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What font should I choose for my thesis?

This post is by DrJanene Carey, a freelance writer and editor based in Armidale NSW. She occasionally teaches academic writing at the University of New England and often edits academic theses, articles and reports. Her website is http://www.janenecarey.com

Arguably, this question is a classic time waster and the student who poses it should be told to just get on with writing up their research. But as someone who edits theses for a living, I think a bit of time spent on fonts is part of the process of buffing and polishing what is, after all, one of the most important documents you will ever produce. Just bear in mind that there is no need to immerse yourself so deeply in the topic that you start quibbling about whether it’s a font or a typeface that you are choosing .

Times New Roman is the standard choice for academic documents, and the thesis preparation guidelines of some universities stipulate its use. For many years, it was the default body text for Microsoft Word. With the release of Office 2007, the default became a sans serif typeface called Calibri. Lacking the little projecting bits (serifs) at the end of characters makes Calibri and its many friends, such as Arial, Helvetica and Verdana, look smoother and clearer on a screen, but generally makes them less readable than a serif typeface when used for printed text . The other problem with choosing a sans serif for your body text is that if you want passages in italics (for example, lengthy participant quotes) often this will be displayed as slanted letters, rather than as a true italic font.

You would like your examiners to feel as comfortable as possible while their eyes are traversing the many, many pages of your thesis, so maximising legibility and readability is a good idea. Times New Roman is ubiquitous and familiar, which means it is probably the safest option, but it does have a couple of drawbacks. Originally designed for The Times in London, its characters are slightly narrowed, so that more of them can be squished into a newspaper column. Secondly, some people intensely dislike TNR because they think it has been overused, and regard it as the font you choose when you are not choosing a font .

If you do have the luxury of choice (your university doesn’t insist you use Times New Roman, and you have defined document styles that are easy to modify, and there’s enough time left before the submission deadline) then I think it is worth considering what other typefaces might work well with your thesis. I’m not a typographical expert, but I have the following suggestions.

• Don’t use Calibri, or any other sans serif font, for your body text, though it is fine for headings. Most people agree that dense chunks of printed text are easier to read if the font is serif, and examiners are likely to expect a typeface that doesn’t stray too far from the standard. To my eye, Calibri looks a little too casual for the body of a thesis.
• Typefaces like Garamond, Palatino, Century Schoolbook, Georgia, Minion Pro, Cambria and Constantia are all perfectly acceptable, and they come with Microsoft Word. However, some of them (Georgia and Constantia, for example) feature non-lining numerals, which means that instead of all sitting neatly on the base line, some will stand higher or lower than others, just like letters do. This looks nice when they are integrated with the text, but it is probably not what you want for a tabular display.
• Consider using a different typeface for your headings. It will make them more prominent, which enhances overall readability because the eye scanning the pages can quickly take in the hierarchy of ideas. The easiest way to get a good contrast with your serif body text is to have sans serif headings. Popular combinations are Garamond/Helvetica; Minion Pro/Myriad Pro; Times New Roman/Arial Narrow. But don’t create a dog’s breakfast by having more than two typefaces in your thesis – use point sizes, bold and italics for variety.

Of late, I’ve become quite fond of Constantia. It’s an attractive serif typeface that came out with Office 2007 at the same time as Calibri, and was specifically designed to look good in print and on screen. Increasingly, theses will be read in PDF rather than book format, so screen readability is an important consideration.  Asked to review Microsoft’s six new ClearType fonts prior to their release, typographer Raph Levien said Constantia was likely to be everyone’s favourite, because ‘Even though it’s a highly readable Roman font departing only slightly from the classical model, it still manages to be fresh and new.’

By default, Constantia has non-lining numerals, but from Word 2010 onwards you can set them to be lining via the advanced font/number forms option, either throughout your document or in specific sections, such as within tables.

Here is an excerpt from a thesis, shown twice with different typefaces. The first excerpt features Calibri headings with Constantia body text, and the second has that old favourite, Times New Roman. As these examples have been rendered as screenshots, you will get a better idea of how the fonts actually look if you try them on your own computer and printer.

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Great fonts for a PhD thesis – and terrible ones

There are thousands of fonts out there – which one should you choose for a great-looking PhD thesis? I will explain the differences between serif and sans-serif fonts, what ligatures are and why you shouldn’t use that fun free font you found on the internet.

Great fonts for a PhD thesis: Serif vs. sans-serif

As I explained in my Ultimate Guide to preparing a PhD thesis for printing , there are two basic kinds of fonts: Serif fonts and sans-serif fonts. Serif fonts have small lines – serifs – at the ends of all lines. Sans-serif fonts don’t have those lines. Compare these two, Palatino Linotype and Arial:

Serifs guide the reader’s eyes, making sure that they stay in the same line while reading a printed text. In turn, your reader’s brain won’t get tired so quickly and they can read for longer.

But there is another feature that many serif fonts have. Look at these three (which are all great fonts to use in your PhD thesis, btw):

If you look closely, you will see that serif fonts often have different stroke thicknesses within every letter. This is called “weight contrast”. A subtle weight contrast further improves legibility of a printed text. Hence, I recommend you use a serif font with a bit of a weight contrast for your main text.

Which serif font should you choose?

But whatever you do, this one thing is extremely important: Choose a font that offers all styles: regular, italics , bold , and bold italics . Since these four styles all need to be designed separately, many fonts don’t offer all of them. Especially bold italics is absent in most free internet fonts and even from many fonts that come with your operating system or word processor.

