Editing Times New Roman (section)

===Italic and bold===
[[File:Times ancestors italic.png|thumb|right|Times compared with its influences in italic. The italic was made simpler than Plantin's, losing flourishes on the 'w' and 'v', but less radically than that of Perpetua.]]
Morison described the companion [[Italic type|italic]] as also being influenced by the typefaces created by the [[Didot family]] in the late 18th and early 19th centuries: a "rationalistic italic that owed nothing to the tradition of the sixteenth or seventeenth centuries. It has, indeed, more in common with the eighteenth century."<ref name="Changing the Times">{{cite web|last1=Morison|first1=Stanley|title=Changing the Times|url=http://www.eyemagazine.com/feature/article/stanley-morison-changing-the-times|website=Eye|access-date=28 July 2015}}</ref><ref name="Stanley Morison: A Portrait">{{cite book|last1=Barr|first1=John|title=Stanley Morison: A Portrait|date=1971|publisher=British Museum|page=33|url=https://archive.org/details/stanleymorisonpo0000barrf}}</ref><ref name="Mosley times italic">{{cite web|last1=Mosley|first1=James|title=Comments on Typophile thread|url=http://typophile.com/node/70542|website=Typophile (archived)|archive-url=https://web.archive.org/web/20130313143211/http://typophile.com/node/70542|access-date=27 March 2017|archive-date=13 March 2013|quote=One of the distinctive things about French calligraphy of [the 1680s] is that the lead-in stroke of letters like i, m, n and so on have flat, rather 'roman', serifs, making them look a bit like a [[Oblique type|'sloped roman']]...Fournier used it fifty years later in his 'new style' italics, and later so did Firmin Didot. And that French flat serif also turns up in...the italic to Times New Roman.}}</ref> Morison had several years earlier attracted attention for promoting the radical idea that italics in book printing were too disruptive to the flow of text, and should be phased out.<ref name="wardle5">{{cite book
 |last        = Wardle
 |first       = Tiffany
 |title       = The story of Perpetua
 |publisher   = [[University of Reading]]
 |year        = 2000
 |page        = 5
 |url         = http://www.typeculture.com/academic_resource/articles_essays/pdfs/tc_article_38.pdf
 |access-date  = 2009-03-26
 |url-status     = dead
 |archive-url  = https://web.archive.org/web/20061110180517/http://www.typeculture.com/academic_resource/articles_essays/pdfs/tc_article_38.pdf
 |archive-date = 10 November 2006}}</ref><ref name="Fine Print">{{cite journal|last1=Mosley|first1=James|author-link=James Mosley|title=Eric Gill's Perpetua Type|journal=Fine Print}}</ref> He rapidly came to concede that the idea was impractical, and later wryly commented to historian [[Harry Carter (typographer)|Harry Carter]] that 'Times italic' "owes more to [[Didot (typeface)|Didot]] than dogma."<ref name="Tally of Types" /> Morison wrote in a personal letter of Times New Roman's mixed heritage that it "has the merit of not looking as if it had been designed by somebody in particular."<ref name="Loxley2006_MorisononGoudy">{{cite book|author=Simon Loxley|title=Type: The Secret History of Letters|url=https://books.google.com/books?id=9AfP2prmEDUC&pg=PA134|date=12 June 2006|publisher=I.B.Tauris|isbn=978-1-84511-028-4|page=134}}</ref><ref name="Alas 2009" />{{efn|Morison continued: "– [[Frederic Goudy|Mr. Goudy]] for instance."<ref name="Updike Morison Letters">{{cite book |last1=Updike |first1=Daniel Berkeley |last2=Morison |first2=Stanley |author-link1=Daniel Berkeley Updike |author-link2=Stanley Morison |editor1-last=McKitterick |editor1-first=David |editor1-link=David McKitterick |title=Stanley Morison & D.B. Updike: selected correspondence |year=1979 |publisher=Moretus Press |url=https://archive.org/details/stanleymorisondb0000mori|isbn=9780896790018 |pages=184–6}}</ref> This refers to [[Frederic Goudy]], one of the leading American type designers of the period. Morison considered his very organic tastes in letter design somewhat florid and self-indulgent.}}
[[File:Times and bold.png|thumb|right|Times New Roman compared to its bold. The bold weight has a different style, more "nineteenth-century" in appearance, with flat serifs on the tops of letters and a more vertical axis visible on the 'o'.{{efn|Walter Tracy felt that in the roman style the high serifs of the 'v' do not sit well with the lower shape of the 'i', and that the designers should have tested words like 'divide' and 'jump' to spot this.{{sfn|Tracy|2003|p=204}}}}]]
Rather than creating a companion [[boldface]] with letterforms similar to the roman style, Times New Roman's bold has a different character, with a more condensed and more upright effect caused by making the horizontal parts of curves consistently the thinnest lines of each letter, and making the top serifs of letters like 'd' purely horizontal.<ref name="By printers, for printers">{{cite web|last1=Hare|first1=Steve|title=By printers, for printers|url=http://www.eyemagazine.com/feature/article/by-printers-for-printers|website=Eye Magazine|access-date=2 February 2016|quote=[Shown are] overlays from the article 'The Evolution of Times New Roman' by [[John Dreyfus]]. He writes: 'These drawings demonstrate how severely the bowl of "p" has been reduced in the bold version, because mainstrokes have been thickened without drawing the bold version any wider.'}}</ref> This effect is not found in sixteenth-century typefaces (which, in any case, did not have bold versions); it is most associated with the [[Didone (typography)|Didone, or "modern"]] type of the early nineteenth century (and with the more recent 'Ionic' styles of type influenced by it that were offered by Linotype, discussed below).<ref name="Anatomy of a Typeface">{{cite book|last1=Lawson|first1=Alexander|title=Anatomy of a Typeface|date=1990|publisher=David R. Godine|location=New York|isbn=9780879233334|pages=270–294|url=https://books.google.com/books?id=FiJ87ixLs0sC&pg=PA270}}</ref>{{sfn|Lang|1946|p=17}}<ref name="Dutch type 94">{{cite book|last1=Middendorp|first1=Jan|title=Dutch type|date=2004|publisher=010 Publishers|location=Rotterdam|isbn=9789064504600|page=94|url=https://books.google.com/books?id=sR9g5xPPJVQC&pg=PA94}}</ref><ref name="Three chapters in the development of Clarendon/Ionic typefaces">{{cite journal|last1=Miklavčič |first1=Mitja |title=Three chapters in the development of Clarendon/Ionic typefaces |journal=MA Thesis (University of Reading) |date=2006 |url=http://www.typefacedesign.org/resources/essay/MitjaMiclavcic_essay_scr.pdf |access-date=14 August 2015 |url-status=dead |archive-url=https://web.archive.org/web/20111125001608/http://www.typefacedesign.org/resources/essay/MitjaMiclavcic_essay_scr.pdf |archive-date=25 November 2011 }}</ref><ref>{{cite web|last1=Coles|first1=Stephen|title=Times Bold Modified|url=https://www.flickr.com/photos/stewf/8548006644|website=Flickr|date=10 March 2013 |access-date=26 January 2016}}</ref> Some commentators have found 'Times bold' unsatisfactory and too condensed, such as Walter Tracy.{{sfn|Tracy|2003|p=204}}