Do vaccines even work if you don’t take a selfie afterwards? :)
[Photo walk] Around Flinders Street Station
I got the chance to take a couple of photos around Flinders Street Station this morning. And because I’m still considering buying a pancake lens, I restricted myself to shooting at only the 40mm focal length (which is 27mm on my APSC camera).
Haircut and free whisky from $40
Next Yarra River cruise is at 12:15pm
Photographer getting her clients ready for their newlyweds photoshoot
Networking, security & backups in 2024
I made a couple of upgrades to our home network recently so I thought I’d map it out and talk about it a little.
Home network
About a year and a half ago we bought a house. One of its major selling points (at least for me) was that it came pre-wired, with ethernet cables already installed in the walls.
Here’s how I used that to set up our home network – one that provides high quality wired or Wi-Fi internet access in all rooms, bathrooms, and outside areas.
I had two main goals when planning this network:
Put all bandwidth-heavy activities on the wired network. This includes things like 4K media streaming to our TVs and the backing up of large media files from my desktop to the NAS. Doing that leaves the Wi-Fi network free for our laptops, phones, and smart home gadgets.
Make sure our work laptops are a single wall away from a Wi-Fi access point. Both Nadia and I work from home at least two days a week and both of us do lots of video conferencing. So our work laptops (which we use upstairs) need to have access to a strong Wi-Fi signal.
Happily I was able to achieve both of those goals.
With this set-up Nadia and I can do simultaneous video conferencing for work without any issues. And I can do things like download hundreds of gigabytes of computer game data to my desktop without interfering with the TV show Nadia that is streaming downstairs.
New router and a UPS
A couple of weeks ago I replaced our ailing primary router (all its ethernet ports had died) with a Synology WRX560. And because our secondary router is a Synology RT2600ac with the latest firmware installed, I’ve been able to configure that as an extender. So now we have a mesh Wi-Fi network throughout the house.
Finally, this weekend I put our primary router, NBN modem, and NAS behind a CyberPower UPS. I’m pretty sure our previous router developed its issues because of recent power surges and outages. This UPS has automatic voltage regulation so it’ll protect our primary networking devices (and NAS) while also giving us about an hour of back-up battery power.
Protecting our data and network
With everything always connected, I need to make sure our devices and gadgets are secure. I do this using the Swiss cheese model of layered network security.
All security layers have some holes (like a slice of Swiss cheese does) but, by adding multiple layers with differently-arranged holes, you can minimize the chance of anything getting through.
In our case we have protections at the router layer, operating system layer, and browser layer.
Incoming controls
Active defense against incoming attacks is managed through threat protection at the router and operating system levels.
Passive defense is managed by using things like full drive encryption (which means upgrading to Windows 11 Pro so we can use BitLocker) and a comprehensive back-up strategy (more on this in a minute).
Outgoing controls
Since malware and ransomware attacks are often triggered by what you do in your browser, we use layers of outgoing security to protect against this:
Our primary router is configured to use Cloudflare’s DNS service,
our operating systems (in our computers, phones, and tablets) are all configured to use NextDNS, and
our web browsers all use uBlock Origin and a bunch of other security and privacy-forward configurations.
Finally, all our online accounts use unique, long, randomly-generated passwords that are managed by the Bitwarden password manager. And we have two-factor authentication set-up (using Aegis) on all the accounts that offer this feature.
Recovering from a disaster
If, in spite of all those protections, things do go horribly wrong – or maybe if there’s a fire or natural disaster – our last line of defence is a comprehensive back-up strategy.
A 3-2-1 back-up strategy – the least you should be aiming for – says you need to have:
3 copies of your data,
on 2 different mediums,
with at least 1 copy in the cloud.
We have a 4-4-2 back-up strategy with:
4 copies of our data,
on 4 different mediums,
with 2 copies in the cloud.
How I do it
I use Sync.com to maintain a constant, synchronized copy of all my important files in the cloud. This gives me two copies, on two different mediums, with at least one copy in the cloud.
I then use Arq to simultaneously (a) backup a selection of key files to a cloud storage bucket and (b) backup all my files (which includes large, replaceable media files) to our network attached storage (NAS) at home. So that’s two more copies, on two additional mediums, one of which is in the cloud.
Naturally all these files are encrypted before leaving my computer and access to the NAS and all those cloud services is protected with unique, long, random passwords and two-factor authentication.
Keeping up with our needs
Doing all this takes time and effort, and it doesn’t come cheap. But so much of our lives is online these days that the cost of inaction – and the risk of losing that much of our lives – is much higher than the cost of doing everything I’ve talked about above.
It wasn’t always like this for us, of course. Our cost and effort has kept pace with what we’ve been able to afford along the way. We’re just privileged to be in a position where we can do something this sophisticated and automated. (Gone are the good old days of backing up to multiple 3½ inch floppy disks and, later, USB sticks.)
I hope, regardless of your personal set-up, that you too are doing the best you can to keep yourself connected, but protected.
My favourite typefaces (April 2024)
I’d compiled this list for myself and figured I might as well share it online, so…
It’s April 2024 and, out of the typefaces I currently have a licence for, these my favourites and the ones that I use most often.