Also: In your bibliography and in-text citations (if you go with an author-year citation style) you will have to display author’s names from all over the world. Many of them will contain special letters. For example German umlauts (ä, ö, ü), accented letters used in lots of of languages, i.e. French or Spanish (à, é, ñ, etc.), and dozens of other special letters from all kinds of languages (ç, ı, ł, ø, etc.). Be aware that only a very limited number of fonts offer all of these!

If you have mathematical equations in your thesis that require more than +, – and =, your font choices are limited even further . After all, the vast majority of fonts do not offer special operators.

As you can see, these criteria severely limit your choice of font for the main text. Needless to say, they rule out free fonts you can download from dafont.com or 1001fonts.com . That is why I urge you to go with a classic font. To make things easier for you, here is a table with serif fonts that offer all the characters you could dream of:

Failsafe serif fonts for your PhD thesis

These fonts are heavily based on fonts that have been in use since the invention of the mechanical printing press in the 15th century. Hence, these types of fonts have been tried and tested for more than 500 years. Hard to argue with that!

But which of these fonts is The Best TM for a PhD thesis? That depends on how much text you have in your thesis vs. how many figures, tables, equations, etc. As I have noted in the table, fonts have different widths. Look at this image showing the same text in Times New Roman (TNR), Cambria, and Sitka Text; all at the same size:

Hence, setting entire pages of text in TNR will make the page look quite dense and dark. So, a thesis with a lot of text and few figures is best set in a wider font like Sitka Text. On the other hand, if you have a lot of figures, tables, etc., TNR is a good choice because it keeps paragraphs of text compact and therefore the page from looking too empty. Medium-width fonts like Cambria are a good compromise between the two.

To see some of these fonts in action, check out this example PhD thesis where I show all sorts of font combinations and page layouts.

When to use a sans-serif font in your PhD thesis

This covers serif fonts. But which sans-serif fonts are great for your PhD thesis? And when do you use them?

As mentioned above, serif fonts are good for the main text of your thesis. But titles and headings are a different story. There, a sans-serif font will look very nice. Plus, using a different font in your headings than in the main text will help the reader recognize when a new section begins.

Here are some examples for good sans-serif fonts:

Each of these fonts – Futura, Franklin Gothic Book, and Gill Sans – are wonderful for headings in a PhD thesis. Why? Because they are easily readable, well-balanced and don’t call undue attention to themselves. Also, they have many options: regular, light, medium, bold, extra bold, including italics for all of them. And most operating systems or word processors have them pre-installed.

The criteria for heading fonts are not nearly as strict as those for main text fonts. If you have Latin species names in your headings, make sure the font offers (bold) italics. If you need to display Greek letters in your headings, make sure the font offers those. Done.

However, there are some criteria for headings. Just for fun, let’s have a look at some sans-serif fonts that would be a bad choice for a thesis:

I’d like to explicitly state that these are wonderful, well-designed fonts – you just shouldn’t use them in a scientific document. Heattenschweiler is too narrow, Broadway has too much weight contrast and Aspergit Light is too thin. All of these things impair readability and might make your opponents squint at your headings. Of course, you will want to do everything in your power to make the experience of reading your thesis as pleasant a possible for your opponents!

How are these fonts great for my PhD thesis? They are boring!

Why yes, they are, thanks for noticing!

Seriously though, the fonts not being interesting is the point. Your PhD thesis is a scientific document showing your expertise in your field and your ability to do independent research. The content of your thesis, the science, should be the sole focus. A PhD thesis is not the place to show off your quirky personality by way of an illegible font.

However, you can infuse your personality into your thesis cover and chapter start pages. There, you can use a fun font, since you probably don’t have to display any special characters.

Choosing the right font is too much pressure? Contact me for help with your layout!

Don’t use fonts made for non-Latin alphabets (Cyrillic, Hanzi, etc.)

Every computer nowadays comes pre-installed with a number of fonts made for displaying languages that don’t use the Latin alphabet (Latin alphabet = The alphabet in which this very article is displayed). Prominent examples for languages that don’t use the Latin alphabet are Asian languages such as Chinese, Japanese, Korean, Thai, etc. Other examples include the Arabic, Brahmic, and Cyrillic script. But there are many more fonts for a myriad of non-Latin alphabets. These fonts were optimized to make the characters of their languages easily readable.

However (and this is why I’ve written this entire section) they usually also contain Latin characters to be able to display the occasional foreign word.

Hence, you might want to honour your roots by using a font in your thesis that was made for your native language, by someone from your home country. It is tempting, because all the Latin characters are there, right? I completely understand this wish, but I strongly advise against it since there are some serious drawbacks.

Don’t get me wrong, I’m not throwing shade on these fonts, they are fantastic at what they were made for. Displaying long stretches of text in the Latin alphabet, however, is not one of those things. Let me explain why.

They don’t offer all necessary characters

Firstly, fonts made to display languages with a non-Latin alphabet contain the bare minimum of Latin characters. That is, the basic letters and the most important punctuation marks. Hence, they don’t have all those math operators and special characters I talked about in the section about serif fonts.

Also, the Latin characters in these fonts are usually sans-serif, so less suitable for long text.

