Typography debates rarely make headlines, yet few design choices spark as much quiet contention as font selection.
Under routine decisions in classrooms, newsrooms, and corporate offices lies a persistent rivalry that reflects changing technologies and cultural identities.
Fonts, often set aside as cosmetic, indirectly influence how information is perceived, trusted, and consumed.
At the heart of this debate sits a long-running standoff between Times New Roman and Calibri.
What appears to be a simple preference question is, in reality, a collision between eras.
Each font was created to solve a specific communication problem of its time, and each continues to carry those historical assumptions into modern use.
Times New Roman emerged in 1931 during the peak of print journalism.
Designed for newspapers, it prioritised efficiency and authority, allowing more words to fit neatly into narrow columns without sacrificing legibility.
Calibri, by contrast, was engineered decades later for glowing computer screens.
Built for Microsoft’s ClearType technology, it introduced softer curves and open letterforms optimised for digital reading.
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Times New Roman’s greatest advantage lies in its familiarity and perceived seriousness.
Courts, universities, and formal institutions have long relied on it because it signals credibility and discipline.
Its compact design saves space, making it economical for long documents.
However, critics argue that it now feels dated and dense on screens.
Extended digital reading in Times New Roman can strain the eyes, and its heavy association with firm formality limits its diversity in modern communication.
Calibri gained prominence in 2007 when Microsoft made it the default font for Word and other Office programs.
Its clean lines and generous spacing improved on-screen readability and reduced visual exhaustion.
For a digital generation, Calibri felt approachable and modern.
Yet its disadvantages are largely cultural.
Some professionals view it as too informal for serious documents, while others argue that its widespread use has made it visually dull and vague.
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Beyond the Times, Calibri rivalry, organisations have urged users toward other fonts.
Arial 12 became a corporate essential for its neutrality and compatibility across systems, though designers often criticise it as boring.
Garamond, valued for style and ink efficiency, offers readability in print but appears delicate on screens.
More recently, Microsoft introduced Aptos, a font designed to narrow print authority and digital clarity.
While praised for balance and inclusivity, it faces resistance simply because it is new.
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