For the first, 987 participants were shown the phrase "The quick brown fox jumped over the lazy dog" in one of six fonts and styles: Times New Roman regular, Times New Roman bold, Times New Roman italic, Gill Sans regular, Gill Sans bold or Gill Sans italic.
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Tremblin re-stencils tags in Helvetica, Arial, Times New Roman, and Georgia.
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Have a theory that all the best people use Times New Roman.
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For example, study participants saw Times New Roman as more conservative than Gill Sans.
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The New York Times once used Times New Roman; now it runs stories in Georgia.
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"Don't use Times New Roman and serif fonts, as they're outdated and old-fashioned," Hoover says.
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So naturally, Jubilat was viewed as more liberal than Times New Roman, even though they're both serif fonts.
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It's not like we see something in Times New Roman and suddenly lose the ability to understand the word.
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In Times New Roman 12-point font, each bottle has a product name but you can barely see it.
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Written in clean Times New Roman and completely free of context, the minimalist displays gave the impression of being modern art.
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Developing a universal CJK font that evokes the same look and feel as, say, Times New Roman, is very hard to do.
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FontCode can be applied to hundreds of common fonts, like Helvetica or Times New Roman, and works in word processors like Microsoft Word.
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I won't weigh in on Times New Roman versus Calibri, but I will say that it should always be simple and easy to read.
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I just like to be a little bit different to others, so I didn't use the mainstream fonts like Arial or Times New Roman.
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The top left of the screen gets a bit of text, probably in Times New Roman, and a couple of clickable buttons: Make a paperclip.
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"If you like basketball, and you like to jam, go no further," the bright red Times New Roman reads on the "Planet B-Ball" page.
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"If you want to stand out in a sea of resumes, Times New Roman won't help you," says Laura Providence, creative director of Design Deli NYC.
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From Times New Roman to Tahoma to Proxima Nova (that's the typeface you're reading right now), a font can say a lot more than the message written.
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"Generally, it is best to use 10- or 12-point type and an easy-to-read font such as Arial, Calibri, or Times New Roman," Pachter advised.
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"Georgia has the classic serif elements similar to Times New Roman, except with a more modern feel," says Garett Southerton, brand designer and consultant at Garett Creative.
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According to Times Newer Roman's website, a 15-page, single-spaced document in 12 point type only requires 5,833 words, compared to 6,680 for the standard Times New Roman.
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Matteson also worked on revisions to Monotype's Times New Roman, a face that appeared in its first version in 1931 for the The Times of London under the supervision of legendary typographer Stanley Morison.
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To end up with a 15-page, single-spaced Word doc in 12-point font, you could type about 850 words LESS with this font than you would while using traditional Times New Roman.
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And when you're staring at page three of an essay that your professor has insisted should be at least five pages, single-spaced, in size 12 Times New Roman font... sometimes, you need a little help.
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That means it gives the impression of being written by a human hand, but it doesn't have any of the characteristic flourishing strokes more commonly associated with calligraphy or popular serif fonts (the best known being Times New Roman).
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A new chapter is opening up for Monotype, the font and imaging technology specialist that is associated with some of the more iconic evolutions in typefaces in the digital age (if you know Times New Roman or Arial, you know Monotype) .
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Before you pursue a relationship with someone, wouldn't you like to see if their ideal profile would feature classy Helvetica, traditional Times New Roman or a brightly-colored mess of Comic Sans that resembles your middle school AIM away message?
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Here are six fonts they say you should avoid using on a resume at all costs: Though you may have had to use Times New Roman in college to write essays, using it in a resume is a big faux pas.
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If Kansas state lawmakers have their way, women seeking an abortion in the state will first have to receive a detailed professional history of the doctor performing the procedure — and it must be in black, 12-point Times New Roman font on white paper.
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According to the Times Newer Roman website, where the font can be downloaded for free, the estimated word count for a 15-page, single-spaced document in 12-pt type with Times New Roman is 6,680, compared to a stunning 5,833 using Times Newer Roman.
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Based on subtle variations, some uncovered by an expert who was trying to prove the Killian memos were legit, they were likely set not in Times New Roman from Monotype, which Microsoft distributed, but rather Times Roman from Linotype, a version licensed by Apple and Adobe.
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If you email a Word document to your professor using this font, and your professor doesn't have Times Newer Roman on their computer (which they probably won't) it will just show up as regular Times New Roman on their version of Word while they're looking at it.
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MsoNormal {mso-style-unhide:no; mso-style-qformat:yes; mso-style-parent:""; margin-top:21in; margin-right:0in; margin-bottom:10.0pt; margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:Calibri; mso-fareast-font-family:Calibri; mso-bidi-font-family:"Times New Roman"; mso-ansi-language:DE;}.
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Plus, who among us hasn't been gone off that final and obliterating whisky sour, realising halfway through a karaoke rendition of a song we definitely knew, that we wouldn't be able to recall half the words if they weren't flashing by in Times New Roman on a screen?
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Times Newer Roman is virtually indistinguishable from Times New Roman, except for the fact that each letter is subtly geared five to 10% wider than the original, generating longer lines in 12-pt type, and therefore enabling savvy consumers of internet to hit their target page count sooner.
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For the second experiment, 1,069 participants were shown either the phrase "A large fawn jumped quickly" or the name "Scott Williams" in one serif font (Jubilat or Times New Roman), one sans serif font (Gill Sans or Century Gothic) and one display font (Sunrise, Birds of Paradise or Cloister Black Light).
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Previous "drops" (their term) have included Jesus Shoes (Nike Air Maxes with holy water from the River Jordan in the soles); The Word of the Day Is (a Slack game where you could win real money that was eventually banned by Slack); Netflix Hangouts (which allow you to watch Netflix at work by making it look like you're on a call); and Times Newer Roman (a font that looks like Times New Roman but is 5-10 percent bigger).
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Use standards fonts like Times New Roman and few graphics, if any (here's a list of the best fonts for your resume.) As for the document itself, Rodgers says you might want to avoid using a PDF version (here's how to choose the right format, and when a PDF might be appropriate.) "You don't know who will be downloading your resume, so you want it to be easily accessible for the downloader or the the system."
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MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:23pt; mso-para-margin-left:0in; line-height:107%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri",sans-serif; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} "There's no words to describe how this organization feels," Marlins president David Samson said.
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MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:153in; mso-para-margin-bottom:8.0pt; mso-para-margin-left:0in; line-height:107%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri",sans-serif; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} Gasol was injured in warmups prior to Thursday's 118-104 win over the Denver Nuggets and is out indefinitely after undergoing hand surgery on Friday.