Sans serif
Used frequently in documents, presentations, and graphics: Whitney (Wikipedia), Whitney Narrow, Fact (MyFonts), Ideal Sans, Avenir Next LT (Microsoft, Wikipedia), Source Sans 3 (GitHub, Wikipedia)
Used infrequently for specific purposes (eg headings, graphics, presentations) and for specific applications (eg Verdana for email): Verdana (Microsoft, Wikipedia), Public Sans (GitHub, Wikipedia), Fira Sans (GitHub, Wikipedia), Neue Haas Unica (Wikipedia), DIN Next (Wikipedia), Inter (Story, GitHub, Wikipedia), Inter Tight
Used when needed for specific purposes (eg presentations, graphics): Neue Haas Grotesk (Microsoft, MyFonts, Wikipedia), Jost* (Wikipedia), Gill Sans Nova (Microsoft, Wikipedia), Cooper Hewitt, URW Dock, Libre Franklin (Wikipedia), Trade Gothic Next (Wikipedia)
Serif
Used frequently in documents, presentations, and graphics: Mercury, Source Serif 4 (Wikipedia, GitHub), Charter (ITC Charter), TT Jenevers (MyFonts), Stempel Garamond LT (Wikipedia)
Used infrequently for specific purposes (eg printed documents): Crimson Pro (GitHub), Vollkorn (Story), Sabon Next LT (Microsoft, Wikipedia)
Used when needed for specific purposes (eg presentations, graphics): Malabar, Alegreya, PT Astra Serif, Gentium Plus
Monospace, slab serif, reading, website
Monospace used for coding (JetBrains Mono), note taking (Berkeley Mono), writing, and graphics: JetBrains Mono (GitHub), Berkeley Mono, Drafting* Mono, Fira Mono (GitHub, Wikipedia), Source Code Pro (GitHub), Cascadia Code (Wikipedia, Microsoft)
Slab serif used mostly for headings and graphics: Sentinel, Bitter (GitHub), Zilla Slab (Wikipedia, GitHub), Klinic Slab, Tisa Offc Serif (Microsoft, MyFonts)
Typefaces used for reading on devices (eg Bookerly on Kindle), websites (eg Whitney on NewsBlur), and apps (eg Vollkorn in Aquile Reader): Literata (Wikipedia, GitHub), Bookerly (Wikipedia), Whitney, Vollkorn (Story)
Typefaces used on websites (eg Chaparral and Myriad Condensed on this website): Chaparral, Myriad (Wikipedia), Myriad Condensed, Noto Serif (Wikipedia, Story, GitHub), Noto Sans (Wikipedia, Story, GitHub), Merriweather (GitHub), Oswald
Commentary
Don’t worry, I’m not going to explain why these are my favourite typefaces! That would be tedious and self indulgent of me. I just wanted to document this list somewhere.
I’m always on the lookout for more typefaces to explore and try, by the way. So what are your favourites? I’d love to know!
What you didn’t know about Verdana
I wrote in my last post about how the original Franklin Gothic ‘family’ was three fonts in a trench coat.
It occurred to me that the same can be said about Verdana.
Verdana was created by Matthew Carter for Microsoft and released in 1996. It was designed to be readable at small text sizes on the low-resolution screens available at the time.
You can trace its lineage from typefaces like Akzidenz Grotesk, Frutiger, and Franklin Gothic.
At this point you’re probably thinking, “okay, Tahoma I know – but what the hell is Nina?”.
Like Verdana and Tahoma (the latter released at the same time as Verdana), Nina was created by Mattew Carter. You can buy it online but, if you’re a Windows user, you can just download it for free from the Microsoft Store.
The description for Nina on the Microsoft Store does say, “The design isn't close enough to call it Verdana Condensed, but the two typefaces are very closely related.”
But you know what? I say go ahead and use Tahoma as the de facto Verdana Condensed and Nina as the de facto Verdana Compressed. Almost no one will notice and, frankly, I don’t think anyone will care!
You’re welcome :)
Franklin Gothic alternatives
Since we’ve talked about alternatives to a typeface I don’t like (Times New Roman) and I typeface I adore (Frutiger), let’s now talk about alternatives to a typeface I like, but haven’t used much: Franklin Gothic.
The reason I haven’t used Franklin Gothic much historically is because the only font you get with Windows is Franklin Gothic Medium and that’s not general-purpose enough for most of my needs.
You do get access to the larger Franklin Gothic family of Book, Medium, Demi, and Heavy if you purchase Microsoft Office, but for one reason or another I’ve never gotten around to using it. I think this is mainly because I rarely create the poster and editorial designs that Franklin Gothic is known for. And while Franklin Gothic Book is a good typeface for body text, its Bold version isn’t particularly bold so you have to manually switch to Demi every time.
So assuming you don’t want to spend a few hundred dollars on buying the full Franklin Gothic typeface family, let’s talk about alternatives.
But first we need to talk about Franklin Gothic itself.
Franklin Gothic is three typefaces in a trench coat
Morris Fuller Benton designed Franklin Gothic for American Type Founders in 1902 in just one extra-bold display weight. Then in 1903 he designed Alternate Gothic, a compressed and moderately-bold version of Franklin Gothic that was made available in three numbered widths. Finally in 1908 he designed News Gothic, which is a lighter-weight version of Franklin Gothic.
So if you were to talk about the Franklin Gothic ‘family’ of typefaces at the start of the 20th century, you’d include all three of those in your discussion.
These days there are multiple versions of those individual typefaces available, each one fleshed out to a full family with several weights:
But for now let’s just focus on the ones readily available to me:
Franklin Gothic: Medium from Windows and Book, Medium, Demi, Heavy from Microsoft Office
Alternate Gothic: No.1 – No.3 from the web (the SoftMaker versions are free for personal use)
News Gothic: Regular, Bold, Italic from Microsoft Office (a limited subset of the Monotype version)
The good news for all of us is that high quality alternatives to all those typefaces are readily available, and several of them are free to use.
Franklin Gothic alternatives
If you’re looking for alternative-alternatives to Franklin Gothic – meaning something that is similar, but not the same – then check out Jeremiah Shoaf’s top-ten-alternatives list on Typewolf.
But if you’re looking for an excellent free and open source replacement to Franklin Gothic, then your best bet is Libre Franklin.
