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OCR B Std Regular
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| Price: | US$ 29.00 |
| Character set features: |
     260 characters 
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OCR B Regular
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| Price: | US$ 26.00 |
| ... is part of the OCR B Font Family, comprising altogether 2 fonts in Windows TrueType format. |
| Character set features: |
136 characters
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OCR B Regular
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| Price: | US$ 26.00 |
| ... is part of the OCR B Font Family, comprising altogether 3 fonts in Windows PostScript format. |
| Character set features: |
125 characters
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OCR B Regular
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| Price: | US$ 26.00 |
| ... is part of the OCR B Font Family, comprising altogether 3 fonts in Mac PostScript format. |
| Character set features: |
130 characters
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Documents referring to this product ...
Adrian Frutiger has spent decades working very closely with Linotype. In the many years of this fruitful collaboration, we’ve accumulated a number of photographs of Adrian Frutiger. These images show glimpses of the different periods and highlights of his life so far, including pictures of him working in his studio, moments of him along with his typefaces, and even more recent shots of him working together with Akira Kobayashi.
We hope that you enjoy browsing through these images.
2. Frutiger
Frutiger® – the sans serif classic.
Get the original from Linotype as single fonts, in a Value Pack, or on CD.
About Frutiger
Famous type designer Adrian Frutiger created a masterpiece with this typeface. Faced with the challenge of designing an exceptionally legible type for the signs of the Charles de Gaulle Airport in Paris, he developed the now legendary Frutiger in 1968. The original Linotype typeface has since been expanded to include 14 weights and is of course not just [...]
Über die Lesbarkeit
Unter dem Einfluss der verschieden Druckverfahren hat die lateinische Textschrift subtile Formveränderungen erfahren. Grundsätzlich neue Formen sind jedoch keine entstanden. Als Demonstration dafür sind acht a in den meistgelesenen Schriftstilen mit einem Drehraster versehen und übereinander kopiert. Das Resultat zeigt eine erstaunliche Übereinstimmung.
Adrian Frutiger was born in 1928 at Unterseen near Interlaken (Switzerland). After an apprenticeship as a compositor he made further education in type and graphics at the Zurich School of Arts and Crafts (Kunstgewerbeschule) from 1949 to 1951 (teacher: Alfred Willimann and Walter Käch).
Frutiger was called to Paris in 1952 and worked as typeface designer and artistic manager at Deberny & Peignot. He founded his own studio in Arcueil near Paris 1961, together with Bruno Pfäffli and André [...]
Portrait
We can read because we perceive elements and forms which are familiar to us. So in order to even recognize words, we must first decipher the elements which make up the shapes of the letters – a process which involves the interplay of myriad aspects. To a certain degree, many of us are aware of these aspects. Yet Adrian Frutiger knows about such shifting dynamics in perception in a way no other person can, as he has been instrumental in researching the subject and over several decades [...]
OCR™
OCR A and OCR B are standardized, monospaced fonts designed for "Optical Character Recognition" on electronic devices. OCR A was developed to meet the standards set by the American National Standards Institute in 1966 for the processing of documents by banks, credit card companies and similar businesses. This font was intended to be "read" by scanning devices, and not necessarily by humans. However, because of its "techno" look, it has been re-discovered for advertising and display [...]
A monospaced font, designed for Optical Character Recognition.
Largely used by banks, credit card companies and similar businesses and recently "rediscovered" for advertising and even techno events.
Alexander Branczyk has also interpreted this font for German trend magazine FrontPage.
About OCR B Regular ...
Designer: Adrian Frutiger, 1968
OCR B Regular belongs to the OCR B Font Family which is part of the Linotype Originals.
OCR A and OCR B are standardized, monospaced fonts designed for "Optical Character Recognition" on electronic devices. OCR A was developed to meet the standards set by the American National Standards Institute in 1966 for the processing of documents by banks, credit card companies and similar businesses. This font was intended to be "read" by scanning devices, and not necessarily by humans. However, because of its "techno" look, it has been re-discovered for advertising and display graphics. OCR B was designed in 1968 by Adrian Frutiger to meet the standards of the European Computer Manufacturer's Association. It was intended for use on products that were to be scanned by electronic devices as well as read by humans. OCR B was made a world standard in 1973, and is more legible to human eyes than most other OCR fonts. Though less appealingly geeky than OCR A, the OCR B version also has a distinctive technical appearance that makes it a hit with graphic designers.
Search this or similar products by the following keywords: 1960s, 60s, anno 1960, Announcements, barcode, Business Cards, Catalogs, Catalogues, CE, Central European, Cheap, Check, Cheque, Computer, Constructed, Cool, Engine, fixed width, Frosty, Frutiger, Geometric, Headline, Inexpensive, Instructions, Lexica, Machine, Magazine, Male, Manuals, masculine, Menus, Monospace, Monospaced, Newsletters, Optical, Professional, Sans Serif, Scheck, Technical, Typewriter.
Quality features
The Platinum Collection is the exclusive series of optimized classic typefaces from the Linotype Library.
XSF-Fonts are OpenType or TrueType fonts with an excellent appearance on screen at small sizes or low resolutions – especially engineered and optimized for exceptionally readable typefaces on computer screens using Microsoft® Windows operating systems.
XSF-Fonts are OpenType or TrueType fonts with an excellent appearance on screen at small sizes or low resolutions – especially engineered and optimized for exceptionally readable typefaces on computer screens using Microsoft® Windows operating systems.
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