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MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0in 33pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:8.0pt; mso-para-margin-left:0in; line-height:107%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri",sans-serif; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} New York is 0-113 against Washington and the Los Angeles Dodgers since June 19 but 8-2 against San Francisco, Miami, Philadelphia and St. Louis in that span after holding on for a 6-5 win on Friday.
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MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:33; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:8.0pt; mso-para-margin-left:0in; line-height:107%; mso-pagination:widow-orphan; font-size:33pt; font-family:"Calibri",sans-serif; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} Boston managed one run in the final 22 innings during the three-game series in New York, following up an 8-0 loss on Wednesday with a 9-1 setback on Thursday to drop three games behind in the division.
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Mackiewicz (2005), 300. Finally, in a study that evaluated Times New Roman against the newer ClearType typefaces, it was found that no participants confused Times New Roman letterforms with Times New Roman numbers, symbols, or other letterforms.Chaparro et al., 44.
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Reid Goldsborough, a syndicated newspaper columnist, provides the history of the Times New Roman typeface. Times New Roman "was commissioned by the British newspaper The Times in 1931", and in 2004, the U.S. State Department "mandated that all U.S. diplomatic documents use Times New Roman instead of the previous Courier New".Goldsborough, 15. In Jo Mackiewicz’s study of typefaces, "one participant said that Times New Roman could be used in ‘any lengthy passages that need good readability".
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Twenty-two lines in Times New Roman compared to its predecessor "modern" serif font. Times appears larger on the page, with tighter linespacing and more solid in appearance. Times New Roman has a robust colour on the page and influences of European early modern and Baroque printing. 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.
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The former contains "1" tablets in standard intervals while the latter consists of "FIRST AVE" in Times New Roman font.
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Allan Haley commented that Times New Roman "looks like Plantin on a diet." Various unofficial digitisations (including simple knock-offs) and more complete adaptations of Plantin have been released. Galaxie Copernicus by Chester Jenkins and Kris Sowersby is an unofficial digitisation. Sowersby followed it up with a newspaper typeface, Tiempos, influenced by Times New Roman.
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Working drawings for a Linotype release of "Times Roman". Various accents are drawn together on the same sheet. Some differences between Linotype's Times Roman and Monotype's Times New Roman typefaces. 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.
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The Spoofs (comics) section was also renamed Poptown. Finally in 2002-2003 under EIC Sarah Espina, the nameplate's font was officially changed from Old English to Times New Roman.
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In 2016, PT Astra Sans and PT Astra Serif fonts were developed for distribution with the Russian Astra Linux operating system. Both fonts are metrically compatible with Times New Roman.
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Moreover, McCracken and Wolfe (2004) recommended using Georgia or Verdana font styles not intermixed in the body text of a website rather than Times New Roman or Arial intermixed in the body text.
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Latin a, Latin alpha, and Greek alpha, using the fonts: Arial, Times New Roman, Gentium, Doulos SIL, Cambria, Linux Libertine, Andron Mega Corpus, Courier New, and Consolas. Second row: italics, using the same fonts.
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The Microsoft/Monotype digitisation of Times New Roman omits automatic ligature insertion which can result in unsightly character collisions if the characters 'fi' are needed; it is included in the version of Times installed with macOS.
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A 1943 brochure used by Crowell-Collier, one of the first major American users of Times New Roman, to promote the changeover. Times New Roman's popularity rapidly expanded beyond its original niche, becoming popular in book printing and general publishing. Monotype promoted the typeface in their trade magazine, The Monotype Recorder took advantage of this popularity by cutting a widened version, Series 427, for book publishing, although many books ultimately used the original version. (Because the cover of the Monotype Recorder compared the new "Times New Roman" with a sample of the previous type labelled as "Times Old Roman", some writers have assumed that the Times' previous typeface was actually called this, which it was not.) 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.
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In order to see how the various typeface aspects work together for typeface selection, look at the Times New Roman typeface. Mackiewicz notes that its letterforms "display complexity and perfection".Mackiewicz (2005), 308. She also lists features of the Times New Roman typeface that make it professional in personality: "moderate weight, moderate thick-to-thin transition, balanced straight-edged and rounded terminals, moderate x-height to cap-height ratio, uppercase J that sits on the baseline, horizontal crossbar on the e letterform, double-story a letterform, and double-story g letterform".
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Doulos SIL (Ancient Greek for "slave") is a serif typeface developed by SIL International, very similar to Times or Times New Roman. Unlike Times New Roman, Doulos only has a single face, Regular. The goal of its design according to the SIL International website is to "provide a single Unicode- based font family that would contain a comprehensive inventory of glyphs needed for almost any Roman- or Cyrillic-based writing system, whether used for phonetic or orthographic needs." Along with Charis SIL and Gentium, it is licensed under the SIL Open Font License [OFL].
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Monotype also created some caps-only 'titling' designs to match Times New Roman itself, which was intended for body text. These are not sold by Monotype in digital format, although Linotype's Times Eighteen in the same style (see below) is.
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Based on these observations, a technical communicator could determine that Times New Roman would be an effective typeface for a form or document if the purpose was professional, the document was being read in any format, and reader readability was required.
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All ballads, often originally rendered in difficult to read black letter, or Gothic font, and other early modern typefaces, are transcribed into Times New Roman using a diplomatic double-keyed transcription process, and those transcriptions are included in the archive.
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Stone's Been Rolled Away was designed by Wyld Concepts Graphics & Promotions. The front cover features a Ken Duncan panograph of sand dunes. The cover artwork uses Times New Roman font for the title. Several of the songs were written by Geoff Bullock.
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Popular roman typefaces include Bembo, Baskerville, Caslon, Jenson, Times New Roman and Garamond. The name roman is customarily applied uncapitalized distinguishing early Italian typefaces of the Renaissance period and most subsequent upright types based on them, in contrast to Roman letters dating from classical antiquity.Bringhurst.Nesbitt.
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After one year, the design was released for commercial sale. In Times New Roman's name, Roman is a reference to the regular or roman style (sometimes also called Antiqua), the first part of the Times New Roman family to be designed. Roman type has roots in Italian 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.
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STIX Fonts - TTF (True Type) STIX fonts also includeBarbara Beeton, "STIX fonts and Unicode", talk at TUG 2007 video natural language glyphs for Latin, Greek and Cyrillic. The family is designed to be broadly compatible with the Times New Roman family, a popular choice in book publishing.
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The letters g j p q y ij are descenders. In the italic typefaces f and the "long s" are also descenders. Many of the older fonts were intended mainly for use in newspaper columns. Times New Roman is a good example, but there were many others.
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He has also designed the Hard Times typeface which reassembles the elements of Times New Roman. In the mid 1980s he was a proponent of the view that design should be looked at as a cultural practice connected to themes of popular culture than a problem solving one.
