Next he set about replacing the newspaper's venerable Caslon body type with what became known as The Times New Roman-to this day a default typeface for word-processed letters, memos, and school papers. After three years' work trying out designs and finally settling on a variation of Plantin (Robert Granjon's sixteenth-century Gros Cicero), Monotype cut 5,973 punches using Benton's pantograph (1,075 of them rejected as imperfect), the letters drawn and redrawn by the unheralded draughtswomen in the Monotype Type Drawing Office.... One goal of the design was to fit more text into narrow lines. Another was to render it more readable by raising the x-height-the depth of a lowercase letter's body-to make it appear bigger. The face was tested on the press and subjected to review by "a distinguished ophthalmic authority" to be deemed, in Morison's words, "worthy of The Times-masculine, English, direct, simple, not more novel than it behoveth it to be novel, and absolutely free from faddishness and frivolity."34 At its debut in October 1932, the editors boasted that its typeface was "truly new and, as comparison will show, from an impression of spontaneous boldness and clearness beyond the capacity of its predecessor even under the best of circumstances. If this be the effect, it is because everything freakish or precious has been diligently eschewed and design both in headings and in the body of the paper has been healthily subordinated to the strict purpose of aiding the eye.' "