But let’s say the non-Latin alphabet font you chose does offer all special characters and has serifs. Unfortunately, they are still not suitable to use in your PhD thesis, for the following reasons:

They are often too small or large for use with greek letters

Do you mention β-Mercaptoethanol or α-Histidin antibodies in your Materials and Methods? Or any other Greek letter? Since Latin characters are scaled differently in fonts made for non-Latin alphabets, Greek letters will not be the same size as the rest of the text anymore. For example, look at this text, where I rendered everything (I swear!) in the specified font size:

In the first panel (Cambria), the Greek letters are the same size and weight as the main text. As I have said, Cambria is one of the fonts explicitly recommended for your thesis. If you look closely at the enlarged line on the bottom of the panel, you can see that the alpha is the same height as the lower-case letters, whereas the beta is the same height as the upper-case letters. It looks neat and tidy.

However, by using a non-Latin font for your PhD thesis, you are asking for trouble.

In the second panel, I show Cordia New, a font for Thai script. At 12 pt, it is way smaller than the Latin font. The Greek letters – which are also at 12 pt! – stand out awkwardly. Also, Cordia New produces a line distance that is larger than it should be when using it for a text in the Latin alphabet.

In the last panel I show Microsoft YaHei for displaying Hanzi characters. Here, the Latin characters are larger. This leads to the Greek letters being too small. And, as you can see in the second and third lines of the paragraph of text, the line distance is quite narrow. However, the Greek letter β requires a regular line distance. So, it pushes the following line down, making the paragraph look uneven.

They don’t offer ligatures

Now, what on earth are ligatures? I could dive into the history of book printing here but I’ll spare you those details. In essence, Ligatures are two or more letters that are printed as one single glyph. Let me show you:

In the top line, you can see that the characters inside the boxes “melt” into each other. This single shape made out of several letter is called a ligature. They are mostly common with the small letter f. If you take a magnifying glass and look at the pages of a novel, you will quickly find these same ligatures. E-readers also display ligatures. Heck, even WhatsApp does it!

Ligatures also make the text easier to read. However, in order to display them, a font actually has to have the glyphs for the ligatures. And many fonts don’t. In order to find out whether a font you chose offers them, go to the character map of that font. (In Windows 10, simply click the windows logo in the corner of your screen and start typing the word “character”.) Pick a font in the drop-down menu. Now, search for the word “ligature” in the character map. If the map is empty after this, the font has no ligature glyphs.

All that being said, ligatures are not super important. I just wanted to mention them.

You can still use fonts made for non-Latin alphabets

If you want to honour your roots by way of a font, you can still do this. For example in your thesis title and/or for the chapter start pages.

In a word: Don’t go crazy with those fonts! Let your science do the talking. If you want to see what your thesis could look like with some of the fonts I recommended, check out the example PhD thesis .

Do you want to see a font combination that’s not in the example thesis? Contact me and I’ll set a few pages in your desired font, free of charge!

Click here for help with your PhD thesis layout!

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Academic Appeal: The 11 Best Fonts for Academic Papers

• BY Bogdan Sandu
• 26 February 2024

Imagine settling into the rhythm of crafting your academic magnum opus—the words flow, ideas chime, yet it all hinges on how your prose meets the reader’s eye. You’re well aware that  the best fonts for academic papers  don’t just whisper to the intellect; they shout to the discerning critic in each evaluator. Here unfolds a narrative, not merely of  typography  but your academic saga’s silent ambassador.

In forging this guide, I’ve honed focus on one pivotal, often underestimated player in the academic arena:  font selection .

Navigate through this roadmap and emerge with a treasure trove of  legible typefaces  and format tips that ensure your paper stands hallmark to clarity and professionalism.

Absorb insights—from the revered  Times New Roman  to the understated elegance of  Arial —paired with indispensable  formatting nuggets  that transcend mere compliance with  university guidelines .

Dive deep, and by article’s end, unlock a dossier of sage advice, setting your documents a class apart in the scrutinous world of academic scrutiny. Here’s to  typography  serving not just as a vessel but as your ally in the scholarly discourse.

The Best Fonts for Academic Papers

Traditional choices and their limitations, times new roman : ubiquity and readability vs. overuse.

Balancing legibility and aesthetic appeal

Now, don’t get me wrong, aesthetics matter too. You want your paper to not only be easy to read but also pleasing to the eye. It’s like dressing up your words in their Sunday best. A font like Palatino might just strike that perfect balance between looking sharp and being crystal clear.

Combining Different Typefaces

Strategies for using serif body text with sans serif headings.

Mixing it up can be fun! Using a serif font for your body text and a sans serif for headings is like having a well-coordinated outfit with a snazzy hat. It grabs attention where you want it and keeps the reader flowing through your paper. Imagine Garamond for your main text and Arial for your headings – classic, yet modern.

Recommended combinations for visual hierarchy and readability

This is where you play director and guide your reader’s eyes through your masterpiece. Pair a strong, bold sans serif like Helvetica for titles with a subtle, easy-on-the-eyes serif like Times New Roman for your main text. It’s like setting up signposts, making sure your reader doesn’t get lost in the sea of words.

Contemporary and Popular Font Choices

Alright, let’s jump into the present and look at what’s hot right now in the world of best fonts for academic papers . We’re talking fresh, modern, and yes, even trendy. But still, all about that readability and academic vibe.

Modern Fonts for Academic Writing

Constantia for screen and print readability.

