In technical terms, Courier New, like all typewriter fonts, is a “monospaced” typeface: Each letter takes up the same amount of space on a line, essential for tabular uniformity as well as, say, replacing an “i” with a “w” during the correcting process (no longer an issue, of course). What is most remarkable of all, of course, is that a typewriter font is still being used at all in a post-typewriter age. Anyone who has done Freedom of Information Act research will inevitably find black marker lines obscuring lines of Courier type. It is not surprising, as Rick Poynor points out, that Courier should play a starring role in Errol Morris’ recent documentary The Fog of War about former Secretary of Defense Robert McNamara. By the 1960s, Courier had become the herald of all stripes of dignified officialdom indeed, it is still de rigueur for filing certain types of legal documents. But as Kettler later said in an interview, “A letter can be just an ordinary messenger, or it can be the courier, which radiates dignity, prestige, and stability.”Kettler was successful in his mission. His answer was that he wanted to make sure that no one character stood out.” In its prototype phase, Courier was called Messenger.
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Kettler was a natural, innovative typographer, as one co-worker recounted: “One thing he did that no other font designer did was to rotate the mock-up page a full 180 degrees. With its “modern, progressive look,” Courier exemplified the “trend toward the long, low and extended in an age of ranch houses and stretched-out cars,” according to one ad. Compared to previous typewriter fonts, Courier looked streamlined, rational, efficient, a move away from the “Antique” past-the perfect face for IBM.
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