A REVOLUTION IN NEWSPAPER PRINTING EINE REVOLUTION IM Z EI T U N G S D RU CK
UNE REVOLUTION TYPOGRAPHIQUE DANS LA PRESSE
(Deutscher Text, Seite 365)
C. F. 0. Clarke
(Texte frangais, page 389)
On October 3rd, 1932, a revolution took place in the art of
composing newspapers. On that date the times, the
leading organ of the British press, considered by many to be the
resolute, indeed immovable guardian of tradition, astonished
its readers by assuming a completely new dress. The revised
type which was used both for texts and headings throughout
its pages marked at once an entire departure from custom and
a great advance in design. In perceptibility, attractiveness and
economy the new types were superior to all the founts that
had appeared in newspapers before.
Such a far-reaching change might well have brought lively
protests from readers accustomed to the times in its
historic form. In fact, the immediate reception was entirely
favourable. Any questioning arose not over the new body
types but over the suppression of the Gothic title on the front
page in favour of Roman lettering. This amounted to a sensa
tion as the Gothic lettering had been in use for over a hundred
and twenty years. It was not long, however, before the logic
underlying the adoption of Roman capitals for the title of a
newspaper pointed throughout in Roman began to be appre
ciated by readers of the paper.
Up till October 1932, the typographical material used at the
times office in Printing House Square had been early Victor
ian in detail and layout. When the question of altering it to
suit modern requirements arose, it was decided, after much
deliberation, not to seek outside help from the printing trade
but to re-design the material on the spot in accordance with the
specific purposes of the times. Under the guidance of Mr.
Stanley Morison, now Editor of The Times Literary Supplement,
himself mainly responsible for the change, the considerable
task of designing new founts was taken in hand. In three years
a total of 22 headline founts of capitals, seven founts of bold
upper and lower case and five founts of bold type in Roman,
italic, small capitals and accented sorts were designed and cut.
The Times New Roman, as the revised type is called, differs
from the founts of every other press or newspaper or book
printer in the world. But, although new, it can nevertheless
trace its descent from a distinguished forerunner, as it has
many structural features in common with a Roman first used
by Aldus in 1495. A marked feature of the new design is that
the stems and curves of the letters are thicker and carry more
ink than in previous founts. The letters look blacker and, in
consequence, greater legibility is assured.
The typographical rules for the present layout of the
times were never drawn up into a written code. Instead of
being drafted they were illustrated by way of example, i. e.
in the shape of a complete specimen number or "dummy", as
it is called, the times owes the exceptional quality of its
typography less to formulated rules than to the existence of a
tradition and a staff brought up, more or less unconsciously, in
a set of habits formed in Printing House Square as the result
of experience and enterprise in composition, machining and
LONDON, MONDAY, JANUARI
LATE LONDON EDI I ION
CONTRACTS AND TENDERS
CE AND THEATRE CLUBS
AMATEl'R DANCERS' CLUB, Alüüf
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Opposite page* The front page of Th, Ti„s in the "New Roman" and with the Roman heading, which was introduced on October 3rd .„z^Size of the original type area: .6% by zz% n.
Gegenüber* Die Titelseite der Times in "New Roman", mit demam 3. Oktober 1932 eingeführten Antiqua-kopf. Onginalgrossedes Satzspiegels4'X 5» v<8cm
Page ci-contreLa premi^ page dl 77™ composée en "New Roman", avec son entéte en earaches antiques, tel qu'il fut adopt* le 3 octobre ,93, D.mens.ons de longtnal: 4txS« cm.