First up, Constantia. It’s like the chameleon of fonts, equally at home on screen and paper. It’s got this subtle elegance that makes your academic work look effortlessly chic yet totally approachable. Plus, your eyes will thank you after those long hours of reading and writing.

Helvetica and Baskerville for professional and positive influence

Now, Helvetica is the kind of font that walks into a room and everyone notices – in a good way. It’s clean, it’s professional, and let’s be honest, it just looks cool. Pair it with Baskerville, and you’ve got a combo that’s not only pleasing to the eye but also brings a positive vibe to your work.

The Rise of Digital-Optimized Fonts

Calibri’s popularity and suitability for digital platforms.

Calibri is like the friendly neighbor of fonts – familiar, reliable, and perfect for digital papers. It’s become super popular for a reason. It’s like it was made for the screen, which, let’s face it, is where most of our work ends up these days.

Times New Roman’s historical significance and widespread use

And then there’s Times New Roman. The OG of academic fonts. It’s got history, it’s got style, and yes, it’s everywhere, but that’s because it works. It’s like the classic blue jeans of fonts – you just can’t go wrong with it.

FAQ On The Best Fonts For Academic Papers

What’s the best font for readability in academic papers.

Serif fonts  rule the academic roost for legibility.  Times New Roman  stands out; it’s visually comfortable for long reads—your thesis panel will thank you. Serifs guide the reader’s eye along lines of text, a scholarly norm.

Can I use sans-serif fonts for my dissertation?

Most committees nod approval at  sans-serif fonts  for figures and tables. Think  Arial  or  Calibri —crisp for data presentation. Main text? Stick to serifs. Sans-serifs are modern, sure, but tradition wins in dissertation style.

Is there an ideal font size for academic documents?

Size 12 strikes a balance—neither squint-inducing nor space-hogging. It’s the go-to for  MLA and APA guidelines . Exceptions exist; footnotes and figure text often shrink to  size 10  without side-eye from the scholarly crowd.

Does line spacing matter in academic papers?

Absolutely. Double-spacing is your friend here. It allows breathing room for annotations and comments—a courtesy to readers and graders. Plus,  formatting guidelines  generally mandate it for everything except block quotations, footnotes, and bibliographic entries.

Should I use different fonts for headings and subheadings?

Consistency  is key but differentiate hierarchically. Use  bold or italics  for distinction, maintaining the same font family. This unifies the document while subtly navigating readers through your paper’s structure.

What’s the most accepted font for academic journal submissions?

Journals often have  publisher requirements — Times New Roman, 12-point  font frequently tops the list. When in doubt, consult the submission guidelines to avoid the faux pas of using a non-standard font.

What are some lesser-known fonts suitable for academic writing?

Branch out with  Garamond —it’s elegant and legible.  Book Antiqua  also offers that classic vibe without being overused. Exploring beyond  Microsoft Word’s  default list can distinguish your work subtly yet effectively.

How crucial is font choice in peer-reviewed papers?

Font choice is your paper’s handshakes—first impressions matter.  Legible typefaces  support peer reviewers in engaging thoroughly with content. Underestimating font’s impact is akin to ignoring the dress code at a gala—noticeable and potentially distracting.

Do different academic fields prefer specific fonts?

Indeed, fields pivot on tradition. Humanities often herald  Times New Roman ; STEM fields lean into  Arial’s clean lines  for clarity in data-driven documents. Match your font to the field’s ethos.

Can I be creative with fonts in my academic paper?

Creativity in academics lives in content, less in formatting. Keep the font choice within the bounds of  readability  and  academic institution guidelines . Let your research shout, not your typeface. Originality lands in your discoveries, not font escapades.

Stepping back, eyeing the canvas of our discourse on  the best fonts for academic papers , it’s clear:  Typography  wields quiet power—shaping perception, ensuring clarity, the unsung hero in the story of academic success.  Serif fonts —with Times New Roman at the helm—have held the baton in traditional scholarly compositions, swaying with the rhythm of  legibility  and  convention .

Yet, amidst the staccato of intellectual exchange, the modern beats of  Arial  and  Calibri  press forth—bringing sleekness to tables and lucidity to data. Foreground this takeaway: your words, the intense research, the hypotheses—they’re the protagonists.  Fonts , however, set the stage, inviting eyes to linger longer, to comprehend without strain.

So, equip your arsenal with the  typographic titans  treasured in these halls of learning. Their silent echo underscores your voice, bearing it aloft through the critical gaze of peers and mentors. With this map in hand, chart a course through the vast sea of academia—poised to make your indelible mark.

If you liked this article about  the best fonts for academic papers , you should check out this article about  the best fonts for accessibility .

There are also similar articles discussing  the best fonts for children’s books ,  the best fonts for neon signs ,  the best fonts for vinyl lettering , and  the best fonts for invitations .

And let’s not forget about articles on  the best fonts for Google Slides ,  the best fonts for mobile apps ,  the best fonts for blogs , and  the best fonts for magazines .

Also, you can check here the version of this article about fonts for academic papers in German .

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Thesis and Dissertation Guide

• « Thesis & Dissertation Resources
• The Graduate School Home

• Introduction
• Copyright Page
• Dedication, Acknowledgements, Preface (optional)
• Table of Contents
• List of Tables, Figures, and Illustrations
• List of Abbreviations
• List of Symbols

Non-Traditional Formats

Font type and size, spacing and indentation, tables, figures, and illustrations, formatting previously published work.