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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. 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). Monotype's 'J' is non-descending, but Linotype's in the bold weight descends below the baseline.
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Times New Viking is an American lo-fi indie rock band from Columbus, Ohio. The lineup consists of guitarist Jared Phillips, drummer Adam Elliott, and Beth Murphy on keyboards. Murphy and Elliott share vocal duties. Their name, "Times New Viking," is a play on the popular typeface Times New Roman.
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For compatibility, Monotype had to subtly redraw their design to match the widths from the Adobe/Linotype version. Versions of Times New Roman from Monotype (discussed below) exist which vary from the PostScript metrics. Linotype applied for registration of the trademark name Times Roman and received registration status in 1945.
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Linux Libertine is a digital typeface created by the Libertine Open Fonts Project, which aims to create free and open alternatives to proprietary typefaces such as Times New Roman. It is developed with the free font editor FontForge and is licensed under the GNU General Public License and the SIL Open Font License.
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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). The four-weight version included with Windows was also distributed as part of Microsoft's Core Fonts for the Web package. 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.
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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. Monotype also created a version, series 627, with long descenders more appropriate to classic book typography. Optional text figures were also available.
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Appearance of comma (upper row) and cedilla (lower row) in the Times New Roman font. Note that the cedilla is placed higher than the comma. S-comma (majuscule: Ș, minuscule: ș) is a letter which is part of the Romanian alphabet, used to represent the sound , the voiceless postalveolar fricative (like sh in shoe).
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Urdu variation of Times New Roman is used for navigation links. Both of these fonts are variations of Naskh style. Some Pakistani variations of complex Nasta'liq script are also supported only as a secondary choice in class definitions of CSS, i.e. if default font is not found on client system, then Nasta'liq script is used.
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Truetype font support was added, providing scalable fonts to Windows applications, without having to resort to using a third-party font technology such as Adobe Type Manager. Windows 3.1 included the following fonts: Arial, Courier New, and Times New Roman, in regular, bold, italic, and bold-italic versions, as well as Symbol (a collection of scalable symbols).
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Courier New features higher line space than Courier. Punctuation marks were reworked to make the dots and commas heavier. Versions from 2.76 onward include Hebrew and Arabic glyphs, with most of the Arabic characters added on non-italic fonts. The styling of Arabic glyphs is similar to those found in Times New Roman but adjusted for monospace.
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The font color of the text is black and available in size 8. The title is from the subject in the newspaper always fat and 18.5 in Arial size. The text itself has the font size Times New Roman in size 9.5. The different themes are always separated by lines or completely framed in the box.
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This station has two side platforms, which are long, and two tracks. West of the station there is a double crossover. The platforms are column-less and have the standard BMT style trim-line and name tablets. The former contains "3" tablets in standard intervals while the latter consists of "THIRD AVE" in Times New Roman typeface.
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This matched a common trend in printing tastes of the period. 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. The new design made its debut in The Times on 3 October 1932.
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Station name tilework This underground station has two tracks and two side platforms. Both platforms have their original IRT style trim line and name tablets. The trim line is pink with a brown border and "B" tablets for "Beverly" running at regular intervals. The name tablets read "BEVERLY ROAD" in Times New Roman font on a brown background and pink border.
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It can in retrospect be seen to have paved the way for the many Monotype revivals of classic typefaces that followed in the 1920s and 30s. Plantin would later also be used as one of the main models for the creation of Times New Roman in the 1930s.. The Plantin family includes regular, light and bold weights, along with corresponding italics.
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However Michael Everson uses the shape of the right single quotation mark or modifier letter apostrophe in other documents (e.g. Everson 1998). Kra, small caps K (if present), and Cyrillic small к, using the fonts: Arial, Times New Roman, Doulos SIL, Cambria, Linux Libertine, Andron Mega Corpus, Adobe Minion Pro, Courier New, and Consolas. Second row: italics, using the same fonts.
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Left: An aliased image of the letter A in Times New Roman. Right: An anti-aliased image. (See also: Font rasterization) When an object with a certain resolution is represented on a display with lower resolution, the imperfections due to the loss of information are known as aliasing. This can happen with geometric objects, vector graphics, vector fonts or 3D graphics.
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One example of a legible typeface is Univers, while an illegible typeface example would be Snap ITC.Mackiewicz (2004), 119. On the other hand, typefaces that are readable have: "the quality of giving ‘visual comfort,’ which is especially important in long stretches of text". Mackiewicz uses Times New Roman as an example of an easily read typeface while Impact typeface is less so.
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In a controversial move to renew the publication, TLS’ editorial board led by Sarah Espina changes the masthead font of The LaSallian from Old English to Times New Roman. TLS is named Best Non-Weekly Newspaper by the United States’ Associated Collegiate Press. A TLS website is opened by succeeding EIC Isabelle Yujuico, but is later closed after being hacked.
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Only certain fonts support all Latin Unicode characters for the transliteration of Indic scripts according to the ISO 15919 standard. For example, Tahoma supports almost all the characters needed. Arial and Times New Roman font packages that come with Microsoft Office 2007 and later also support most Latin Extended Additional characters like ḍ, ḥ, ḷ, ḻ, ṁ, ṅ, ṇ, ṛ, ṣ and ṭ.
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It became an influential model for later systems such as the phonetic keyboard for Indian scripts developed by Linotype-Paul Ltd. In 1972 Tracy was asked by The Times to design a replacement for Times New Roman. The resulting type was named Times Europa, and was adopted by The Times in late 1972. In 1973 he was elected a Royal Designer for Industry.
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The three traditional styles of serif typefaces used for body text: old-style, transitional and Didone, represented by Garamond, Baskerville and Didot.Serif, or Roman, typefaces are named for the features at the ends of their strokes. Times New Roman and Garamond are common examples of serif typefaces. Serif fonts are probably the most used class in printed materials, including most books, newspapers and magazines.
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It was also used in some magazines, newspapers, brochures, written advertisements and journals. After the split of the Soviet Union, the font was replaced with the more popular Times New Roman. As of 2009, Literaturnaya is rarely (almost never) used, although there are some indications that its popularity is increasing among Russians. Literaturnaya also started appearing in decorative titles in East European countries such as Bulgaria.
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This underground station has four tracks and two side platforms. The two center express tracks are used by the 4 and trains during daytime hours. Both platforms have their original trim line, which has "110" tablets on it at regular intervals, and name tablets, which read "110TH STREET" in Times New Roman font. Each platform has one same- level fare control area at the center.
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The company had a high level of involvement in BeOS, with older BeOS releases using a Bitstream renderer, and the latest development releases from 2001 using Font Fusion. The OS, including its freeware releases, included a large number of Bitstream fonts, including their clones of Times New Roman, Helvetica and Courier. On December 2, 1998, Bitstream Inc. announced acquisition of all outstanding stock of Type Solutions, Inc.