Libre Franklin comes in nine weights, so its regular weight is a good alternative to Franklin Gothic Book. Its letterforms are a little larger than Franklin Gothic, though, so you’ll need to reduce Libre Franklin’s font size to about 90% if you want a drop-in replacement.
Similarly, Libre Franklin Medium is a good alternative to Franklin Gothic Medium – though you’ll have to reduce Libre Franklin’s font size to about 92% if you want a drop-in replacement.
A couple of minor tweaks to Libre Franklin’s font size and line height are all you need for this typeface family to be a drop-in replacement for the other Franklin Gothic weights as well.
So that was easy.
Alternate Gothic alternatives
The original Alternate Gothic came in three numbered widths.
It’s modern digital version no longer has numbered widths, but if you buy that you do get forty fonts at four different widths – so that’s cool.
But if you’re not after one of the particularly compressed versions, then Oswald is an excellent free and open source alternative. As with Libre Franklin, you’ll need to reduce its font size a bit if you’re after a drop-in replacement.
I really like Oswald and for the longest time used it as the heading typeface on this blog. It’s not great for running text, but it’s okay for short text blocks.
More recently I used Oswald Light in the letterhead design for my sister’s clinical practice.
News Gothic alternatives
News Gothic is interesting because American Type Founders (who Morris Fuller Benton designed all these typefaces for) no longer sells this typeface. Instead you use Franklin Gothic Light. So all we have of the original typeface these days are versions and direct descendants from other type foundries.
I listed News Gothic’s various non-American Type Founders versions above and its most notable descendant is Benton Sans – which is fantastic, but expensive.
My preferred News Gothic alternative is Public Sans – which is excellent, free, and open source.
The thing I like most about Public Sans is that its characters are less ambiguous than News Gothic. For example, you can’t confuse its uppercase ‘i’ with its lowercase ‘l’ because the lowercase ‘l’ has that little curve at the bottom (like you can see in the word ‘Franklin’ below).
My favourite alternatives
While I really like and recommend Libre Franklin, Oswald, and Public Sans, those actually aren’t the alternatives I use most often.
My favourite alternatives to Franklin Gothic are Trade Gothic Next, Whitney Narrow, and Source Sans 3.
Trade Gothic Next is Linotype’s alternative to Franklin Gothic. Its Regular weight is similar to Franklin Gothic, its Light weight is similar to News Gothic, and its Compressed and Condensed weights are similar to Alternate Gothic. It is an expensive typeface family, but I got its Regular weight as part of a sale bundle and have enjoyed using it since.
Whitney is one of my all-time favourite typefaces, and its Whitney Narrow variant is a modern and more friendly alternative to Franklin Gothic. These are both paid typefaces, but I think they’re worth every penny.
Source Sans 3, on the other hand, is a free typeface. It too is a friendlier and more modern version of Franklin Gothic. It’s also one I’ve used most often because it is so easily available on the web (eg in Google Docs and Google Fonts).
Concluding thoughts
Over the years I’ve looked at Franklin Gothic, News Gothic, and a bunch of other American gothics and though, “I should try to figure all this out” and now I’ve been able to do that.
I don’t expect I’ll use Franklin Gothic any more than I have in the past, but at least I now know what to use if I want that express that kind of feeling!
Frutiger alternatives
In my last post I talked about Times New Roman alternatives because (a) everyone has access to Times New Roman and (b) it has alternatives that are both superior and readily available.
Now I’m going to talk about some alternatives to Frutiger because (a) very few people have access to Frutiger and (b) it is an excellent typeface that is also one of my all-time favorites.
Why an alternative?
If Frutiger is such a great typeface, why even talk about alternatives? Shouldn’t I just recommend that people go out and buy a license to Frutiger itself?
*sigh* I wish.
Unlike Helvetica, Times New Roman, Baskerville, and Garamond, none of the operating systems or word processors that we all use today license Frutiger to its users at no additional cost. If you want to use Frutiger, you have go buy it for yourself.
And there’s the rub. Here are the current prices for Frutiger in US Dollars:
Frutiger (19 font family): $532
Frutiger Next (21 font family): $846
Frutiger Neue (40 font family): $846
So, yeah. Unless you have a lot of money lying around or you’re a designer for whom this type of business expense makes sense, it’s best to look for an alternative.
But why Frutiger?
Why make all this effort for Frutiger? Aren’t the typefaces that come with Windows, macOS, Microsoft Office, and LibreOffice enough?
Well, yes. You could live your life using only the typefaces you get out of the box – and those are excellent typefaces. But where’s the fun in looking like everyone else in the world? :)
And to explain the “why Frutiger?” bit, let’s talk about its design.
Why Frutiger looks the way it does
Frutiger was designed Adrian Frutiger in 1972 as a wayfinding typeface for Roissy Airport (now Charles de Gaulle Airport) in Paris, France. A few years later, in 1976, it was released publicly as a commercially available typeface.
But Frutiger comes from a much older tradition of ‘grotesk’ (ie sans serif) typefaces.
One of the original grotesks is Akzidenz Grotesk from 1898. This typeface heavily influenced Helvetica and Univers, with the latter having been designed by Adrian Frutiger himself. Both Helvetica and Univers were instant hits when they were released in 1957 and you still see them everywhere these days.
Another older grotesk is Johnston (1916) and this is what the hugely popular Gill Sans (1926) is based on. Gill Sans is the friendly typeface you see in the London Underground and on things like Penguin Books.
When Adrian Frutiger created his Frutiger typeface, he based it on “the rationality and cleanliness of Univers” and “the organic and proportional aspects of Gill Sans”. [1]
Frutiger is the best of both worlds
That combination is what I love about Frutiger:
It feels somewhat rational, which in typeface design parlance refers to vertical shapes and closed apertures (eg openings in letters like the lowercase ‘c’). It gets this vibe from Univers, Helvetica, and Akzidenz Grotesk.