• Internet Distribution
• Open Access
• Registering Copyright
• Using Copyrighted Materials
• Use of Your Own Previously Published Materials
• Submission Steps
• Submission Checklist
• Sample Pages

II. Formatting Guidelines

All copies of a thesis or dissertation must have the following uniform margins throughout the entire document:

• Left: 1″ (or 1 1/4" to ensure sufficient room for binding the work if desired)
• Right: 1″
• Bottom: 1″ (with allowances for page numbers; see section on Pagination )
• Top: 1″

Exceptions : The first page of each chapter (including the introduction, if any) begins 2″ from the top of the page. Also, the headings on the title page, abstract, first page of the dedication/ acknowledgements/preface (if any), and first page of the table of contents begin 2″ from the top of the page.

Non-traditional theses or dissertations such as whole works comprised of digital, artistic, video, or performance materials (i.e., no written text, chapters, or articles) are acceptable if approved by your committee and graduate program. A PDF document with a title page, copyright page, and abstract at minimum are required to be submitted along with any relevant supplemental files.

Fonts must be 10, 11, or 12 points in size. Superscripts and subscripts (e.g., formulas, or footnote or endnote numbers) should be no more than 2 points smaller than the font size used for the body of the text.

Space and indent your thesis or dissertation following these guidelines:

• The text must appear in a single column on each page and be double-spaced throughout the document. Do not arrange chapter text in multiple columns.
• New paragraphs must be indicated by a consistent tab indentation throughout the entire document.
• The document text must be left-justified, not centered or right-justified.
• For blocked quotations, indent the entire text of the quotation consistently from the left margin.
• Ensure headings are not left hanging alone on the bottom of a prior page. The text following should be moved up or the heading should be moved down. This is something to check near the end of formatting, as other adjustments to text and spacing may change where headings appear on the page.

Exceptions : Blocked quotations, notes, captions, legends, and long headings must be single-spaced throughout the document and double-spaced between items.

Paginate your thesis or dissertation following these guidelines:

• Use lower case Roman numerals (ii, iii, iv, etc.) on all pages preceding the first page of chapter one. The title page counts as page i, but the number does not appear. Therefore, the first page showing a number will be the copyright page with ii at the bottom.
• Arabic numerals (beginning with 1, 2, 3, 4, etc.) start at chapter one or the introduction, if applicable. Arabic numbers must be included on all pages of the text, illustrations, notes, and any other materials that follow. Thus, the first page of chapter one will show an Arabic numeral 1, and numbering of all subsequent pages will follow in order.
• Do not use page numbers accompanied by letters, hyphens, periods, or parentheses (e.g., 1., 1-2, -1-, (1), or 1a).
• Center all page numbers at the bottom of the page, 1/2″ from the bottom edge.
• Pages must not contain running headers or footers, aside from page numbers.
• If your document contains landscape pages (pages in which the top of the page is the long side of a sheet of paper), make sure that your page numbers still appear in the same position and direction as they do on pages with standard portrait orientation for consistency. This likely means the page number will be centered on the short side of the paper and the number will be sideways relative to the landscape page text. See these additional instructions for assistance with pagination on landscape pages in Microsoft Word .

Format footnotes for your thesis or dissertation following these guidelines:

• Footnotes must be placed at the bottom of the page separated from the text by a solid line one to two inches long.
• Begin at the left page margin, directly below the solid line.
• Single-space footnotes that are more than one line long.
• Include one double-spaced line between each note.
• Most software packages automatically space footnotes at the bottom of the page depending on their length. It is acceptable if the note breaks within a sentence and carries the remainder into the footnote area of the next page. Do not indicate the continuation of a footnote.
• Number all footnotes with Arabic numerals. You may number notes consecutively within each chapter starting over with number 1 for the first note in each chapter, or you may number notes consecutively throughout the entire document.
• Footnote numbers must precede the note and be placed slightly above the line (superscripted). Leave no space between the number and the note.
• While footnotes should be located at the bottom of the page, do not place footnotes in a running page footer, as they must remain within the page margins.

Endnotes are an acceptable alternative to footnotes. Format endnotes for your thesis or dissertation following these guidelines:

• Always begin endnotes on a separate page either immediately following the end of each chapter, or at the end of your entire document. If you place all endnotes at the end of the entire document, they must appear after the appendices and before the references.
• Include the heading “ENDNOTES” in all capital letters, and center it 1″ below the top of the first page of your endnotes section(s).
• Single-space endnotes that are more than one line long.
• Number all endnotes with Arabic numerals. You may number notes consecutively within each chapter starting over with number 1 for the first note in each chapter, or you may number notes consecutively throughout the entire document.
• Endnote numbers must precede the note and be placed slightly above the line (superscripted). Leave no space between the number and the note.

Tables, figures, and illustrations vary widely by discipline. Therefore, formatting of these components is largely at the discretion of the author.

For example, headings and captions may appear above or below each of these components.

These components may each be placed within the main text of the document or grouped together in a separate section.

Space permitting, headings and captions for the associated table, figure, or illustration must be on the same page.

The use of color is permitted as long as it is consistently applied as part of the finished component (e.g., a color-coded pie chart) and not extraneous or unprofessional (e.g., highlighting intended solely to draw a reader's attention to a key phrase). The use of color should be reserved primarily for tables, figures, illustrations, and active website or document links throughout your thesis or dissertation.