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It proved extremely successful: Allen Hutt, Monotype's newspaper printing consultant in the late 1930s, later noted that it "revolutionized newspaper text setting...within eighteen months it was adopted by 3,000 papers." Although Times New Roman does not in any way resemble it, Walter Tracy, a prominent type designer who worked on a redesign of Times in the 1970s and wrote an analyis of its design in his book Letters of Credit (1986), commented that its arrival must at least have influenced the decision to consider a redesign. 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.
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Times New Roman, a modern example of a transitional serif design. Transitional, or baroque, serif typefaces first became common around the mid-18th century until the start of the nineteenth. They are in between "old style" and "modern" fonts, thus the name "transitional". Differences between thick and thin lines are more pronounced than they are in old style, but less dramatic than they are in the Didone fonts that followed.
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Merrymount was the first American firm to use the now widely familiar font, Times New Roman font. In 1899 the Merrymount Press printed Edith Wharton’s novels for Charles Scribner's Sons. The press's most substantial work is considered to be the Book of Common Prayer printed in 1930 and financed by J. Pierpont Morgan. Without decoration, except a typographic leaf, initial letters, and rubrication, the book is an austere and handsome quarto.
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The font was used as the signature font for ABC News from 1978 until 1999. In more recent usage, the magazine Monocle is set entirely in Plantin and Helvetica. Plantin was the basis for the general layout of Monotype's most successful typeface of all, Times New Roman. Times is similar to Plantin but "sharpened" or "modernised", with increased contrast (particularly resembling designs from the eighteenth and nineteenth century) and greater "sparkle".
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This underground station has two side platforms and four tracks. The two center express tracks are used by the 2 and 3 trains during daytime hours. Both platforms have the standard IRT trim line and name tablets reading "CHRISTOPHER ST. SHERIDAN SQ." in Times New Roman font on two lines. The columns are painted dark green with every other one having a standard black name plate with white lettering.
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Today the magazine is still predominantly in black and white (though the cover and some cartoons inside appear in colour) and there is more text and less white space than is typical for a modern magazine. Much of the text is printed in the standard Times New Roman font. The former "Colour Section" was printed in black and white like the rest of the magazine: only the content was colourful.
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This style is sometimes categorised as part of the "old-style" of serif fonts (from before the eighteenth century). (The 'a' of Plantin was not based on Granjon's work: the Plantin-Moretus Museum's type had a substitute 'a' cut later.) Indeed, the working title of Times New Roman was "Times Old Style". However, Times New Roman modifies the Granjon influence further than Plantin due to features such as its 'a' and 'e', with very large counters and apertures, its ball terminal detailing and an increased level of contrast between thick and thin strokes, so it has often 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".
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Core fonts for the Web was a project started by Microsoft in 1996 to create a standard pack of fonts for the World Wide Web. It included the proprietary fonts Andalé Mono, Arial, Arial Black, Comic Sans MS, Courier New, Georgia, Impact, Times New Roman, Trebuchet MS, Verdana and Webdings, all of them in TrueType font format packaged in executable files (".exe") for Microsoft Windows and in BinHexed Stuff-It archives (".sit.hqx") for Macintosh.
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Tilework This station has two tracks and two side platforms. Both platforms have their original BMT style mosaic trim line and name tablets that are predominantly earth tones of brown, tan, orange with white accents. There are "M" tablets for "Morgan" on the trim line at regular intervals and name tablets that have "MORGAN AVE" in Times New Roman font. There are also directional mosaic signs in the same style as the name tablets.
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Monotype was involved in the design and production of many typefaces in the 20th century. Monotype developed many of the most widely used typeface designs, including Times New Roman, Gill Sans, Arial, Bembo and Albertus. Via acquisitions of Linotype GmbH, International Typeface Corporation, Bitstream Inc., FontShop, and URW Type Foundry, the company gained the rights to fonts including Helvetica, ITC Franklin Gothic, Optima, ITC Avant Garde, Palatino, FF DIN, and URW Grotesk.
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Recent projects include the redesign of the BBC in September 2011, The Times in November 2006 with the creation of a new font Times Modern. The typeface shares many visual similarities with Mercury designed by Jonathan Hoefler. It is the first new font at the newspaper since it introduced Times New Roman in 1932. The company also completed a visual identity project for the Paris contemporary art exhibition Nuit Blanche in 2006.
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Permanent Headline is a bold, highly compressed sans-serif typeface in the neo-grotesque style. It was designed by Karlgeorg Hoefer for the type foundry Ludwig & Mayer in Frankfurt am Main. It was released from 1964 and later issued by a range of companies in phototypesetting and digital versions. Similar to other common newspaper typefaces intended to be compact, such as Times New Roman, the design has deliberately minimised descenders to save space.
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Reinforced collateral training focused on reading and spelling may yield longer-lasting gains than oral phonological training alone. Early intervention can be successful in reducing reading failure. Research does not suggest that specially-tailored fonts (such as Dyslexie and OpenDyslexic) help with reading. Children with dyslexia read text set in a regular font such as Times New Roman and Arial just as quickly, and they show a preference for regular fonts over specially-tailored fonts.
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The trim line has a golden- yellow center, line green border, and a spec of blue in-between. "K" tablets on a blue border run along the trim line at regular intervals. The name tablets read "KINGSTON AVE." in Times New Roman font in gold lettering on a blue background, a gold center, and lime green border. The platforms were extended at either ends in 1964–1965 to accommodate the current standard IRT train length of 510 feet.
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The original logo of the UST Yellow Jackets was designed by Franco Cachero (Batch '97, '99). (citation needed) It was a simple banner with the letters USTYJ on top and MDCXI at the bottom. The upper letters were larger than those on the lower part and the "UST" font was in white Times New Roman while the "YJ" font was in undefined yellow font. The "MDCXI" simply pertains to 1611, the year which UST was founded, in roman numerals.
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The album was supported by four singles; "And I Told Them I Invented Times New Roman," "Lemon Meringue Tie," "The Backwards Pumpkin Song," and "Open Your Eyes and Look North." It is the band's first of two studio albums to feature clean vocalist Jonny Craig. Craig left in late 2007, later re-joining in mid-2010. The album is the band's only full- length to feature guitarist Sean O'Sullivan, who left the band in late 2007.
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Both platforms have golden mosaic trim lines with blue and green borders and "H" tablets on a light blue background at regular intervals. The large name tablets read "HOUSTON ST." in gold Times New Roman font on dark blue background and gold border. There are also directional tablets in the same style. Yellow i-beam columns lining run along both platforms at regular intervals with alternating ones having the standard black name plate with white Helvetica lettering.
