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Lardent's most famous project was designing the new typeface for ''The Times'': once released as Times New Roman to the general market, it became one of the most popular typefaces of the twentieth century. Lardent did not have a detailed memory of his work on Times New Roman, although he spoke to [[Walter Tracy]] and James Moran about it in the 1960s.{{sfn|Tracy|2003|p=196}}{{sfn|Moran|1971|p=127}}
Lardent's most famous project was designing the new typeface for ''The Times'': once released as Times New Roman to the general market, it became one of the most popular typefaces of the twentieth century. Lardent did not have a detailed memory of his work on Times New Roman, although he spoke to [[Walter Tracy]] and James Moran about it in the 1960s.{{sfn|Tracy|2003|p=196}}{{sfn|Moran|1971|p=127}}


The artistic director who commissioned and conceptualised the design was [[Stanley Morison]], an influential writer on printing and artistic adviser to the typesetting machine manufacturer [[Monotype Imaging|Monotype]]. Morison's biographer [[Nicolas Barker]] has described the different accounts of the design process as "puzzling and not a little hard to follow".{{sfn|Barker|2003|p=381}} Morison wrote that he created sketches for the typeface and gave them to Lardent, who created a finished design.<ref>''A Tally of Types''</ref> Morison said that he chose to employ Lardent because of his ability to produce "an unusually firm and clear line".<ref>''A Tally of Types''</ref> Morison remembered that he drew sketches of the design he wanted which Lardent expanded into a full type design.<ref>''A Tally of Types''</ref>
The artistic director who commissioned and conceptualised the design was [[Stanley Morison]], an influential writer on printing and artistic adviser to the typesetting machine manufacturer [[Monotype Imaging|Monotype]]. Morison's biographer [[Nicolas Barker]] has described the different accounts of the design process as "puzzling and not a little hard to follow".{{sfn|Barker|2003|p=381}} Morison wrote that he created sketches for the typeface and gave them to Lardent, who created a finished design.<ref>''A Tally of Types''</ref> Morison said that he chose to employ Lardent because of his ability to produce "an unusually firm and clear line".<ref>''A Tally of Types''</ref> Morison remembered that he drew sketches of the design he wanted which Lardent expanded into a full type design.<ref>''A Tally of Types''</ref>


Lardent told Moran that he thought he had been shown a photograph of a book printed by sixteenth-century printer [[Christophe Plantin]]; according to Moran "he was not sure about the exact book, but Plantin had remained in his mind".{{sfn|Moran|1971|p=128}} Moran speculated that he might have been shown a specimen sheet of [[Plantin MT|Plantin]], the typeface Times New Roman took many influences from, and itself based on a sixteenth-century type by [[Robert Granjon]] not used by Plantin, but felt that it was more likely a 1905 specimen sheet from the [[Plantin-Moretus Museum]], which holds Plantin's surviving materials. Both Tracy and Barker endorsed this view,{{sfn|Tracy|2003|p=196}} noting that the 'a' on Times New Roman is based on a replacement character added to the type in the 1730s.{{sfn|Barker|2003|p=385}}
Lardent told Moran that he thought he had been shown a photograph of a book printed by sixteenth-century printer [[Christophe Plantin]]; according to Moran "he was not sure about the exact book, but Plantin had remained in his mind".{{sfn|Moran|1971|p=128}} Moran felt that it was more likely a 1905 specimen from the [[Plantin-Moretus Museum]],{{sfn|Moran|1971}} which holds Plantin's surviving materials and other types including the type by [[Robert Granjon]] that Times New Roman is loosely based on. Both Tracy and Barker endorsed this view,{{sfn|Tracy|2003|p=196}} noting that the 'a' on Times New Roman is based on a replacement character added to the type in the 1730s.{{sfn|Barker|2003|p=385}}