The format you choose for these components must be consistent throughout the thesis or dissertation.

Ensure each component complies with margin and pagination requirements.

Refer to the List of Tables, Figures, and Illustrations section for additional information.

If your thesis or dissertation has appendices, they must be prepared following these guidelines:

• Appendices must appear at the end of the document (before references) and not the chapter to which they pertain.
• When there is more than one appendix, assign each appendix a number or a letter heading (e.g., “APPENDIX 1” or “APPENDIX A”) and a descriptive title. You may number consecutively throughout the entire work (e.g., 1, 2 or A, B), or you may assign a two-part Arabic numeral with the first number designating the chapter in which it appears, separated by a period, followed by a second number or letter to indicate its consecutive placement (e.g., “APPENDIX 3.2” is the second appendix referred to in Chapter Three).
• Include the chosen headings in all capital letters, and center them 1″ below the top of the page.
• All appendix headings and titles must be included in the table of contents.
• Page numbering must continue throughout your appendix or appendices. Ensure each appendix complies with margin and pagination requirements.

You are required to list all the references you consulted. For specific details on formatting your references, consult and follow a style manual or professional journal that is used for formatting publications and citations in your discipline.

Your reference pages must be prepared following these guidelines:

• If you place references after each chapter, the references for the last chapter must be placed immediately following the chapter and before the appendices.
• If you place all references at the end of the thesis or dissertation, they must appear after the appendices as the final component in the document.
• Select an appropriate heading for this section based on the style manual you are using (e.g., “REFERENCES”, “BIBLIOGRAPHY”, or “WORKS CITED”).
• Include the chosen heading in all capital letters, and center it 1″ below the top of the page.
• References must be single-spaced within each entry.
• Include one double-spaced line between each reference.
• Page numbering must continue throughout your references section. Ensure references comply with margin and pagination requirements.

In some cases, students gain approval from their academic program to include in their thesis or dissertation previously published (or submitted, in press, or under review) journal articles or similar materials that they have authored. For more information about including previously published works in your thesis or dissertation, see the section on Use of Your Own Previously Published Materials and the section on Copyrighting.

If your academic program has approved inclusion of such materials, please note that these materials must match the formatting guidelines set forth in this Guide regardless of how the material was formatted for publication.

Some specific formatting guidelines to consider include:

• Fonts, margins, chapter headings, citations, and references must all match the formatting and placement used within the rest of the thesis or dissertation.
• If appropriate, published articles can be included as separate individual chapters within the thesis or dissertation.
• A separate abstract to each chapter should not be included.
• The citation for previously published work must be included as the first footnote (or endnote) on the first page of the chapter.
• Do not include typesetting notations often used when submitting manuscripts to a publisher (i.e., insert table x here).
• The date on the title page should be the year in which your committee approves the thesis or dissertation, regardless of the date of completion or publication of individual chapters.
• If you would like to include additional details about the previously published work, this information can be included in the preface for the thesis or dissertation.

Previous: Order and Components

Next: Distribution

• Graduate School
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Formatting Requirements

Choice of font.

For most theses, the font should be one that is appropriate for an academic paper. Generally, the same font should be used throughout the thesis (dedication page and scholarship-appropriate alterations excepted).

Normally the font should be equivalent to 10 to 12 point font in Times New Roman or Arial for main text, and at least 2mm high in tables and figures.

Font colour should normally be black throughout, except for web links which should be blue.

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The Thesis Project

The Thesis superfamily was first published in 1994 as part of the FontFont collection, and became part of the LucasFonts type library in 2000. The family was conceived as a versatile typographic system of ambitious scope. It grew out of a dissatisfaction with the limited range of good typefaces available for corporate identity projects. Thesis aims to fill that gap by providing the user with three compatible styles – TheSans , TheMix and TheSerif  – in an optically harmonious range of eight weights, including real italics for each weight.

Thesis pioneered the concept of the all-purpose type system or superfamily which has since become such an important tool for the discerning typographer.

The Thesis family has been expanded over the years. TheSans and TheMix are now available in three widths: Normal, Condensed and SemiCondensed. In addition, three ultra-narrow widths for TheSans are available on demand.

TheSans offers several sub-families for specialized uses:

• TheSans Mono A monospaced series for computer coding and similar uses.
• TheSans Hair A carefully balanced series of seven hairline weights for ultralight magazine and advertising headlines.
• TheSans Typewriter A set of four typewriter-like fonts.
• TheSans Arabic The Arabic-speaking version of TheSans.

• Central and Eastern European
• Cyrillic (including Bulgarian Cyrilic)
• Latin Extended (including Vietnamese)

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Version 10.0 | Substance 3D Painter

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Substance 3D Painter 10.0  brings support of Illustrator (.ai) files, integrates Substance 3D Assets, imports Fonts via the Text resources, adds layer stack functionalities in the Python API, and several quality of life improvements.

Release date:  16 May 2024

Major features

New text resource.

This new version introduces the  Text resource  which is a way to load font files to write text in different contexts (brush, fill projection, Substance image inputs, etc.) to embellish your textures.

Browse your fonts in the Assets window Fonts are now listed in the Assets window under their own filter. They are gathered from different locations on the operating system (and also from the Libraries).

Drag and drop fonts like any other resources Fonts can be used as text resources like any other kind of resource. Drag and drop them to automatically create fill projection. They can also be used in brushes or as input in Substance filters.

