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Documents referring to these items ...
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.
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 [...]
Other families by this designer ...
About Serifa® Font Family ...
Designer: Adrian Frutiger, 1966
The Serifa® Font Family is part of the Assorted Collection.
The Swiss designer Adrian Frutiger developed Serifa® in 1964, and it was released by the Bauer Type Foundry in 1967. He based the shapes in Serifa on those in Univers, the sans serif family he designed in the 1950s. While Serifa retains the geometric, linear skeletons of Univers, it has the addition of unbracketed square serifs, a squatter x-height, and boxier caps. Because of these characteristics, Serifa is a true representative of the slab serif (or Egyptian) style. Slab serifs designs first emerged at the beginning of the nineteenth century and have had a couple popular revivals in the twentieth century. Serifa is surprisingly elegant and legible, and with its six weights, it functions well in both text and display typography. See also Glypha, which is a condensed version of Serifa.
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