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Eth in Arial and Times New Roman Eth (, uppercase: Ð, lowercase: ð; also spelled edh or eð) is a letter used in Old English, Middle English, Icelandic, Faroese (in which it is called edd), and Elfdalian. It was also used in Scandinavia during the Middle Ages but was subsequently replaced with dh and later d. It is often transliterated as d. The lowercase version has been adopted to represent a voiced dental fricative in the International Phonetic Alphabet.
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The southbound platform has its concrete wall painted beige while the northbound one is carved within the Earth's crust. Here, the station signs are the standard black plates in white lettering. The rest of the open cut has a concrete canopy with red columns. The remainder of the platforms in the tunnel has red columns and a red trim line and mosaic name tablets reading "PARKSIDE AVE." in gold Times New Roman font surrounded by diamonds.
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Many of the most popular transitional designs are later creations in the same style. Fonts from the original period of transitional typefaces include early on the "romain du roi" in France, then the work of Pierre Simon Fournier in France, Fleischman and Rosart in the Netherlands, Pradel in Spain and John Baskerville and Bulmer in England. Among more recent designs, Times New Roman (1932), Perpetua, Plantin, Mrs. Eaves, Freight Text and the earlier "modernised old styles" have been described as transitional in design.
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The trim line has a tan-yellow center, brown border, and a spec of blue in-between. "N" tablets on a blue background and brown border run along the trim line at regular intervals. The name tablets read "NOSTRAND AVE." in Times New Roman font in gold lettering on a blue and brown background, a gold center, and brown border. The platforms were extended at either ends in 1964–1965 to accommodate the current standard IRT train length of 510 feet.
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There is also another narrator, Truant's mother, whose voice is presented through a self-contained set of letters titled The Whalestoe Letters. Each narrator's text is printed in a distinct font, making it easier for the reader to follow the occasionally challenging format of the novel (Truant in Courier New in the footnotes, and the main narrative in Times New Roman in the American version, the unnamed editors are in Bookman, and the letters from Johnny's mother are in Dante).
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Fournier subsequently corrected these failings, using a larger point with greater compatibility with existing forms of type. The and of the Romain du Roi, showing the bitmap of Truchet points used in their construction. The commission also designed the ' ("King's Roman"), which influenced Philippe Grandjean and through him the popular Times New Roman fonts. Other typographic innovations in the work of the commission involved the use of both bitmap and vector representations of letter shapes, tabulations of font metrics, and oblique font faces.
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Only certain fonts support all Latin Unicode characters for the transliteration of Indic scripts according to this standard. For example, Tahoma supports almost all the characters needed. Arial and Times New Roman font packages that come with Microsoft Office 2007 and later also support most Latin Extended Additional characters like ḑ, ḥ, ḷ, ḻ, ṁ, ṅ, ṇ, ṛ, ṣ and ṭ. There is no standard keyboard layout for ISO 15919 input but many systems provide a way to select Unicode characters visually.
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The idea of the Sigmund Freud typeface is inspired by imagining a person writing a letter to his or hers shrink in Sigmund Freud's handwriting. It is based on eight handwritten documents from 1883 to 1938 selected from the archive of the Sigmund Freud Museum Vienna. in 2015 the font was used in the Times, replacing Times New Roman font in a headline of an article discussing the value of handwriting. Samples of Albert Einstein's handwriting compared with the Albert Einstein Font.
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Many phenomena are also spread via web search engines, Internet forums, social networking services, social news sites, and video hosting services. Much of the Internet's ability to spread information is assisted from results found through search engines, which can allow users to find memes even with obscure information. The earlier forms of image based memes include the demotivator, image macro, photoshopped image, LOLCats, advice animal, and comic. The Demotivator image includes a black background with white, capitalized text, often in Times New Roman.
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Morison and Gill originally considered for Perpetua a sloped roman, in which the letterforms are slanted but not otherwise modified (top). (Shown is a digitally slanted image, not a copy of Gill’s own drawing.) Perpetua’s final italic has cursive features as in the ‘a’ and ‘e’, but still has some sloped roman features, such as the flat serifs on many letters. Shown below is the more conventional italic of Times New Roman for comparison. The process of Perpetua's development was extremely convoluted.
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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.
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Linotype's metal version of Times had a shrunken 'f' due to a technical limitation of the Linotype system—it could not cast a kerning 'f', one that extended into the space of surrounding letters. This restriction was removed in the digital version. 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.
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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".
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The New York Times changed its standard font from Times New Roman to Georgia in 2007. Georgia is a "Scotch Roman", a style that originated in types sold by Scottish type foundries of Alexander Wilson and William Miller in the period of 1810–1820. According to Thomas Curson Hansard, these were cut by London-based punchcutter Richard Austin. Hansard was writing within Austin's lifetime, and this attribution is accepted by Austin's biographer Alastair Johnston, although historian James Mosley has expressed caution on the attribution.
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When the elements of a type character are smaller than a full pixel, ClearType lights only the appropriate subpixels of each full pixel in order to more closely follow the outlines of that character. Text rendered with ClearType looks “smoother” than text rendered without it, provided that the pixel layout of the display screen exactly matches what ClearType expects. The following picture shows a 4× enlargement of the word Wikipedia rendered using ClearType. The word was originally rendered using a Times New Roman 12 pt font.
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For example, the Times New Roman family contains some designs intended for small print use, as do many families with optical sizes such as Minion. In the metal type era, typefaces intended to be printed small contained ink traps, small indentations at the junctions of strokes that would be filled up with ink spreading out, maintaining the intended appearance of the type design. Without ink traps, the excess ink would blob and ruin the crisp edge. At larger sizes, these ink traps were not necessary, so display faces did not have them.
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Times Hever Titling from a Monotype specimen. An elegant titling caps design, quite different from 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 and designed early on, it was used by the Times for headings in the lighter sections such as society pages, arts and fashion. It has not been digitised.
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The study of graphemes is called graphemics. The concept of graphemes is abstract and similar to the notion in computing of a character. By comparison, a specific shape that represents any particular grapheme in a specific typeface is called a glyph. For example, the grapheme corresponding to the abstract concept of "the Arabic numeral one" has a distinct glyph with identical meaning (an allograph) in each of many typefaces (such as, for example, a serif form as in Times New Roman and a sans-serif form as in Helvetica).
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Morison wrote to his friend, type designer Jan van Krimpen, that in developing Perpetua's italic "we did not give enough slope to it. When we added more slope, it seemed that the font required a little more cursive to it." A few other type designers replicated his approach for a time: van Krimpen's Romulus and William Addison Dwiggins' Electra were both released with obliques. Morison's Times New Roman typeface has a very traditional true italic in the style of the late eighteenth century, which he later wryly commented owed "more to Didot than dogma".
