. Download the font and get facilitated with the benefits of its free version.

It is a serif typeface that was designed by 2 British designers many years ago. The font was designed under the Monotype Corporation. The font is known for being excessively used in book publishing and Newspapers.

The font comes in 2 versions including paid and free. You can get the free version from the link mentioned above however in order to get the paid version you need to buy the license. After having the licensing authority you can use it in your commercial, trading, and printing projects.

Let's take a look at some beautifully designed fonts that draw inspiration from Old Style typefaces. They may not all necessarily follow the Old Style aesthetic completely by the book, but that's the beauty of modern fonts. Many of them draw inspiration from several aesthetics.

Open Data:All data necessary to reproduce the reported results that are digitally shareable are made publicly available. Information necessary for replication (e.g., codebooks or metadata) must be included.

As the name implies, Comic Sans is a sans serif font. It was designed to mimic the typeface often used in comic books. Its playful design provides easy-to-distinguish letters that can be helpful for people with dyslexia.

Among the Google fonts, you can find a free alternative to almost every premium typeface, such as Futura font or similar. The fonts available in the catalog also increase web page speed. This is achieved thanks to cross-site caching. Just load a font once and it will be accessible to any website that uses Google fonts.

Helvetica is a Sans Serif font, with a quite old history dating back to the year 1961, available for up to 80 languages. Open Sans is a free font alternative from Google that you can use instead of Helvetica. It was designed by Steve Matteson and contains about 900 characters, including Cyrillic and Greek.

Yet another of the Google fonts similar to Helvetica. Conceived and brought to life by Wei Huang from Australia, this sans-serif typeface is all the rage in the web design community at the moment. 9 weights plus italics are available for Work Sans users. You can also use WS as a variable font.

If you look closely at most serif fonts (like Times), you will notice that there are thick and thin portions of each letter. If your book will be printed digitally, you should steer away from fonts with segments that are very thin. They tend to become too faint and affect readability.

Most are specialty fonts suitable for titles, headlines, advertising, emotional impact, etc. And never use more than a very few fonts in a single book -- we usually choose one serif font for the main text body, a sans serif for chapter titles and headings within the chapters. Depending on the book, we may select a third font for captions on photos, graphics, tables, etc. (or maybe just a different size, weight, or style of one of the other two). We may select a specialty font for use on the front cover for the title and subtitle.

You may run across some books with more unusual font choices, but there are often good reasons for it. Maybe the book is a humor book for which the designer chose a lighthearted font, for example. Such decisions should be made with care and thoughtful consideration for the effects on readability.

Never decide on your font or font size by looking at your monitor. Most trade paperback books are printed in 10 or 11 point size, but some fonts require larger - or even smaller - sizes. If 12 points looks too big and 11 too small, you can try 11.5 - no need to stick with integer sizes. You might be surprised how much difference a half-point (or even a quarter-point) can make on the overall "feel" of the page. 2b1af7f3a8

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