OCR A Wikipedia. OCR A is a font that arose in the early days of computer optical character recognition when there was a need for a font that could be recognized not only by the computers of that day, but also by humans. OCR A uses simple, thick strokes to form recognizable characters. The font is monospaced fixed width, with the printer required to place glyphs 6. StandardizationeditThe OCR A font was standardized by the American National Standards Institute ANSI as ANSI X3. X3. 4 has since become the INCITS and the OCR A standard is now called ISO 1. There is also a German standard for OCR A called DIN 6. ImplementationseditIn 1. American Type Founders produced OCR A, one of the first optical character recognition typefaces to meet the criteria set by the U. S. Bureau of Standards. The design is simple so that it can be easily read by a machine, but it is more difficult for the human eye to read. As metal type gave way to computer based typesetting, Tor Lillqvist used Meta. Font to describe the OCR A font. That definition was subsequently improved by Richard B. Wales. Their work is available from CTAN. To make the free version of the font more accessible to users of Microsoft Windows, John Sauter converted the Meta. Font definitions to True. Type using potrace and Font. Forge in 2. 00. 4. In 2. OCRA is a font that arose in the early days of computer optical character recognition when there was a need for a font that could be recognized not only by the. Custom Vinyl Truck Decals and Lettering. Creating a custom look on a truck can sometimes be difficult, but to really make your truck standout easily, use Make A Decal. Times New Roman is a serif typeface commissioned by the British newspaper The Times in 1931 and designed by Stanley Morison, an advisor to the British branch of the. This authentic period style was inspired by old fashioned train car lettering coffee tins. Mark Searfoss designed the letters with a bold appearance, yet allowed. Grkan Sengn created a Debian package from this implementation. In 2. Luc Devroye corrected the vertical positioning in John Sauters implementation, and fixed the name of lower case z. Independently, Matthew Skala1. Cooper%20Black%20ItalicO.gif' alt='Cooper Black Swash Italic Font' title='Cooper Black Swash Italic Font' />Metafont definitions to True. Type format in 2. In 2. 01. 1 he released a new version created by rewriting the Metafont definitions to work with METATYPE1, generating outlines directly without an intermediate tracing step. On September 2. 7, 2. In addition to these free implementations of OCR A, there are also implementations sold by several vendors. Although optical character recognition technology has advanced to the point where such simple fonts are no longer necessary, the OCR A font has remained in use. Its usage remains widespread in the encoding of cheques around the world. Some lockbox companies still insist that the account number and amount owed on a bill return form be printed in OCR A. Also, because of its unusual look, it is sometimes used in advertising and display graphics. Notably, it is used for the subtitles in the show Blacklist. Acer Aspire M3610 Drivers Windows 7 there. Code pointseditA font is a set of character shapes, or glyphs. For a computer to use a font, each glyph must be assigned a code point in a character set. When OCR A was being standardized the usual character coding was the American Standard Code for Information Interchange or ASCII. Not all of the glyphs of OCR A fit into ASCII, and for five of the characters there were alternate glyphs, which might have suggested the need for a second font. Complete Uninstall Of Autocad Mep 2012'>Complete Uninstall Of Autocad Mep 2012. However, for convenience and efficiency all of the glyphs were expected to be accessible in a single font using ASCII coding, with the additional characters placed at coding points that would otherwise have been unused. The modern descendant of ASCII is Unicode, also known as ISO 1. Unicode contains ASCII and has special provisions for OCR characters, so some implementations of OCR A have looked to Unicode for guidance on character code assignments. Dedicated OCR A characterseditThe following characters have been defined for control purposes and are now in the Optical Character Recognition Unicode range 2. F 1. 4Space, digits, and unaccented lettersedit. OCR A unaccented capital letters. OCR A unaccented small letters. All implementations of OCR A use U0. U0. 03. 0 through U0. U0. 04. 1 through U0. A for the unaccented upper case letters, and U0. U0. 