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Since being released under Microsoft's Core fonts for the Web program, Arial, Georgia, and Verdana have become three de facto fonts of the Web. To ensure that all Web users had a basic set of fonts, Microsoft started the Core fonts for the Web initiative in 1996 (terminated in 2002). Released fonts include Arial, Courier New, Times New Roman, Comic Sans, Impact, Georgia, Trebuchet, Webdings and Verdana—under an EULA that made them freely distributable but also limited some rights to their use. Their high penetration rate has made them a staple for Web designers.
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Calibri () is a sans-serif typeface family designed by Luc(as) de Groot in 2002–2004 and released to the general public in 2007, with Microsoft Office 2007 and Windows Vista. In Office 2007, it replaced Times New Roman as the default typeface in Word and replaced Arial as the default in PowerPoint, Excel, Outlook, and WordPad. De Groot described its subtly rounded design as having "a warm and soft character". Calibri is part of the ClearType Font Collection, a suite of fonts from various designers released with Windows Vista.
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Nimbus Roman is a serif typeface created by URW Studio in 1982. Nimbus Roman No. 9 L is a serif typeface created by URW Studio in 1987, and eventually released under the GPL and AFPL (as Type 1 font for Ghostscript) in 1996 and LPPL in 2009. It features Normal, Bold, Italic, and Bold Italic weights, and is one of several freely licensed fonts offered by URW++. Although the characters are not exactly the same, Nimbus Roman No. 9 L has metrics almost identical to Times New Roman and Times Roman.
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The community celebrates 100 years of Lasallian presence in the Philippines and TLS releases a Centennial Issue in commemoration under EIC Jessy Go. The LaSallian launches its Twitter account on June 16, mainly to provide live coverage of Pres. Noynoy Aquino's visit to DLSU during the Centennial Celebration. Art & Graphics Editor Jerome de Dios leads the redesign and standardization of the broadsheet layout and the masthead font changes from Times New Roman to Arno Pro. The Menagerie is discontinued as a magazine and is released as a separate broadsheet instead.
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This underground station has four tracks and two side platforms. Both platforms are columnless and have their original BRT-style mosaics and station name tablets reading "28TH STREET" in Times New Roman font. This station was renovated in 2001 by New York City Transit. It sealed off and removed any evidence of a crossunder outside fare control while false curtain walls were installed at the north ends of each platform, shortening them by 10 to 15 feet, though the Brooklyn-bound platform is longer than the Queens-bound one.
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To ensure its wide adoption, Apple licensed TrueType to Microsoft for free. By 1991 Microsoft added TrueType into the Windows 3.1 operating environment. In partnership with their contractors, Monotype Imaging, Microsoft put a lot of effort into creating a set of high quality TrueType fonts that were compatible with the core fonts being bundled with PostScript equipment at the time. This included the fonts that are standard with Windows to this day: Times New Roman (compatible with Times Roman), Arial (compatible with Helvetica) and Courier New (compatible with Courier).
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It also introduced a new logo, in a style in line with the other Fox O&O; stations. However, the Times New Roman "13," which the station has used since 1997, was retained (unlike WHBQ-TV in Memphis, which switched to a "13" resembling that used by its Tampa sister station WTVT). KSTU was one of two network-owned stations in the Salt Lake City market from 1995 to 2007, when CBS sold KUTV (channel 2) to Four Points Media Group, a subsidiary of private- equity group Cerberus Capital Management.
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This underground station has four tracks and two side platforms. The two center tracks are used by the N train on weekdays and Q train at all times except late nights. The platforms have their original trim line, which has "23" tablets on it at regular intervals, and name tablets, which read "23RD STREET" in Times New Roman font. This station's 1970s overhaul included fixing its structure and the overall appearance by replacing the original wall tiles, old signs, and incandescent lighting to the 1970s modern look wall tile band and tablet mosaics, signs and fluorescent lights.
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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 who had bought up the defunct American branch of Lanston Monotype, 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.
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At the end of the album, he prepares to be a suicide bomber, presumably for his new cause, although the album's deliberately obscure storytelling style makes the ending unclear. The album features other characters as well, including space aliens, right-wing militia members, a retired intelligence officer, and mentally disturbed homeless people. The title, in addition to commenting on the theme of the album, is a play on the typeface Times New Roman. One of the songs, "That Gum You Like Is Back In Style" is derived from a line in David Lynch's cult TV show Twin Peaks.
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The locomotives are painted completely black with three yellow pointed-up chevron stripes on both ends of the locomotive and a yellow stripe along the long side of the frame on each side. (Some locomotives only have two chevron stripes on their front nose.) The Indiana Northeastern name is painted white in billboard style in the center on each side of the long hood section. The lettering closely resembles a heavy bold Times New Roman style Serif font. The road numbers are also painted white in the same font and placed under the windows on both sides of the cab.
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The Chrome OS core fonts, also known as the Croscore fonts, are a collection of three TrueType font families: Arimo (sans-serif), Tinos (serif) and Cousine (monospace). These fonts are metrically compatible with Monotype Corporation’s Arial, Times New Roman, and Courier New, the most commonly used fonts on Microsoft Windows, for which they are intended as open-source substitutes. Google licenses these fonts from Ascender Corporation under the Apache License 2.0. The fonts were originally developed by Steve Matteson as Ascender Sans and Ascender Serif, and were also the basis for the Liberation fonts licensed by Red Hat under another open source license.
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Symbol is one of the four standard fonts available on all PostScript-based printers, starting with Apple's original LaserWriter (1985). It contains a complete unaccented Greek alphabet (upper and lower case) and a selection of commonly used mathematical symbols. Insofar as it fits into any standard classification, it is a serif font designed in the style of Times New Roman. Due to its non-standard character set, lack of diacritical characters, and type design inappropriate for continuous text, Symbol cannot easily be used for setting Greek language text, though it has been used for that purpose in the absence of proper Greek fonts.
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Pinyin uses the acute accent to mark the second tone (rising or high-rising tone), which indicate a tone rising from low to high, causing the writing stroke of acute accent to go from lower left to top right. This contradicts the Western typographic tradition which makes designing the acute accent in Chinese fonts a problem. Designers approach this problem in 3 ways: either keep the original Western form of going top right (thicker) to bottom left (thinner) (e.g. Arial/Times New Roman), flip the stroke to go from bottom left (thicker) to top right (thinner) (e.g.
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In 1981, Carter and his colleague Mike Parker created Bitstream Inc. This digital type foundry was one of the largest suppliers of type before its acquisition by Monotype in 2012. The company however did receive extensive criticism for its strategy of cheaply offering digitisations of pre-existing typefaces that it had not designed, often under alternative names (for example, Times New Roman as 'Dutch 801'). While technically not illegal, this selling of large numbers of typefaces on CD would be described by font designer John Hudson as "one of the worst instances of piracy in the history of type".