Lardent's original drawings are according to Rhatigan lost, but photographs exist of his drawings. Rhatigan comments that Lardent's originals show "the spirit of the final type, but not the details."<ref name="Time and Times again">{{cite web|last1=Rhatigan|first1=Dan|title=Time and Times again|url=http://ultrasparky.org/archives/2011/09/time_and_times_.html|website=ultrasparky.org|access-date=28 July 2015}}</ref> The design was adapted from Lardent's large drawings by the Monotype drawing office team in [[Salfords]], [[Surrey]], which worked out spacing and simplified some fine details.{{sfn|Tracy|2003|p=202}}<ref>{{cite journal |last1=Savoie |first1=Alice |title=The women behind Times New Roman |journal=Journal of Design History |date=1 December 2020 |volume=33 |issue=3 |pages=209–224 |doi=10.1093/jdh/epaa025}}</ref>
Lardent's original drawings are according to Rhatigan lost, but photographs exist of his drawings. Rhatigan comments that Lardent's originals show "the spirit of the final type, but not the details."<ref name="Time and Times again">{{cite web|last1=Rhatigan|first1=Dan|title=Time and Times again|url=http://ultrasparky.org/archives/2011/09/time_and_times_.html|website=ultrasparky.org|access-date=28 July 2015}}</ref> The design was adapted from Lardent's large drawings by the Monotype drawing office team in [[Salfords]], [[Surrey]], which worked out spacing and simplified some fine details.{{sfn|Tracy|2003|p=202}}<ref>{{cite journal |last1=Savoie |first1=Alice |title=The women behind Times New Roman |journal=Journal of Design History |date=1 December 2020 |volume=33 |issue=3 |pages=209–224 |doi=10.1093/jdh/epaa025}}</ref>


James Moran's 1971 book ''Stanley Morison: His Typographic Achievement'' argued that Morison had exaggerated some aspects of his career in later life.{{sfn|Moran|1971}} He felt that "Morison could sketch a layout but was no draughtsman."{{sfn|Moran|1971|p=127}} Moran wrote that Lardent was embittered until his death at what he perceived to be a lack of proper recognition for his efforts in creating the font,{{sfn|Moran|1971|p=130}} but neither Barker nor Tracy remembered this speaking to him.{{sfn|Tracy|2003|p=196}}{{sfn|Barker|2003|p=383}} Lardent worked for Morison again later in his career on art for the book ''Politics and Script''.<ref>{{cite book |last1=Morison |first1=Stanley |title=Politics and script : aspects of authority and freedom in the development of Graeco-Latin script from the sixth century B.C. to the twentieth century A.D. |date=1972 |publisher=Clarendon Press |location=Oxford |isbn=9780198181460 |page=3}}</ref>
James Moran's 1971 book ''Stanley Morison: His Typographic Achievement'' argued that Morison had exaggerated some aspects of his career in later life.{{sfn|Moran|1971}} He felt that "Morison could sketch a layout but was no draughtsman."{{sfn|Moran|1971|p=127}} Moran wrote that Lardent was embittered until his death at what he perceived to be a lack of proper recognition for his efforts in creating the font,{{sfn|Moran|1971|p=130}} but neither Barker nor Tracy remembered this speaking to him.{{sfn|Tracy|2003|p=196}}{{sfn|Barker|2003|p=383}}
Lardent worked for Morison again later in his career on art for the books ''Splendour of Ornament'',<ref name="Splendour of Ornament">{{cite book |last1=Morison |first1=Stanley |title=Splendour of Ornament |date=1968 |publisher=Lion and Unicorn Press |location=London}}</ref> creating restorations of decorative patterns by [[Giovanni Antonio Tagliente]], and ''Politics and Script''.<ref>{{cite book |last1=Morison |first1=Stanley |title=Politics and script : aspects of authority and freedom in the development of Graeco-Latin script from the sixth century B.C. to the twentieth century A.D. |date=1972 |publisher=Clarendon Press |location=Oxford |isbn=9780198181460 |page=3}}</ref> In the introduction to the former Morison praised Lardent's work for "inexhaustible patience and infinite skill".<ref name="Splendour of Ornament" />


==References==
==References==
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[[Category:British designers]]
[[Category:British designers]]
[[Category:British typographers and type designers]]
[[Category:British typographers and type designers]]
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Latest revision as of 05:38, 31 July 2023