But it also feels organic, meaning more handwriting-like and with open apertures. It gets this vibe from Gill Sans.
You don’t get that combination of vibes from typefaces like Helvetica, Arial, Verdana, and the like – all of which feel mostly neutral and rational, maybe even cold and impersonal.
Frutiger is upright and authoritative, yes, but it also feels somewhat warm and friendly – all while remaining highly legible and readable at all sizes.
Two official versions of digital Frutiger
I should mention that there are two official, modern versions of the digital Frutiger typeface: Neue Frutiger and Frutiger Next. Both were design by, or co-designed with, Adrian Frutiger and both have their uses.
Neue Frutiger (2009) is closer to the 1976 public release. This is what you should use if you want an expanded digital version of the original.
Frutiger Next (1999) is a modernised version of the original with a higher x-height, narrower letterspacing, more pronounced ascenders, and true italics (italics that look calligraphic, as opposed to italics that are just oblique version of the regular, upright letterforms). This is what you should use if you’re going to set Frutiger in large blocks of text.
With that out of the way, let’s talk about alternatives.
Large-foundry alternatives
If we’re not going to spend over eight hundred dollars on Frutiger, regardless of how much we love it, what are our options?
The first thing I do in situations like this is see if any large foundries have typefaces that are similar. And, as it happens…
Myriad Pro from Adobe
Myriad from Adobe is a friendlier and slightly more elegant version of Frutiger. It was released in 1992 and Apple started using it in its logo and corporate design in 2002.
You can buy the Myriad Pro 10-font family for US$353 or the complete 40-font Myriad family for US$1,413. So the normal Myriad Pro family is already a much more affordable option.
Segoe and Segoe UI from Monotype
Segoe from Agfa Monotype (now Monotype Imaging) is another friendlier and slightly more elegant version of Frutiger. Microsoft started using Segoe in its logo and corporate design in 2003.
Unfortunately, Segoe isn’t available for sale. But if you’re a Windows user, there is a sub-family of Segoe called Segoe UI that you can use right now for free.
Both Myriad and Segoe UI are closer to the design of Frutiger Next, the more modernised version of Frutiger. And both take things a step in the friendlier direction, with features like the rounded dot in the lowercase ‘i’ and the more curved stroke in the uppercase ‘Q’. Segoe UI is also optimized for user interfaces (UI) so its letterspacing is a bit wider.
So, if you want a more affordable, slightly friendlier version of Frutiger Next, then Myriad Pro is a decent alternative. I myself love Myriad Pro. In fact, the headings in this blog are set in Myriad Pro Condensed.
I would not, however, recommend Segoe UI as a general-purpose alternative to Frutiger. It is awkward to use for anything other than user interfaces. And if you do want to use it, you’ll have to make a bunch of manual tweaks (like tighter letterspacing) and this might be too much of a hassle for most people.
Free alternatives
The next thing I do when looking for alternatives is to see if there are any free ones available.
You can sometimes get:
Close-enough alternatives from type designers and independent type foundries that you can use in certain designs.
Open-source versions (some even drop-in replacements) of older typefaces that aren’t under copyright. (Sometimes these modern versions are even better than the originals, like in the case of Times New Roman.)
Multilingual versions created by multilingual type designers and type foundries with support for their specific languages.
Frutiger has one-and-a-half of these.
Hind from Indian Type Foundry
Hind is a version of Frutiger Next created by Indian Type Foundry that supports the Devanagari and Latin scripts. However this typeface is optimised for use in user interfaces and it has no italics, so it’s not good for general-purpose use.
If you need a Frutiger version for signage and UI, then this might work for you.
Roboto from Google
Roboto is a “Frankenfont” that borrows heavily from the Helvetica, Myriad, Univers, FF DIN, and Ronnia typefaces – though its v2.0 is more unified in its design [2]. It was developed completely inhouse at Google [3].
While only parts of Roboto borrow from Univers and Myriad (both of which are related to Frutiger), if you needed a non-Helvetica, non-Arial, general-purpose typeface, Roboto is a reasonable choice.
That said, I would not recommend Hind or Roboto to most people who are looking for Frutiger alternatives: Hind because it’s not a complete, general-purpose typeface and Roboto because it’s not really Frutiger. (Also because Roboto is the most-used Google Font and we’re, you know, trying to not follow the crowd here.)
Smaller-foundry alternatives
Our last option is typefaces with designs inspired by Frutiger that have been created by smaller type foundries.
Epoca by Hoftype
Epoca is a slightly more elegant version of Frutiger Next. It is the only typeface inspired by Frutiger that keeps the square dot over the lowercase ‘i’ and ‘j’. But then it adds design features like a slightly slanted upward stroke on the uppercase ‘M’ and a higher cross-bar on the uppercase ‘A’. So not quite Frutiger, but close enough.
You can buy the Epoca 8-font family for US$307. If you think Myriad is too modern and friendly (round dots!) and you want to spend $50 less, then this typeface is for you.
Fact by Paratype
Fact is a friendlier version of Frutiger Next, complete with round dots. What’s cool about this typeface is that it’s a full type system of 98 fonts across six weights – plus a variable font – that supports 100 languages.
You can buy the Fact Normal 16-font family right now for just US$23 from MyFonts. Or you can buy its complete 98-font family from Paratype for US$330.
My recommendation
What would I recommend as an alternative to Frutiger then?
Well I wouldn’t recommend any of the free alternatives. Out-of-copyright typefaces like Franklin Gothic (1912) have excellent open-source versions like Libre Franklin. Typefaces like Frutiger do not.