Text resource parameters When creating a text resource, you can tweak a few parameters to adjust the look of your text: vertical and horizontal alignment, automatic or manual size, line and character spacing, color, etc.

Wide range of characters and feature supported The Text resource supports right to left writing as well as ligatures . (To be able to write non latin characters a compatible font is required.)

Import custom fonts like regular resource You can import your own fonts files directly into your Library or project like any other resources. Some types of fonts are not supported however, for more information see this  documentation page .

For more information about the  Text resource , see the  dedicated documentation page .

New import of Illustrator files (.Ai)

Following the support for .svg files, this new version also adds the ability to import Illustrator files ( .ai ).

Illustrator (.Ai) file support In this new version .ai files can now be imported and rendered in Painter to be used as resource in brushes, fill projections or as Substance image inputs.

.svg and .ai files share common settings SVG and Illustrator documents share similar settings, notably the resolution, crop area and scope selection parameters. This means that vectorial resource can be managed in a similar way.

Artboard selection Illustrator documents support artboard , when using an .ai file you can also choose between different artboards available via the dedicated setting.

Improved scope selection The scope selection window has been improved with the support of thumbnails, making it easier to browse and select only specific elements. For performance reasons thumbnails are off by default and can be enabled with the Show thumbnails checkbox.

Importing Illustrator ( .ai ) files is currently only supported on Windows and MacOS.

New Substance 3D Assets integration

A new window is available which embeds the Substance 3D Assets website directly inside Painter. This integration makes it easier to browse and download resources directly in your own library.

New Substance 3D Assets window A new dock is available in the interface to browse Substance 3D Assets. If the dock is not visible and closed it can be found again in the dock toolbar on the right of the interface.

Download manager You can see the assets currently being downloaded via the dedicated manager using the bottom left button of the window. Assets that may fail to download can be started again from this list.

Find your downloaded assets easily The button in the bottom right of the window opens a menu with a few actions to help navigate the website but also to shows were assets have been donwloaded.

Upon the first launch a login into your account will be necessary to download assets. This login is then be cached for future uses.  

The Substance 3D Assets dock is not available in the Steam version.

New layer stack module in Python API

This release sees the addition of the new layer stack module in our Python API. This API allows to control the layer stack of a project, opening the door to the creation of advanced layer stack plugins and custom tools.

New Layer stack API The new  layerstack  module allows to control the layer stack of a project in many ways. You can:

• Query and set the selection of layers and effects.
• Create new layers, folders and effects (including filters, anchor points, etc.).
• Instantiate layers.
• Get and set parameters of layers and effects, load resources into them.
• Get and set Substance parameters.

Scoped modifications and pause of the engine Manipulating the layer stack could lead to long computations, this is why we also exposed the possibility to pause and unpause the engine from the API (like in the UI). We also made it possible to group modifications together, for both performance reasons but also to undo a single time multiple operations.

Basic color management With the exposition of the layer stack we needed to introduce the notion of color management in our API. A new  colormanagement  module has been added to create, tweak colors and choose the color space of bitmaps. (This part of the API isn't complete yet and will be expanded in future versions.)

Query export preset information Export presets are now exposed in our API, allowing to query the list of presets (both predefined and custom). Their content can also be retrieved in a similar format to our existing export textures API.

New possibilities ahead! This new part of the API allows to do a lot of new things, like saving and restoring a selection of layers or changing the random seed of all the resources in a project for example:

For more information on the API, see the documentation included with the application (via  Help > Scripting documentation > Python API ) which includes many code snippets to easily get started.

Examples of layer stack plugins can also be found in our  online documentation .

Improved normal map painting

In this release we reworked the normal map painting workflow. We notably changed the way we accumulate and blend normal brush stamps. This changes were made to address issues related to painting flow maps.

Fixed accumulation issue Painting over and over an area in the normal channel will no longer saturate or clamp and create holes or artifacts. Switching the normal channel to RGB32F is also no longer needed.

Fixed undo breaking painted strokes Undoing a brush stroke no longer breaks other already painted strokes.

Transparency on zero alpha Brush stamps made with a texture with an alpha at zero will now draw as transparent. The example below shows a brush stamp (left) versus a planar projection (right).

For more information on painting flow map, see the  documentation page .

Improved transform manipulators

Several improvements have been made to enhance the usage of the transform manipulators.

Precision mode with CTRL Pressing control while dragging on a manipulator will now enter into a new precision mode which allows more meticulous operations. This change applies to the translate, rotate and scale manipulators. Here is an example before and after pressing CTRL while dragging:

New scale behavior The scale intensity is now based on the current scale value itself and not on the scene size anymore. This makes relative changes easier to do, especially at small values. Combined with the precise mode it makes scaling a lot more pleasant. Another change is scaling down until 0 will no longer go into negative values. This avoid the issue of wanting to scale down a projection and flipping it by accident.

Improved surface manipulator rotation The surface decal manipulator is now a lot more stable when dragging around a surface. It doesn't increase its rotation when just doing back and forth translations. Here is the old behavior compared to the new one:

Camera aligned projection on drag and drop Drag and dropping a resource into the viewport allows to create a warp projection directly on the surface of the mesh. This projection was previously incorrectly rotated, it is now aligned to the camera.

A few other improvements have been added, notably:

Updated Tile Generator The  Tile Generator blending mode parameter can now be changed and will modify the result as expected. The resource has also been updated to the latest version available in  Substance 3D Designer .