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Some principles from RNIB's guidelines 'See It Right' are transferred directly to stave notation in MSN. The staves and note stem thickness correspond to a thickness of letters in 16 point typefaces. Spaces between systemsThe distance between the sets of music lines (2 for piano music, usually, or 3 for voice and piano, for example) and between staves within a system are sufficiently large, although more use is made of left and right margins. Text is sans serif,That is, without the "curly" edges to letters common in fonts such as Times New Roman semi-bold or bold.
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Times New Roman, Lucida Grande, Arial, and Helvetica In modern editions and transcriptions of ancient Greek writing, San has rarely been used as a separate letter. Since it never contrasts systematically with Sigma except in abecedaria, it is usually silently regularized to Sigma in modern editorial practice.Nick Nicholas, Non-Attic letters In the electronic encoding standard Unicode, a pair of uppercase and lowercase forms of the letter was introduced in version 4.0 (2003).Unicode character database For this purpose, new lowercase forms for modern typography, for which no prior typographic tradition existed, had to be designed.
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Times New Roman is a serif typeface. It was commissioned by the British newspaper The Times in 1931 and conceived by Stanley Morison, the artistic adviser to the British branch of the printing equipment company Monotype, in collaboration with Victor Lardent, a lettering artist in The Times's advertising department. It has become one of the most popular typefaces of all time and is installed on most desktop computers. Asked to advise on a redesign, Morison recommended that The Times change their text typeface from a spindly nineteenth-century face to a more robust, solid design, returning to traditions of printing from the eighteenth century and before.
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' Retrieved April 2006. The CBS independent panel report did not specifically take up the question of whether the documents were forgeries, but retained a document expert, Peter Tytell, who concluded the documents used by CBS were produced using current word processing technology. > Tytell concluded ... that (i) the relevant portion of the Superscript > Exemplar was produced on an Olympia manual typewriter, (ii) the Killian > documents were not produced on an Olympia manual typewriter and (iii) the > Killian documents were produced on a computer in Times New Roman typestyle > [and that] the Killian documents were not produced on a typewriter in the > early 1970s and therefore were not authentic.
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Special fonts like OCR-A, OCR-B, or MICR fonts, with precisely specified sizing, spacing, and distinctive character shapes, allow a higher accuracy rate during transcription in bank check processing. Ironically, however, several prominent OCR engines were designed to capture text in popular fonts such as Arial or Times New Roman, and are incapable of capturing text in these fonts that are specialized and much different from popularly used fonts. As Google Tesseract can be trained to recognize new fonts, it can recognize OCR-A, OCR-B and MICR fonts. "Comb fields" are pre-printed boxes that encourage humans to write more legiblyone glyph per box.
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The Williams Caslon Text digitisation includes stylistic alternate characters allowing the user to choose whether to use Caslon's original characters, which have many flourishes in italic, or simplified "modernist" letterforms such as a J without crossbar and open-form italic h. According to book designer Hugh Williamson, a second decline in Caslon's popularity in Britain did, however, set in during the twentieth century due to the arrival of revivals of other old-style and transitional designs from Monotype and Linotype. These included Bembo, Garamond, Plantin, Baskerville and Times New Roman. Caslon type again entered a new technology with phototypesetting, mostly in the 1960s and 1970s, and then again with digital typesetting technology.
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His typeface Jubilee, designed to be more robust than Stanley Morison's 1931 font Times New Roman, was adopted by a number of newspapers, and his Telegraph Modern was used by the Daily Telegraph from 1967. From the mid-1950s Tracy was also responsible for a range of influential Arabic type developments, among them the making of the Mrowa-Linotype Simplified Arabic type in collaboration with Kamel Mrowa and Nabih Jaroudi. In 1967 Tracy supervised a team steered by L&M;'s representative Hrant Gabeyan that developed the first computer for automated Arabic character selection and justification. The resulting system was developed in collaboration with the Compugraphic Corporation, and was first installed at the Egyptian daily Al-Ahram.
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Monotype's development of Ehrhardt took place under the influence of executive and historian of printing Stanley Morison, not long after their successful creation of Times New Roman. It began from a recognition that the Janson designs were well-respected by fine printers of the Arts and Crafts period such as Daniel Berkeley Updike, who could print books from them using hand-set type cast from surviving original matrices owned by the Stempel company of Germany. Morison had discussed what he knew of their history with Updike in their extensive correspondence from the 1920s onwards. Modernised versions of the Janson designs for hot metal printing were being created by Linotype and Monotype's American branch at the same time.
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Bulked-up versions of Monotype's pre-existing but rather dainty Baskerville and Perpetua typefaces were considered for a basis, and the Legibility Group designs 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." A Ludlow Typograph specimen of Times New Roman Type Specimen from the metal type period. 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.
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During the mid-1980s, Quantel Paintbox was used to create many of the graphics for the stories. On July 31, 1989, CBC updated the presentation of The National with more modern computer graphics, similar to those used on CBC Newsworld at the same time. The logo used all upper-case letters in the typeface Times New Roman. After Barbara Frum's death in 1992, The Journal—which she hosted—was subsequently cancelled later that year and replaced with CBC Prime Time News; the name The National was retained on CBC Newsworld for its late evening news bulletin. From 1995 to 1997, the logo used the font Palatino in upper-case for the words "The National", and Frutiger in upper-case for the words "CBC News" underneath.
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Various items of "modern protest" were featured within the panels of the digipack release including: a brick, lit torch, gas mask, cell phone, laptop and Molotov cocktail. The gas mask and Molotov cocktail included specific descriptions of the peripherals followed by notes on how they could be used as "identity concealment devices" and for "guerilla warfare", respectively. Commenting on the protest theme, art director Daniel Parkinson stated "we decided on a clean stark look, using Times New Roman Font like a newspaper" in addition to "some strange 'anomaly' objects" portrayed as black balls floating above the desert floor. Furthermore, the front cover features an electric megaphone in accordance to the "modern protest" theme as well as "cog the new normal" in Braille.
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Goudy created the design from a position of great eminence as one of the most popular typeface designers of the first half of the twentieth century, and almost uniquely for type founders of the period as an independent artisan, not employed by any one company and free to pursue his own projects. However, tastes were changing away from his work even at the time he was commissioned by the University Press. Contemporary trends in graphic design saw a movement away from Goudy's love of warm, organic and rounded serif fonts, in favor crisper designs, such as sharp geometric sans-serif fonts and harder, more robust serifs such as Monotype's Times New Roman. Of his more than a hundred fonts designed (counting regular or roman fonts and italics separately), it would be his last—but two creation of a roman and italic.