I’d be tempted to recommend Myriad. It’s a more modern and, dare I say it, a slightly cooler version of Frutiger Next. But its regular, 10-font family costs US$353 and its complete, 40-font family costs US$1,413. Epoca is more cost effective (US$307 for its 10-font family), but I haven’t used so I don’t have any personal experience with it. It doesn’t have a slightly different vibe from Frutiger though.
So the only alternative I would recommend is, in fact, Fact. Fact fits somewhere between Neue Frutiger and Frutiger Next, and its design is subtly cool in its own way. It’s Normal, 16-font family currently costs a measly US$26 and you can get its complete, 98-font family for US$330 – which $23 is less than just the regular version of Myriad!
Fact is very readable at all sizes and, because it has so many weights in its narrower and expanded variations, you can fit it into pretty much whatever it is that you’re doing.
I’ve been using Fact since last year and it has quickly become my go-to typeface for a whole range of uses.
Will I still purchase Frutiger if I, like, win the lottery or get a big bonus at work? Absolutely. Though even then I’ll likely end up using both Fact and Frutiger in different situations. But I’m happy with where I am right now and I am no longer hankering for Frutiger like I used to in the past.
Concluding thoughts
I had a lot of fun research, compiling, and writing this. I’m afraid that means you’ll see more of these types of posts in the future. Hopefully not too many – I know most of you aren’t typography nerds like I am! – but we’ll see how we go.
Let me know if there’s a typeface you want me to dive into in a future post. I’m happy to take requests :)
In the meantime, have fun with your typography!
Times New Roman alternatives – follow-up
I thought I was done with my inadvertent deep-dive into Times New Roman alternatives, but then I talked about all this on social media and got some interesting responses. So here’s a quick follow-up for completeness’ sake.
Before I go forward, though, I need to go back for a quick sec…
Alternatives I’d recommended
What I use
In my earlier post I’d talked about the two typefaces I use instead of Times New Roman. This is for when I’m writing reports, articles, letters, etc that require a non-nonsense, neutral serif typeface that’s suitable for both screen and print [1].
The typefaces I use are:
Source Serif 4 (free)
Mercury (paid)
Neither looks like Times New Roman and neither is a drop-in replacement for Times New Roman, but both are excellent typefaces [2].
Drop-in replacements I recommend
I recommended two drop-in replacements for Times New Roman as well, both of which are also excellent typefaces:
PT Astra Serif (free)
Equity Text (paid)
Drop-in replacements I didn’t recommend
There are, of course, a few drop-in replacements I didn’t recommend, like:
Tinos (Chrome OS, Google Docs)
Times (macOS, Apple Pages)
DejaVu Serif and Liberation Serif (various Linux flavours, LibreOffice)
Tinos is nice (though I like PT Astra Serif better) but the others are too much like Times New Roman for me to recommend as superior alternatives.
What others recommended
This brings me to the two main suggestions I got from folks on social media.
One suggestion was Linux Libertine which, again, is too much like Times New Roman for me to recommend.
But the other was Spectral, which is actually quite good.
Spectral is not a drop-in replacement for Times New Roman (it is more widely spaced) but it does look like Times New Roman. If you made Times New Roman slightly thicker and replaced its curves with angles (compare the lowercase ‘t’ and ‘r’ below) you would get Spectral.
These design choices make sense, since Spectral was commissioned by Google for use in Google Docs and Sheets, both of which are screen-first products with less of a focus on creating printable materials. Times New Roman, on the other hand, was designed for high-speed printing in spaced-constrained newspapers and so it is crisp, narrow, and tightly letterspaced.
When you compare the two typefaces in blocks of text on a screen, Spectral is therefore the more readable of the two.
So does learning about Spectral change any of my recommendations? Actually, no.
If we are not aiming for a drop-in replacement for Times New Roman, then think Source Serif 4 is still the better, more versatile alternative typeface.
But there is another contender…
That said, Production Type – the same type foundry that created Spectral (2017) – was commissioned by Google again to create another serif typeface: Newsreader (2020). And Newsreader does give Times New Roman a run for its money.
What I like about Newsreader is that, while it is a screen-first typeface, it works just as well in print. And what’s particularly cool about it is that it comes in three optical sizes: Display, Text, and Caption.
So if you are going to be creating, say, a report or a website with large-sized headings of various sizes, normal-sized body text, and small-sized image/table captions, then you can make the most of the different typeface variations of Newsreader that were designed specifically to be used at those optical sizes.
You can see how much of a difference this makes in the text-block comparison below. Large-sized Times New Roman Bold makes for an insipid heading and small-sized Times New Roman Regular makes for a mostly-unreadable caption. Newsreader Display and Newsreader Caption, on the other hand, are up to the task.
Meanwhile Newsreader Text, despite having wider letterforms, is so well letterspaced that is actually takes up slightly less space on the page than Times New Roman does!
Updating my recommendations
This then does change my recommendations. But instead of removing a recommended typeface, I’m going to add one.
For the average user
Writing a report, article, or letter that needs a typeface like Times New Roman?
Use PT Astra Serif which is a like-for-like replacement.
Installing and then swapping one typeface for another is something the average user can easily do and should totally do.
For the typography enthusiast
Writing a report or article that needs a typeface like Times New Roman, but your document has lots of headings and captions and you want to be a little ~*extra*~?
Use Newsreader Text for a like-for-like body text replacement and then use Newsreader Display and Newsreader Caption to create better titles/headings and captions.
This is something that folks who care about typography and design should do.
For the professional
Writing reports, articles, or letters professionally that need a typeface like Times New Roman?
Purchase Equity Text and use that as a like-for-like body text replacement. You can even pick between two shade grades – Equity Text A, which is darker, and Equity Text B, which is lighter – based on which one looks better when you print it out. And if you use all-capital letters anywhere (which lawyers use all the time, for example) then use the included Equity Small Caps variation instead because that looks significantly better.
