Using either Calibri or Times New Roman makes it look like you did not put any thought into your brand and chose the default in Microsoft Word. The State department probably has certain constraints (i.e. they likely have to choose one of the fonts that ships with Microsoft Word, and possibly a subset of that that also ships on macOS), but they could definitely choose better than the default. I find the narrow serif t…
Times New American: A Tale of Two Fonts
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Re: Times New American: A Tale of Two Fonts
#42This was a terrific, reasonable take on this “controversy”. I have to admit that the correspondence set in Calibri looks like something dispatched from a leasing office. Imagine reading the Warren Commission report set in that. The author seems to settle on the consensus that surrounded TNR before this exchange made the news. It’s banal. At times it signals to its original objectives (e.g., Prof. Dr. style websites […
The Warren Commission report was set in Century Schoolbook, the Supreme Court's typeface of choice. The appendices are photo reproductions of originals produced on typewriters, so they are in something monospaced. You can see for yourself. They certainly would not have used Times New Roman. But I suppose interoffice memoranda are meant to be skimmed, not read, so TNR or Calibri are both fine.
> There’s nothing inherently wrong with this style, but one would hardly want an official document or legal contract to appear “warm and soft.”
Consider the response I gave to the other child comment on this thread referring to a different document as a revision if that suits you. [1]
I’m sorry. I don’t know of nor do I have the wherewithal to find any correspondence from the State Department to bolster my argument that “humanist fonts” are not always suited to the tenor of all government correspondence. Oddly, none of the press releases on state.gov are available in PDF as far as I can tell.
Wait.
At least imagine this!
> The State Department is taking decisive action against five individuals who have led organized efforts to coerce American platforms to censor, demonetize, and suppress American viewpoints they oppose. These radical activists and weaponized NGOs have advanced censorship crackdowns by foreign states—in each case targeting American speakers and American companies. As such, I have determined that their entry, presence, or activities in the United States have potentially serious adverse foreign policy consequences for the United States.
https://www.state.gov/releases/office-of-the-spokesperson/20...>
In “Carlito”!
It’s already in “Open Sans”, which looks thinner and may have a taller X-height. What do you think of it? Not quite “warm”; certainly “soft”, I think. Should I feel concerned about this news? Or just alright?
Anodyne. That’s the way the words start to look after some time when set like this. How far away is that feeling from “banal”?
[1]: https://www.whitehouse.gov/wp-content/uploads/2025/03/SAP-SJ...
Re: Times New American: A Tale of Two Fonts
#43Our studio, LucasFonts, designed Calibri. Here are our CEO Luc(as) de Groot’s thoughts on the matter: Back to bad... Deciding to ditch Calibri as a ‘wasteful diversity’ font is both hilarious and sad. I designed Calibri to make reading on modern computer screens easier, and in 2006 Microsoft chose it to replace Times New Roman as the default font in the Office suite. Microsoft moved away from Times for good reasons.…
What bothers me about the decision is their rationale. If they had just switched without any explanation, it would have seemed more judicious and politic, befitting a department of state. Even better would be to announce a thoughtful font choice with reasoning based on the font itself, without defaulting to some thoughtless option "because that's the way it was done in the past", and moving away from the existing choice "because DEI". As it is, in my opinion, they made themselves look like idiots by obsessing over fonts from the perspective of something like DEI, as if they are paranoid over any possible subatom of DEI infecting their presence. Rubio couldn't just make it about the font, so to speak, he had to get hung up on irrelevant details which makes him (in my opinion) look worse than anything he might be criticizing.
If you read the original announcement, my impression was that the choice of Calibri was because it it made state department functions easier as Calibri was the default in commonly used software (which seems kind of a poor reason to me, but one I can respect on practicality grounds). Legibility was also a concern (as it should be in my opinion). So something functional about Calibri (legibility) becomes "DEI" which is almost like cooties for this administration. Even if you disagree about the legibility of Calibri, denouncing legibility as a criterion per se seems absurd to me.
The whole decision seems like a joke to me and a lost opportunity to set a decent design standard.
Re: Times New American: A Tale of Two Fonts
#44The correct typeface for the current U.S. administration would of course be Comic Sans or perhaps Comic Serif for double-super-serious documents.
No, Comic sans is too woke. In seriousness: Comic Sans seems to be a good font for dyslexic people and helps them read. https://dyslexichelp.org/why-is-comic-sans-good-for-dyslexia...
Re: Times New American: A Tale of Two Fonts
#45From the linked https://federalcourt.press/wp-content/uploads/2018/03/Eighth... > Typographic decisions should be made for a purpose. The Times of London chose the typeface Times New Roman to serve an audience looking for a quick read. Lawyers don’t want their audience to read fast and throw the document away; they want to maximize retention. Achieving that goal requires a different approach—different typefaces, diff…
Re: Times New American: A Tale of Two Fonts
#46This is an aside, but many people would benefit from appreciating what is observed here, because it impacts an enormous numbers of preferences and perceptions people hold.
A good example is 24 FPS in cinema, which we generally attribute to high quality movies, baked in our value system via a technical/financial limit imposed a century ago. If a movie is presented any higher it gets mentally mapped with soap operas and low quality sitcoms, and it is disorienting to people. The Hobbit tried upping to 48FPS and it was described as "resembling low-budget video like American daytime soap operas rather than cinematic film". Higher quality TV dramas shoot at 24 FPS, intentionally forcing the 3:2 pulldown for TV presentation to signal "no, compare me to a movie not those other TV shows".
There are many areas in our life where we're judging things by this signalling criteria, and not by any real objective measure, yet people will often invent objective measures to assuage themselves that their values aren't so easily manipulated. Bring up 24FPS being a baked in limitation rather than some pinnacle of film making and many will start contriving why no, they actually prefer it because... It's all just noise.
Re: Times New American: A Tale of Two Fonts
#47I imagine a 20-strong commission deciding whether to publish them in colibri or times new Roman.
Taxes at work
Re: Times New American: A Tale of Two Fonts
#48The example document is typeset in Century Schoolbook, with the exception of "SUPREME COURT OF THE UNITED STATES", which is typeset in Times New Roman.
Re: Times New American: A Tale of Two Fonts
#49Using either Calibri or Times New Roman makes it look like you did not put any thought into your brand and chose the default in Microsoft Word. The State department probably has certain constraints (i.e. they likely have to choose one of the fonts that ships with Microsoft Word, and possibly a subset of that that also ships on macOS), but they could definitely choose better than the default. I find the narrow serif t…
It’s the US government, and it could easily develop their own Liberty- or Freedom-type if the current administration wanted to leave their own mark.
Re: Times New American: A Tale of Two Fonts
#50This was a terrific, reasonable take on this “controversy”. I have to admit that the correspondence set in Calibri looks like something dispatched from a leasing office. Imagine reading the Warren Commission report set in that. The author seems to settle on the consensus that surrounded TNR before this exchange made the news. It’s banal. At times it signals to its original objectives (e.g., Prof. Dr. style websites […