07. A for the unaccented lower case letters. Regular characterseditIn addition to the digits and unaccented letters, many of the characters of OCR A have obvious code points in ASCII. Of those that do not, most, including all of OCR As accented letters, have obvious code points in Unicode. Remaining characterseditLinotype1. OCR A as follows Additional characterseditThe fonts that descend from the work of Tor Lillqvist and Richard B. Wales define four characters not in OCR A to fill out the ASCII character set. These shapes use the same style as the OCR A character shapes. They are Linotype also defines additional characters. ExceptionseditSome implementations do not use the above code point assignments for some characters. Precision. IDeditThe Precision. ID implementation of OCR A has the following non standard code points 1. OCR Hook at U0. 07. EOCR Chair at U0. C1. OCR Fork at U0. C2. Euro Sign at U0. BarcodesofteditThe Barcodesoft implementation of OCR A has the following non standard code points 1. OCR Hook at U0. 06. OCR Chair at U0. EOCR Fork at U0. FLong Vertical Mark at U0. C agrees with LinotypeCharacter Erase at U0. MoroviaeditThe Morovia implementation of OCR A has the following non standard code points 2. OCR Hook at U0. 07. E agrees with Precision. IDOCR Chair at U0. F0. OCR Fork at U0. F agrees with BarcodesoftLong Vertical Mark at U0. C agrees with LinotypeIDAutomationeditThe IDAutomation implementation of OCR A has the following non standard code points 2. OCR Hook at U0. 07. E agrees with Precision. IDOCR Chair at U0. C1 agrees with Precision. IDOCR Fork at U0. C2 agrees with Precision. IDOCR Belt Buckle at U0. C3. ApplicationseditSellers of font standardseditSee alsoeditExternal linkseditSoftware and libraries. Licenses. Operating system,corporate andprofessional. Bitstream Charter. Bitstream Vera, Deja. Vu. Cantarell. Charis SILComputer Modern, Concrete Roman. Courier Prime. Doulos SILDroid, Noto, Open Sans. Fira Sans. Ghostscript fonts. GNU Free. Font, GNU Unifont. Hershey fonts. Liberation, Croscore. Lohit. Nimbus Mono, Sans, Roman. OCR A, OCR BOverpass. PT Fonts. Roboto. Source Code, Source Han Sans, Source Han Serif, Source Sans, Source Serif. STIX fonts. Tiresias. Ubuntu, Ubuntu Titling. Utopia. Wen. Quan. Yi. Othertypefaces. Groups andpeople. Times New Roman Wikipedia. Times New Roman is a seriftypeface commissioned by the British newspaper The Times in 1. Stanley Morison, an advisor to the British branch of the printing equipment company Monotype, in collaboration with Victor Lardent, an artist in the Times advertising department. Although no longer used by The Times, Times New Roman is still very common in book and general printing. Through distribution as a standard computer font, it has become one of the most widely used typefaces in history. Times New Romans creation took place through the influence of Stanley Morison of Monotype. Morison was an artistic director at Monotype, historian of printing and informal adviser to The Times, who recommended that they change typeface from the spindly and somewhat dated nineteenth century Didone typeface previously used to a more robust, solid design, returning to traditions of printing from the eighteenth century and before. This matched a common trend in printing of the period. Morison proposed an older Monotype typeface named Plantin as a basis for the design, but revisions were made to increase legibility and economy of space. Crystal Reports 9 Runtime Installer Youtube. In particular, contrast between strokes was enhanced to give a crisper image. The new font was drawn by Victor Lardent, an artist from the advertising department of The Times, with Morison consulting, before refinement by the Monotype drawing office. The new design made its debut in The Times on 3 October 1. After one year, the design was released for commercial sale. The Times stayed with Times New Roman for 4. However, all the new fonts have been variants of the original New Roman typeface. In commercial sale, Times New Roman became extremely successful, becoming Monotypes best selling typeface of all in metal type. Although Morison may not have literally drawn the design, his influence on its concept was sufficient that he felt that he could take credit for it as my one effort at designing a font. In Times New Romans name, Roman is a reference to the regular style of a conventional serif font, or what is called its roman, the first part of the Times New Roman family to be designed. The style is called Antiqua in some countries. Roman type has some roots in Italian and other European printing of the late 1. Times New Romans design has no connection to Rome or to the Romans. Twenty two lines in Times New Roman compared to its predecessor modern serif font. Times appears larger on the page, with tighter linespacing and more solid in appearance. A digitisation of Times New Roman below