An average user won’t pay for a typeface, but that is something a professional who wants to stand out from the crowd definitely should do.
Concluding thoughts
For a typeface I haven’t used in sixteen years, I’ve sure written a lot about Times New Roman recently! Hopefully this is all I’ll have to say on the matter for a while.
All I can say to conclude this chapter in my life is: please don’t use Times New Roman. There are several superior options available these days. Get with the program.
[1] If I didn’t need to use a no-nonsense, neutral serif typeface, there are many other typefaces I would pick instead (over and above Source Serif 4 and Mercury, of course). Typefaces like Chaparral (beautiful, friendly), Charter (solid, friendly), Crimson Pro (beautiful, warm), Merriweather (solid, friendly), Sabon Next (classic, neutral), Stempel Garamond LT (classic, neutral), and TT Jenevers (friendly, warm) to name a few.
[2] If I need to send someone a Word version of my document I always use Source Serif 4, but if I’m able to send a PDF then I’m more inclined to use Mercury.
[Photo walk] Along the Yarra River #2
On this week’s photo walk I decided to use only my long lens (50-230mm APSC, which is 77-352mm full-frame). This let me really zoom-in and isolate my subjects in the frame, which can be challenging, but is fun to do.
Parks VIC boat and runabout on the Yarra River
Bicycle hoops in Docklands, Melbourne
Collins, Bourke, and La Trobe Street crossings over Wurundjeri Way and Southern Cross train lines
I don’t do drama, I do nails
Frankston train crossing the Melbourne Aquarium building
Let them out!!!
Guiding boat renters back to the dock
Getting new boat renters on their way
Go-Boat ‘GOBO’ docked along the Yarra River
Checking her phone while heading slowly down the Yarra River
Killing time while waiting for friends
Chatting on the Evan Walker Bridge across the Yarra River
Sweep rowing training on the Yarra River
Sweep rowers on the Yarra River
Guiding the sweep rowers on the Yarra River
Piloting the Yarra Duchess along the Yarra River in Melbourne
Barista at AFLOAT pouring a beer from the tap
Don't forget life.
Times New Roman alternatives
I don’t like using Times New Roman, even though I’ve used it a lot over the years (mainly for school and university assignments in the 1990s and 2000s).
This is partly because it was the original default typeface in Microsoft Word and it’s easy to get tired of defaults [1]. But also because I find it too thin (because of its high stroke contrast), too sharp (because of its serifs), and too condensed (because of its narrow letters and tight letterspacing).
Its thinness, sharpness, and condensed-ness works well for newspaper printing where you’re trying to squeeze a lot of text into a small space while also minimising your use of ink. But that isn’t always the best choice when you’re writing letters, reports, and assignments.
And it doesn’t even look nice on the screen when you’re writing in it in Microsoft Word.
Fortunately, my professional work ended up being all digital and web-based, so I don’t think I’ve written anything in Times New Roman since I finished my MBA in 2008.
My go-to alternative: Source Serif
Of course I have needed to write formal letters in a serif typeface since 2008, and for that my go-to serif has been Source Serif – originally Source Serif Pro, now Source Serif 4.
I also always use this typeface when I have to send someone a Word version of my document (into which I embed these fonts) and not a PDF.
I love Source Serif because it has a lower stroke contrast and thicker serifs, and because its characters and letterspacing are a little wider.
That letterspacing can be an issue though. That’s because, at the same point size, your text ends up being longer overall. I don’t usually mind, because the resulting text looks friendlier and more solid, and overall has a darker shade.
A new contender appears: PT Astra Serif
Last week, however, I came across PT Astra Serif. This is supposed to be a drop-in replacement for Times New Roman. And because it was created by Paratype, a type foundry I quite like, I thought I’d install it and take a look.
There are several things I like about PT Astra Serif. Compared to Times New Roman its:
stroke contrast is lower,
brackets are straighter,
terminals are sharper,
serifs are thicker, and
apertures are more open.
And size-wise it is, indeed, a drop-in replacement.
That means text written in PT Astra Serif is friendlier and darker, but otherwise pretty much the same size as Times New Roman.
So maybe going forward PT Astra Serif will be my alternative to writing documents in a Times New Roman-like typeface? I guess I’ll have to try it in a real-world scenario and see.
If we were going to get professional: Equity Text
Of course if I was writing these types of documents professionally, I would use MB Type’s Equity Text instead. Specifically I’d use Equity Text A, which is the slightly darker version.
This too is a drop-in replacement that, while a smidge wider in the example below (because of better kerning, tbh), is otherwise closer to the design of Times New Roman itself.
Which means that, while text blocks written in Equity Text A have a darker shade and are considerably more readable, they take up about the same amount of space on the page as Times New Roman does.
Putting it all together…
The slight differences between these typefaces become clearer when you put them all next to each other.
When you look at the text blocks below, you can see why Equity Text is the obvious best choice (at least it is to me).
As a professional I’d be thrilled with Equity Text because my work would look significantly nicer than the work of all the other shmucks who were still using boring old Times New Roman :) And that’s something I’d be happy to pay for, especially since Equity Text is surprisingly affordable as typefaces go.
My other preferred alternative: Mercury
Fortunately, I am not a professional who needs to use that style of typeface. So what I actually end up using in my serif-text-block PDFs is Hoefler&Co’s Mercury – another typeface created for print newspaper publishing (though this one in the late 1990s).
Mercury is considerably larger and wider than Times New Roman, and even wider than Source Serif 4.
But the cool thing is that when you drop its size down by 2 points and gently nudge its line spacing to be a little higher, you can make it fit about the same amount of space as Times New Roman.
Of course when you do this you completely change the vibe of your text – which, in my case, is very much intentional!