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Although news stories deemed to be inappropriate for children were not covered on In the News, the series did feature a wide range of then-current events. The famous In the News sphere logo was actually two different logos; the first one has a non-spinning sphere while the title, written in something close to Times New Roman, spins around once, then fades into the news footage. The second logo was a spinning sphere and the title, now written in something close to Calibri, kept going around the opposite direction the sphere was moving (at the end of each segment, this logo was shown again, and then faded into the CBS Eye logo in the credits). On occasion, a special mini-documentary segment, In the Future, was presented, examining events and technology that may exist in the near future.
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Carter noted that "Verdana and Georgia... were all about binary bitmaps: every pixel was on or off, black or white... The bold versions of Verdana and Georgia are bolder than most bolds, because on the screen, at the time we were doing this in the mid-1990s, if the stem wanted to be thicker than one pixel, it could only go to two pixels. That is a bigger jump in weight than is conventional in print series." Given these unusual design decisions, Matthew Butterick, an expert on document design, recommended that organizations using Georgia for onscreen display license Miller to achieve a complementary, more balanced reading experience on paper. The Georgia typeface is similar to Times New Roman, another reimagination of transitional serif designs, but as a design for screen display it has a larger x-height and fewer fine details.
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The square with the "G" in it was removed, the roof was increased in size and the "HGTV" letters are now set in Gotham Black (from the original mixture of Futura and Times New Roman), with the other Gotham fonts being used around the network. The network debuted with a skeletal staff, but with gradual acceptance by other cable operators, it now reaches 94 million households in the United States and has either partner networks, or network interests, internationally elsewhere. It is now referred to simply as "HGTV"; the full name of the channel is de-emphasized. In July 2008, the E.W. Scripps Company spun off the channel and the other Scripps cable channels and web-based properties into a separate company, Scripps Networks Interactive; E.W. Scripps broadcast television and newspaper properties remain as part of the original company.
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The Next logo used from 1991 to 2007 Until circa 1991 Next used a lower case Courier-style typeface in black against a white background for its logo. This was replaced by the capitalised NEXT logo in a Roman-serif style type face. There were some variations of this such as the logo with each letter of NEXT in an individual square and in some stores in 2005/2006 had the Next logo in a varying blue & black background with "X's" printed on them, as opposed to the black background. In addition, some variations in typeface occurred during the logo's use – including similar fonts that had serifs positioned above the "T" crossbar, similar to Garamond and others that had more in common with Times New Roman. In 2007 a new next logo was introduced, although the previous logo continued to be used until stock was exhausted.
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For the next year and a half, channel 58 was thus forced to make do with a hastily made logo of WDJT's italic Times New Roman '58' of the time in red (and later yellow) to the right of the CBS Eyemark, and a bare-bones image campaign using default CBS graphics (even up to 1999, it utilized the music of CBS' "Welcome Home" imaging campaign of the time for its newscasts). Meanwhile, the station began searching for a new studio befitting its new status, as well as building a news department. Until the 2009 digital television transition, WDJT was the only CBS affiliate in Wisconsin that broadcast on the UHF band, but retains the highest PSIP channel number out of the state's CBS affiliates post-transition. WDJT's CBS affiliation sent the area's cable systems scrambling to add the station or give it a higher profile slot.
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Steve Matteson, one of Ascender’s founding partners and lead type designer, worked on the Arial and Times New Roman typefaces that Microsoft Corporation introduced in Windows 3.1 in 1992. These same fonts have been distributed in all subsequent versions of Microsoft Windows and recent versions of Mac OS. Since then Matteson has designed other fonts including Segoe, Microsoft’s current corporate branding font, Convection for the Xbox 360, and the Liberation fonts for Red Hat’s Linux Distribution. Some of Matteson’s other font designs include Andalé Mono, Andy, Curlz and Endurance. Another founding partner of Ascender, Tom Rickner, specializes in the technical nuances of digital typography, the production of non-Latin scripts and TrueType font hinting. Rickner oversaw the development of the first TrueType fonts delivered in Apple Computer’s System 7 in 1991. Most recently Rickner was involved in the development of Microsoft’s ClearType font collection.
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The printer Daniel Berkeley Updike, while respecting some of his work, echoed Goudy's student Dwiggins' comment that his work lacked 'a certain snap and acidity'. He also wrote that Goudy had "never gotten over" a desire to imitate medieval books. The essay Printing by William Morris, reprinted by Goudy's Village Press in 1903 The British printer Stanley Morison, also a veteran of fine book printing whose career at Monotype had moved in the direction of blending tradition with practicality, admired much of Goudy's work and ethos but wrote that Goudy had "designed a whole century of very peculiar looking types", and that he was glad that his company's Times New Roman did not look "as if it has been designed by somebody in particular -- Mr. Goudy for instance." Goudy felt in his later life that his career had been overshadowed by new trends, with modernism and a trend towards sans-serifs and sharp geometric type leaving his work out of favor.
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Only certain fonts support all the Latin Unicode characters essential for the transliteration of Indic scripts according to the ISO 15919 standard. For example, the Arial, Tahoma and Times New Roman font packages that come with Microsoft Office 2007 and later versions also support precomposed Unicode characters like ā, ḍ, ḥ, ī, ḷ, ḹ, ṃ, ñ, ṅ, ṇ, ṛ, ṝ, ṣ, ś, ṭ and ū, glyphs for some of which are only to be found in the Latin Extended Additional Unicode block. The majority of other text fonts commonly used for book production are defective in their support for one or more characters from this block. Accordingly, many academics working in the area of Sanskrit studies now make use of free and open-source software like LibreOffice, instead of Microsoft Word, in conjunction with free OpenType fonts like FreeSerif or Gentium, both of which have complete support for the full repertoire of conjoined diacritics in the IAST character set.
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Vincent Connare explaining in 2009 how he came to create "the world's favourite font" Microsoft designer Vincent Connare began work on Comic Sans in October 1994 after having already created child-oriented fonts for various applications. When he saw a beta version of Microsoft Bob that used Times New Roman in the word balloons of cartoon characters, he felt that the font gave the software an overly formal look inappropriate for a program intended to introduce younger users to computers. In order to make Microsoft Bob more accessible for its intended audience, he decided to create a new face based on the lettering style of comic books he had in his office, specifically The Dark Knight Returns (lettered by John Costanza) and Watchmen (lettered by Dave Gibbons). He completed the face too late for inclusion in Microsoft Bob, but the programmers of Microsoft 3D Movie Maker, which also used cartoon guides and speech bubbles adopted it. The speech bubbles eventually were phased out and replaced by actual sound, but Comic Sans stayed for the program’s pop-up windows and help sections.
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