Times Display
A sleeker, higher-contrast version of my favorite classic typeface.
Designed for Introduction to Typeface Design with Nina Stössinger at Yale.
Typeface Design
Sample transition between Times New Roman (thicker) and Times Display (thinner)
Times Display is a high-contrast refinement of the world’s most ubiquitous typeface.
Designed under the mentorship of typeface designer Nina Stössinger, this project addresses a specific typographic gap I’ve noticed while using the Times family. While Times New Roman remains the gold standard for bodycopy, its sturdy, low-contrast construction becomes blunt and clunky at larger sizes. Times Display introduces dramatic stroke variation and sharper bracketing to restore elegance to the headline, while remaining unmistakably Times.
Sample: “Golf”
Sample: “&”
Sample: “Foxtrot”
Sample: “Alpha bravo charlie”
I sharpened the serifs and narrowed the proportions to solve the "bluntness" of standard optical sizes.
Existing adaptations like Times Ten or Times Eighteen prioritize utilitarian readability, often resulting in a blocky appearance at large sizes. In contrast, I tightened the capital widths and increased the contrast between thick and thin strokes. As a result, this version of times feels crisp and deliberate rather than soft.
Demo: The serifs and crossbar of “H” are thinner and sharper
Demo: The thinnest points of “O” at the top and bottom of the letterform are thinner and sharper
Demo: The serifs and junctions of “D” are thinner and sharper
Demo: The serifs and junctions of “n” are thinner and sharper
Demo: The thinnest points of “o” at the top and bottom of the letterform are thinner and sharper
Demo: The serifs and junctions of “p” are thinner and sharper
The typeface creates an elegant display experience while remaining unmistakably Times.
By refining the curves and sharpening the terminals, Times Display bridges the gap between historical familiarity and modern refinement. This project allows the authoritative voice of the original typeface to exist in headlines, posters, and large-format typography without sacrificing the sharpness required for contemporary design.
Sample: “Billboard” on a billboard mockup
Sample: “g” on a wall-mounted poster mockup
Sample: Times Display used in a newspaper mockup
Type specimen: caps
Type specimen: lowercase
Type specimen: numbers, symbols, and punctuationI’m a graphic designer and student at Yale (’26)
I’m a graphic designer and student at Yale (‘26) focusing on typography, motion graphics, and design systems. My practice is rooted in a deep respect for art history and craft. Before studying design, I practiced traditional blackletter calligraphy, a practice that continues to inform my approach to typography and lettering.
I have gained professional experience designing for artists such as Jeffrey Gibson, Mickalene Thomas, and Joel Mesler, and for arts institutions including Sotheby’s, Christie’s, and JOOPITER. I have also interned for Irma Boom Office, Mickalene Thomas Studio, and Hyperallergic.
In an increasingly automated design industry, I believe the human touch is a designer’s most valuable tool. Whether through hand-drawn calligraphy, organic shapes, or tactile print designs, I strive to imbue my work with a distinct sense of humanity that distinguishes it from the algorithmic and the artificial.
I’m currently seeking a full-time role and always interested in freelance work.