Bottom line
Through all this one thing is clear: unless you’re printing a newspaper that needs to look like it came from the 1930s to 1970s, it is time to leave Time New Roman behind and embrace any other typeface for your serif-y writing.
And if you’re ready to leave Times New Roman behind, perhaps you’re considering alternatives to other default system typefaces as well? If so, read about my journey of moving away from default typefaces. Though really you should read the ‘Font recommendations’ chapter of Matthew Butterick’s Practical Typography instead [2]. That whole book is free and readily available on the web. And if you’re even slightly into typography, I would highly recommend you read it.
(Matthew Butterick, by the way, is a lawyer, typographer, and the designer of Equity Text.)
Whatever you do, have fun and enjoy the wonderful world of modern, digital typography that we all have at our fingertips these days.
[1] Times New Roman was replaced by Calibri as the default typeface in Microsoft Word in 2007. That, in turn, was replaced by Aptos as the new default in 2024.
[2] Maybe if you’re a lawyer you should read Typography for Lawyers instead – even if it is a little US-focused.
Typography dives
Every few months one of my favourite type foundries or digital typography distributors (large or indie) will have a sale. This makes type nerds like me very happy.
Many of the high quality, expensive typefaces I have in my collection I bought on sale. So whenever there’s a chance for me to grow my collection without spending too much, I always take a good look to see what’s on offer.
Even if I don’t end up buying anything during these sales (which is what usually happens) I do end up taking a dive – sometimes a deep dive – back into the world of typography.
Diving into Times New Roman, of all things
Last week, for example, I ended up downloading and trying out a bunch of indie typefaces – some free, some pay-what-you-like.
One of the typefaces I came across was PT Astra Serif, which is a drop-in replacement for Times New Roman that’s been released under the SIL Open Font License (OFL).
Why on earth did someone create an OFL version of Times New Roman? Especially when there are a bunch of open-license alternatives already available, like:
Tinos by Steve Matteson (Apache License)
Liberation Serif by Red Hat (GPL)
FreeSerif by GNU Savannah (GPL)
Well, it turns out PT Astra Serif was created for Astra Linux. That’s a secure version of the Linux operating system that the Russian Federation has been developing and deploying over several years in order to replace Microsoft Windows. And so the creation of this OS-specific typeface that will be compatible with what the rest of the world uses makes sense.
Now I don’t use Times New Roman anymore. And if I had to write a formal document that required this specific style of typeface, I already have a couple of typefaces that I would use instead.
But since PT Astra Serif was created by Paratype, a type foundry I quite like, I wondered: just how does PT Astra Serif compare to Times New Roman and my current alternatives? And thus began a fun, semi-deep dive into these Times New Roman alternatives that I will document in my next post.
So yay for typographic nerdiness, type sales, and the resulting deep dives into things that will never affect my day-to-day but are fun to explore nonetheless :)
Nadia's book is back in stock at Readings, Carlton
Nadia’s book, The Djinn Hunters, is back in stock at Readings in Carlton (stock is running low in their other stores).
You’ll find in the Australian poetry section.
It’s the one with the gorgeous blue cover, from Fauzia Minallah’s Sheema Kermani Inspiration series of paintings.
Since you’re probably always looking for an excuse to visit a bookshop, this is your prompt to go get your copy today! (Or, of course, just order it online.)
Family cats
Growing up in Lahore in the 1970s and 80s we had both cats and dogs as pets – with dogs in the front yard and cats (all of them adopted strays) in the back yard.
These days Nadia and I are the only siblings with a dog while most everyone else has cats. Nadia and I would love to get a cat as well, it’s just that Nadia is allergic to them.
On our recent trip back home I got the chance to spend some time with some of our family cats and, of course, take lots of photos of them :)
Toffee
My younger sister’s orange tabby cat. Very friendly. Loves to sleep on the corner table in the living room.
Toffee portrait
Toffee is not impressed with my photography
Henry
My younger sister’s white cat with blue/yellow odd coloured eyes. Not very friendly, but very happy for you to open the door to let him in and out of the room.
Henry eating his kibble
Henry interrupted
Henry at rest
Uloo
My older sister’s orange, black, and white calico cat. Very friendly, curious, and quite demanding when she wants pats and scratches.
Uloo is very interested in something off camera
Uloo at rest
Nunu
My older sister’s black cat. Not particularly friendly with non-family members, so not easy to get photos of. But she is a lovely looking cat.
Nunu keeping an eye on things
Billi/Billy
My aunt’s medium-haired tabby, a friendly adopted stray who hangs around the garden. I didn’t get to spend any time with her/him, but she/he very much wanted to spend time with us while we were visiting.
Billi/Billy wants to be let inside the house (or for us to come out and play!)
Vintage Car Show Karachi 2024
I happened to be in Karachi for this year’s Vintage Car Show so I brought along my camera and took a few photos.
These are my two favourites. The rest I’ve included in galleries below, which means you’ll have to click each one to see its full, non-square-cropped version.
Favourites
Headlamp
Rolls Royce tyre and visitors
Cars
Hood ornaments and logos
Zooming in on details
Location and visitors
Trip to Pakistan 2024: places
I’m an aviation geek. That means I don’t just take photos of people, I also take photos of the places I go to. Or, well, go through :)
Melbourne Airport
Ground staff member waiting for the luggage containers to turn up
The Etihad Boeing 777 that flew us from Melbourne to Abu Dhabi
Abu Dhabi Airport
This corner of Terminal A at Abu Dhabi Airport is quite empty at 2am
Waiting at at empty departure gate at Abu Dhabi Airport Terminal A
Walnut crescent cookie shaped lights at Abu Dhabi Airport Terminal A departure gates
Walnut crescent cookie shaped lights at the new Abu Dhabi Airport Terminal A
Etihad Airways Airbus A320 aircraft taxiing to its gate at Abu Dhabi Airport
This was the Airbus A320 that flew us from Abu Dhabi to Karachi.