the three typefaces originally considered as a basis for the Times project Perpetua, Baskerville and Plantin. Times is most based on Plantin, but with the letters made taller and its appearance modernised by adding eighteenth and nineteenth century influences, in particular enhancing the stroke contrast. Compared to Baskerville and Perpetua, the x height is higher and the letters narrower. A Ludlow Typograph specimen of Times New Roman Type Specimen from the metal type period. The design was altered in smaller sizes to increase readability, particularly obvious in the widened spacing of the six and eight point samples at centre right of the diagram. Times New Roman has a robust colour on the page and influences of European early modern and Baroque printing. The design is slightly condensed, with short ascenders and descenders and a high x height tall lower case letters, all effects that save space and increase clarity. The ultimate origin of the Roman regular style of Plantin and Times New Roman was a metal type created in the late sixteenth century by the French artisan Robert Granjon and preserved in the collection of the Plantin Moretus Museum of Antwerp. This style is sometimes categorised as part of the old style of serif fonts. Morison admired this style for its solid structure and clarity. However, due to features such as its a and e, with larger counters and apertures than in Granjons design, its ball terminal detailing and an increased level of contrast between thick and thin strokes, it has also been compared to fonts from the late eighteenth century, the so called transitional genre, in particular the Baskerville typeface of the 1. Historian and sometime Monotype executive Allan Haley commented that compared to Plantin serifs had been sharpened. Lawson described Timess higher contrast crispness as having a sparkle Plantin never achieved. The a of Plantin was already not directly sourced from Granjons work the sheet from the Plantin Moretus Museum used as a specimen for Monotype to use in designing Plantin had an a from the wrong font. Other changes from Plantin include a straight sided M and W with three upper terminals not Plantins four, both choices that move away from the old style model. Times compared with its influences in italic. The italic was made simpler than Plantins, losing flourishes on the w and v, and the entrance stroke to the letter also seen on Baskerville on letters like u and n. Morison described the companion italic as also being influenced by the typefaces created by the Didot family in the late 1. It has, indeed, more in common with the eighteenth century. Morison had several years earlier attracted attention for promoting the radical idea that italics in book printing were too disruptive to the flow of text, and should be phased out. He rapidly came to concede that the idea was misguided, and later wryly commented to historian Harry Carter that Times italic owes more to Didot than dogma. Morison wrote in a personal letter of Times New Romans mixed heritage that it has the merit of not looking as if it had been designed by somebody in particular. Times New Roman compared to its bold. The bold weight has a different style, more nineteenth century in appearance, with flat serifs on the tops of letters, an effect also seen in the vertical axis of the o. Rather than creating a companion boldface with letterforms similar to the roman style, Times New Romans bold has a different character, with a more condensed and more upright effect caused by making the horizontal parts of curves consistently the thinnest lines of each letter, and making the top serifs of letters like d purely horizontal. This effect is not found in sixteenth century typefaces which did not have bold versions it is most associated with Didone type of the early nineteenth century and with the more recent Ionic styles of type influenced by it that were offered by Linotype discussed below, which were very dominant in contemporary newspaper printing. Some commentators have found Times bold unsatisfactory and too condensed, such as Walter Tracy and Stephen Coles. DevelopmenteditThe development of Times New Roman was relatively involved due to the lack of a specific pre existing model or perhaps a surfeit of possible choices. Morison wrote in a memo that he hoped for a design that would have relatively sharp serifs, matching the general design of the Times previous font, but on a darker and more traditional basic structure. Bulked up versions of Monotypes pre existing but rather dainty Baskerville and Perpetua typefaces were considered for a basis, and the Ionic designs from Linotype, such as Excelsior, that were popular in newspaper printing at the time, were also examined.