Fixed banding/quality issues on some filters Several filters were stuck on 8 bit precision instead of 16 bit, leading to banding/artifacts when using them (like the histogram scan or directional blur). This is now fixed.

Color space in SBSAR output When the Legacy or OCIO color management workflow is enabled, the SBSAR export will now reference the color space names used in the project on the respective outputs.

Faster resource discovery With the introduction of the  Text resource  we added a new cache to make crawling of resources on the disk faster on next startup. This is quite notable when resources are installed on a HDD or when a library has gigabytes of resources. This new cache can be disabled with a command line, see the dedicated  documentation page  for more information.

Many thanks to the website is this arabic ? which was of great help during the development of this version.

Reference to artworks used in the medias above:

• Man wearing black shirt by Lucas Gouvêa
• Pink and green by Pawel Czerwinski
• unDraw illsutrations
• Claude Monet

Release notes

Release date: 2024/05/16 Summary: Major release, edition of the layer stack with Python API, read native Illustrator files, integration of 3D Assets and new text resource

• [Illustrator] Use Illustrator files with art boards in Painter
• [Illustrator][SVG] Add previews in scope selection
• [Substance 3D Assets] Browse, select and download 3D Assets directly in Painter
• [Substance 3D Assets][UI] New panel
• [Substance 3D Assets] Support environment maps and materials
• [Substance 3D Assets] Allow to reload and navigate and open location folder in new Substance 3D Assets panel
• [Substance 3D Assets] Addition of a download manager
• [Text Resource] Allow to use embeddable fonts
• [Text Resource] Allow to render a font/text on a mesh
• [Text Resource] Display fonts from user and other shared paths in Assets panel with a new category
• [Text Resource][Properties] Add support for advanced font properties
• [Text Resource] Allow to search/view fonts in mini-shelves
• [Text Resource] Add error message/dialog when importing an incompatible font
• Miscellaneous
• [Fill projection] Improve Scale manipulator behavior when using small values
• [Manipulators] Add new precise mode when pressing CTRL shortcut
• [Manipulators] Improve surface manipulator stability when translating
• [Export] Add colorspace name in SBSAR outputs
• [Performance] Improve library discovery time of assets on disk
• [Substance] Update to Substance engine version 9.1.2
• [Drag and Drop] Align decal rotation to camera when dropping in viewport
• [Python] Edition of the layer stack
• [Python] Allow to select layer, effect, mask, geo mask in UI
• [Python] Allow to get/set layer blending modes
• [Python] Allow to get/set fill layer projection settings
• [Python] Allow to query Substance material color from a fill layer
• [Python] Allow to query and set uniform colors and resources in layers and effects
• [Python] Allow to create and edit text resources in layer stack
• [Python] Allow to edit active channels on layers and effects
• [Python] Allow to batch actions to have a single undo/redo
• [Python] Allow to load/edit vectorial source parameters
• [Python] Allow to edit layer and effects color properties with color management
• [Python] Allow to query and create instanced layers
• [Python] Allow to add color selection effect
• [Python] Allow to control bitmap image color management
• [Python] Allow to pause/unpause engine
• [Python] Allow to navigate to siblings and parent nodes
• [Python] Allow to create filter/generator effect
• [Python] Allow to add level effect
• [Python] Allow to add smart mask on a layer
• [Python] Allow to create/edit anchor points
• [Python] Allow to get/Set mask on layers
• [Python] Allow to create compare mask effect
• [Python] Allow to query and use presets from Substance resources
• [Python] Allow to list presets and their values via internal_properties function for Substance resources
• [Python] Allow to list predefined export presets
• [Python] Allow to list export presets available in the library
• [Python] Allow to retrieve the content of export presets
• [Crash] Undoing "Remove shader instance" with Ctrl-Z
• [Crash] Create a layer on empty stack if last selection was an effect
• [SVG] Issue with custom cropped area value
• [Auto-Unwrap] Recomputing only the packing without any change to UV orientation results in crash
• [Drag and drop] Lag due to external resources are preloaded multiple times
• [UI] Drag and drop resource thumbnail can hide warning message in layer stack
• [Performance] Masked UV tiles are still computed
• [USD] Wrong highlight for scope selection
• [Resource] Bitmap image gets corrupted after painting in normal channel and saving project
• [USD] Support left-handed vertex mesh ordering
• [Substance] Reset to default always go back to zero for angle widget
• [Engine] Painting with an SVG in a stencil doesn't work
• [Engine] Normal map brush strokes break after an undo
• [Content] Graphic to Material filter has incorrect alpha blending and color space
• [Content] Blending modes on Tile Generator are not working
• [Content] Histogram scan filter produces banding in some cases
• [Content] Baked lighting stylized does not take painted height into account
• [Python] Unexpected error when retrieving instanced layer information after shader change

Known Issues :

• [Color Management] HDR color space conversions with ACE on Linux produce clamped colors
• [Crash][Linux][AMD] Dragging and dropping resources in layer stack on Wayland OS
• [Regression][UI] Right Click Menu is too small on HD screens
• [Crash][Python] USD export triggered by TextureStateEvent
• [Save] Spp project file is lost when "save as" fails
• [MacOS Intel] Crash when importing some presets
• [Illustrator] Cannot import Ai files after server crash without restarting Painter
• [Import] Assets with same name but different extensions are overridden

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