Victor Lardent (1905–1968) was a British advertising designer and draftsman at The Times in London. He created the typeface Times New Roman under the artistic direction of Stanley Morison in 1931, which is commonly used in Microsoft Word.[1]

Career[edit]

Lardent worked as a draftsman in the publicity department of The Times newspaper. His specialism was creating lettering art for advertisers in The Times who did not have an advertising agency,[2] and he was talented at drawing in pen and using an airbrush.[3]

Times New Roman[edit]

Lardent's most famous project was designing the new typeface for The Times: once released as Times New Roman to the general market, it became one of the most popular typefaces of the twentieth century. Lardent did not have a detailed memory of his work on Times New Roman, although he spoke to Walter Tracy and James Moran about it in the 1960s.[2][4]

The artistic director who commissioned and conceptualised the design was Stanley Morison, an influential writer on printing and artistic adviser to the typesetting machine manufacturer Monotype. Morison's biographer Nicolas Barker has described the different accounts of the design process as "puzzling and not a little hard to follow".[5] Morison wrote that he created sketches for the typeface and gave them to Lardent, who created a finished design.[6] Morison said that he chose to employ Lardent because of his ability to produce "an unusually firm and clear line".[7] Morison remembered that he drew sketches of the design he wanted which Lardent expanded into a full type design.[8]

Lardent told Moran that he thought he had been shown a photograph of a book printed by sixteenth-century printer Christophe Plantin; according to Moran "he was not sure about the exact book, but Plantin had remained in his mind".[9] Moran felt that it was more likely a 1905 specimen from the Plantin-Moretus Museum,[10] which holds Plantin's surviving materials and other types including the type by Robert Granjon that Times New Roman is loosely based on. Both Tracy and Barker endorsed this view,[2] noting that the 'a' on Times New Roman is based on a replacement character added to the type in the 1730s.[11]

Lardent's original drawings are according to Rhatigan lost, but photographs exist of his drawings. Rhatigan comments that Lardent's originals show "the spirit of the final type, but not the details."[12] The design was adapted from Lardent's large drawings by the Monotype drawing office team in Salfords, Surrey, which worked out spacing and simplified some fine details.[13][14]

James Moran's 1971 book Stanley Morison: His Typographic Achievement argued that Morison had exaggerated some aspects of his career in later life.[10] He felt that "Morison could sketch a layout but was no draughtsman."[4] Moran wrote that Lardent was embittered until his death at what he perceived to be a lack of proper recognition for his efforts in creating the font,[15] but neither Barker nor Tracy remembered this speaking to him.[2][3]

Lardent worked for Morison again later in his career on art for the books Splendour of Ornament,[16] creating restorations of decorative patterns by Giovanni Antonio Tagliente, and Politics and Script.[17] In the introduction to the former Morison praised Lardent's work for "inexhaustible patience and infinite skill".[16]

References[edit]

  1. ^ MyFonts article
  2. ^ a b c d Tracy 2003, p. 196.
  3. ^ a b Barker 2003, p. 383.
  4. ^ a b Moran 1971, p. 127.
  5. ^ Barker 2003, p. 381.
  6. ^ A Tally of Types
  7. ^ A Tally of Types
  8. ^ A Tally of Types
  9. ^ Moran 1971, p. 128.
  10. ^ a b Moran 1971.
  11. ^ Barker 2003, p. 385.
  12. ^ Rhatigan, Dan. "Time and Times again". ultrasparky.org. Retrieved 28 July 2015.
  13. ^ Tracy 2003, p. 202.
  14. ^ Savoie, Alice (1 December 2020). "The women behind Times New Roman". Journal of Design History. 33 (3): 209–224. doi:10.1093/jdh/epaa025.
  15. ^ Moran 1971, p. 130.
  16. ^ a b Morison, Stanley (1968). Splendour of Ornament. London: Lion and Unicorn Press.
  17. ^ Morison, Stanley (1972). Politics and script : aspects of authority and freedom in the development of Graeco-Latin script from the sixth century B.C. to the twentieth century A.D. Oxford: Clarendon Press. p. 3. ISBN 9780198181460.

Cited literature[edit]

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