Airbus A320 approaching Abu Dhabi Airport Terminal A gate 640
Airbus A320 getting settled at Abu Dhabi Airport Terminal A gate 640
The Boeing 787 that took us from Abu Dhabi to Melbourne
The Boeing 787 that took us from Abu Dhabi to Melbourne
Karachi Airport
Heading from Karachi to Islamabad
Islamabad Airport
The Fly Jinnah Airbus A320 that took us from Islamabad to Karachi
Trip to Pakistan 2024: people
Nadia and I took three weeks off to go visit friends and family in Pakistan. Naturally I took several photos as we travelled from one place to the next :)
Selfie at Melbourne Airport before heading off on our holiday
We had an almost-10pm flight out of Melbourne, so we had dinner at Melbourne Airport right after we checked-in.
All set to fly from Melbourne to Abu Dhabi
Neither of us minds having seats near the bathroom and neither of us minds sitting right at the back of the plane, so we picked seats in the second-last row of this Boeing 777 since that row has just two seats on the window side :)
Selfie along the C-gates arm at Abu Dhabi Airport Terminal A
Abu Dhabi Airport’s brand new Terminal A is quite roomy (having been built for future growth) and is a surprisingly comfortable place to hang out for a ten-hour layover.
Selfie to celebrate our arrival at Karachi Airport
Yay Karachi!
Ready for the first of our three flights back to Melbourne, this one from Islamabad to Karachi
It took us almost forty hours to get back from Islamabad to Melbourne (via Karachi and Abu Dhabi). This was the start of our first leg.
Ready for the second of our three flights back to Melbourne, this one from Karachi to Abu Dhabi
This was the start of our second leg, waiting in the international departure lounge.
Waiting for breakfast at Abu Dhabi Airport Terminal A
This is towards the end of our twelve hour layover in Abu Dhabi.
Selfie before boarding our flight to Melbourne
We’re making sure to stretch our legs and stand as much as we can before our non-stop, thirteen hour flight to Melbourne.
Ready for the third of our three flights back to Melbourne, this one from Abu Dhabi to Melbourne
All aboard and ready to boogie (aka sleep) on this lovely Boeing 787 (yay!).
We hadn’t been back to Pakistan since late 2019, so this trip was very much overdue and it was a great way to start the year.
The life of Maggie: walking and napping
Time to share a few photos of Maggie I’ve taken over the last few weeks. (You’re welcome.)
Turning a corner
Comfortable afternoon nap
Ready for her daily walk
20th anniversary
On 1 February 2004, Nadia and I got married at the Serena Hotel in Islamabad, Pakistan.
Twenty years later we went back there to take a couple of selfies :)
Later that day we celebrated with food and, importantly, with cake.
That cake, while delicious, wasn’t quite as fancy as the one we cut at our actual reception.
Nor did we make a meme out of the cake-cutting, like we did for our tenth anniversary :)
20 years later
The last time we were at the Serena Hotel in Islamabad we were dressed, well, a little differently :)
Happy 20th wedding anniversary Nadia!
One year with a mirrorless camera
Here’s what I’ve learned after owning a mirrorless, interchangeable-lens camera for just over one year. (I got my camera on Boxing Day 2022 but didn’t start taking any decent photos will it till at least the middle of January 2023.)
This is based on the 438 share-worthy photos I uploaded to Flickr in 2023.
Photos I like taking
Aside from typical life and event/travel photos, I seem to like taking photos that tell micro stories of people and places. I do this mainly through three types of photos…
Interesting everyday
These are photos looking up, down, and around at things you stop noticing when you live somewhere for a long time. These are architectural photos, photos of objects, or photos of people going about their lives doing things I find interesting.
Questions about people
These are photos that make you wonder what the person/people in the photo are doing, thinking, or talking about.
Atmosphere
These are photos that (hopefully) communicate the vibe of the place in which I took the photo or maybe what I was feeling when I took it.
Most frequently used focal lengths
When I wasn’t doing my ‘one focal length at a time exercise’, my favourite focal lengths were 27mm, 85mm, and 345mm. These represent both extremes of my two zoom lenses: 27-85mm for my main lens and 80-345mm for my second lens. The 85mm bar in the chart below covers the 80-85mm range where my two lenses overlap, and so that’s why this bar is the longest.
What have I learned from this?
27mm end: I like taking architectural photos (the wide angle helps you capture more of the building/location) and I often like taking photos that capture the context around my primary subject (eg their location or where they’re headed). Also, in the early days I was still getting used to composing good shots with my new camera, so I would do a looser composition while taking the photo and then crop-in later during editing.
The other ends: I like to zoom in on specific parts of architecture (like the tops of buildings) and I like to simplify my photographs by isolating my subjects within the frame (so it’s easier to focus on the specific object or the person I’m photographing).
Part of the point of the ‘one focal length at a time’ exercise I did over October-December 2023 was to force me to get away from these extremes and try the most popular intermediate focal lengths instead.
Aside from all the creative learning I did during my ‘one focal length at a time’ exercise, I learned that 27mm and 40mm are the focal lengths at which I am the most successful (and comfortable shooting). That’s why, when I do buy an everyday-carry prime lens, those are the two I’ll get first (starting with 40mm).
Where to from here?
The end of the year is a good time for reflection and learning, and it’s been fun going through all the photos I’ve taken this year. Importantly, I noted how I improved as a photographer over the last twelve months and what I still need to get better at.
In 2024 I’m going to keep doing what I’m doing right now: taking regular photo walks in and around Melbourne and photographing life, events, and travel. I have a lot of experience to gain and still plenty of incremental improvement to do before I start to plateau both creatively and skill-wise.
So here’s to another fun year of photography!