Plantin Font For Mac High Quality
The Times stayed with Times New Roman for 40 years, but new production techniques and the format change from broadsheet to tabloid in 2004 have caused it to switch typeface five times from 1972 to 2007. However, all the new fonts have been variants of the original New Roman typeface.
Plantin Font For Mac
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. This style is sometimes categorised as part of the "old-style" of serif fonts (from before the eighteenth century).[c] (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, a straight-sided 'M' 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".
Morison's biographer Nicolas Barker has written that Morison's memos of the time wavered over a variety of options before it was ultimately concluded that Plantin formed the best basis for a condensed font that could nonetheless be made to fill out the full size of the letter space as far as possible. (Morison ultimately conceded that Perpetua, which had been his pet project, was 'too basically circular' to be practical to condense in an attractive way.[h])
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. 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. (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.) 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. 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 as "rather odd...it can only be regarded as a piece of Morisonian mystification".
SM thought that Dreyfus might in time be able to design a mathematical font but he would first have to get out of his system a lot of personal ideas and searching for effects. He, Morison, had to do all this before he could design the Times font. Will Carter came in to consult M about a new type for the Radio Times, on which he had been invited to experiment. M said that the answer was really Times and that if he worked out the problem from the bottom that was the sort of answer he would get...Will has been experimenting with Plantin, but it doesn't come out well when printed from plates on rotaries, perhaps a face based on Plantin would do the trick. M said that was just how he got to Times.
Linotype licensed its version to Xerox and then Adobe and Apple, guaranteeing its importance in digital printing by making it one of the core fonts of the PostScript page description language. Microsoft's version of Times New Roman is licensed from Monotype, hence the original name. For compatibility, Monotype had to subtly redraw their design to match the widths from the Adobe/Linotype version. 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.
When the system font Times New Roman was expanded to support Arabic script, it was complemented with the Arabic character set from Simplified Arabic, a typeface that Compugraphic Corporation had plagiarized from Linotype and leased to Microsoft. Times New Roman with support for Arabic was first published in the Arabic version of Windows 3.1x.
Also known as Times New Roman World, this is originally based on the version of Times New Roman bundled with Windows Vista. It includes fonts in WGL character sets, Hebrew and Arabic characters. Similar to Helvetica World, Arabic in italic fonts are in roman positions.
In the phototypesetting and digital typesetting periods many font designs have been published inspired by Times New Roman. Although the digital data of Monotype and Linotype releases of Times New Roman are copyrighted, and the name Times is trademarked, the design is in many countries not copyrightable, notably in the United States, allowing alternative interpretations if they do not reuse digital data.
Times New Roman is such a ubiquitous font that you might not even notice it. It is the default text font in Sibelius 6.2 and earlier and in 2018.6 and later, and it has been the default text font in Finale for as long as I can remember. It is installed on all Mac and Windows operating systems and was the default font for Microsoft Word for many years.
I also like very much the Academico serif font included with Dorico. It is a recreation of the Century Schoolbook, and is particularly well matched with the Bravura font, both coming more or less from the same age and style (at the turn of the XIX and XX centuries, updated to the linearity of the immediate post-WWII era). But I still prefer Plantin.
We are having trouble with our fonts. When we open up a layout it will tell us the fonts are missing. I go to the library to check and they are there. I have replaced them as well. Why is InDesign not recognizing the fonts?
The Fonts folder can do other magic, too. For example, you can put instances of multiple master fonts in them and InDesign can read them (even though multiple master fonts are no longer officially supported). You can put a Windows -only font inside the Fonts folder in the Macintosh version of InDesign and it can use it!
I wish I could get away with not using a font management app but I use far to many fonts to manually manage them using the user font folder. I had so much trouble with Suitcase I tried everything else and found FontAgentPro to be the best.
I am new to InDesign and new to this discussion page. My current task is to create a large technical manual using InDesignCS2 in a MS Windows XP Environment. The initial draft is a 200-page MS Word document.A critical section of the manual is the index. Once final, the English version will be translated into more than 35 languages, so I must be sure to use a Unicode font. Any and all advice for such a project is most welcome! I am most eager to hear how others have created comprehensive Indexes, Tables of Contents, Cross-references, and other standard textbook features. Thank you in advance for any and all dialogue on this topic.
I am also having the same issue with CS3. We have a machine with it installed and some of the fonts do not seem to appear on it. I have tried some of the ideas above but to no avail. Does anyone know anything that is worth trying?
Great article, solved my problem in InDesign CS2 with arial narrow bold ttf and arial narrow italic ttf. Uninstalled my 2008 versions of the font, installed newer 2009 versions through the Windows Control Panel, rebooted for good measure. InDesign still could not find either font. Based on this article copied the same fonts into the fonts folder in the InDesign installation folder and it immediately found the fonts after reopening the document. Many thanks!!
As far as T1 fonts are concerned, when I upgraded to a 64 bit Windows machine and installed CS3, it no longer recognized my T1 fonts, even though they were in the system font folder and recognized by Microsoft Office. This was never a problem on a 32 bit Windows XP machine.
Text that has the font set to Arial Black and the font style set to bold may change so that the font is set to Arial Black and the font style is set to Italic when you open the document on a computer that is running Windows XP
Hello, we have two mac pro machines both running indesign cs5.When copying the file to the other computer and trying to work on it on there we get the message about missing fonts.The font in question is the Impact one.I have made sure that the system/library/fonts folder in both Macs has the same impact fonts but still no luck with opening the file. Would be thankful for any ideas!