Designed for impact: how Parker reinterpret the editorial legacy of Times New Roman in PS Times

It’s been nearly a century since the iconic Times New Roman first graced our pages, and now, Parker has introduced PS Times – their contemporary twist on the classic serif. Crafted in collaboration with Type Designer Jesse Amborn, this typeface is the proprietary brand font for Parker and comes equipped with a variety of ligatures, stylistic sets, and symbols, uniquely tailored for the Seattle-based design studio. “In selecting a type system that ultimately supports a diverse portfolio, our thoughts went toward the often ubiquitous classics,” Amborn tells us, explaining the idea for the project. “It needed to be functional while not being too expressive to distract from the work itself, so the restrained editorial language of Times felt apt.” In reimagining this iconic typeface, PS Times retains the recognisable cap and x-heights but brings modern adjustments like shorter descenders and a variety of ligatures. “At first glance, our goal was to make it read as ‘Times,’ while also being a surprisingly tailored version,” says Amborn. “We wanted to recall much of the same understated editorial nature that has made it popular and functional for so many years while reimagining it for new applications.” When exploring the capabilities of Times New Roman (then eventually Times Now for its lighter, more refined weight), the team tested it in various contexts within presentation decks and especially in digital applications it wasn’t designed for. “We wanted a more uniform, tailored look in these modern, digital contexts,” Amborn states. A key source of inspiration came from the ‘lost variations’ of Times during the phototype era of the ‘60s, ‘70s, and ‘80s. These headline-specific variations had tighter spacing and more angular serifs, which influenced PS Times’ design. “These styles land under the general name ‘Times Modern,’” notes Amborn, pointing to specific inspirations like Times Bold Modified No. 1 and Neo-Times Roman Light. By closely tracking Times Now to echo the headline uses seen in the ‘60s and ‘70s, Parker set out to create a typeface designed specifically for larger, eye-catching displays. This approach marked a departure from the traditional Times variations, which are typically optimised for smaller type sizes. “This shift influenced every choice we made during the design and production process,” says Amborn. “We opted for slightly more condensed geometry for larger sizes, ensured uniform optical weight between uppercase and lowercase, reduced open space for tighter applications, and improved uppercase geometry with more uniform footprints. Additionally, we shortened descenders, lowered tittles and punctuation for tighter leading, and created an extensive set of functional contextual alternates to help characters connect and interact seamlessly.”