Journals@UC (University of Cincinnati)
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OCR-B: A Standardized Character for Optical Recognition
Full text linkOCR-B is a typefont especially developed as an international standard for optical recognition by electronic computers. It includes figures, upper- and lower-case letters, and certain related symbols. The background leading up to the development of O CR-B is discussed. Basically the problem was two-fold- to design a typefont ( I ) that could be automatically read by machines, and ( 2 ) that would be aesthetically accepted by the human eye. The design of OCR-B is examined in light ofthese requirements, and examples are shown
Typographic Research and Bibliography
Full text linkThe relationships between typographic research and bibliography can be surveyed by looking at four principal ca tegories of material: ( l ) histories of typefounding and of type designs-such as Rollo Silver\u27s T ypefounding in America, 1787-1825( 1965) and Carter and Vervliet\u27s Civilite T ypes ( 1966 ) ; ( 2) histories of printing and of publishing-such as D . F. McKenzie\u27s The Cambridge University Press 1696-1712 ( 1966); ( 3) descriptive bibliographies- also represented by McKenzie\u27s work; and ( 4) works of bibliographical analysis- such as Robert Turner\u27s articles on the bibliographical uses of type-damage evidence. These few recent examples of the uses of typographic resea rch in bibliography can serve to illustrate the ultimate interdependence of all studies of printed letter-forms
Typography with the IBM Selectric Composer
Full text linkThe place of the IBM Selectric Composer in the evolution of bookmaking processes is outlined: it provides a return to directness and simplicity, combined with the speed of mechanization. Some restrictions and problems which the new machine poses for the type designer are described. The article was originally presented as a lecture at Gallery 303 in New York City last fall. It has been composed on the IBM Selectric Composer in the Univers face which the author adapted to the machine
Pictographs, Ideograms, and Alphabets in the Work of Paul Klee
Full text linkPaul Klee (1879-1940), the Swiss artist who taught at the German Bauhaus, used ancient and modern p ictographs and alphabets in many of his paintings and drawings. The discreet characters of the various systems of writing were well adapted to Klee\u27s unusual additive technique by which he retained the expressive purity o[ the formal elements. In the 191O\u27s and 1920\u27s, Klee used roman letters to construct abstract formal pauerns, but in the 1930\u27s he reanimated the conventional symbols of the alphabet, turn ing them into active representational figures suggestive of their pictographic origins. His most revolutionary achievement was the invention of bold ideograms, combining different pictographic schemata in a set of double images which enrich a basic idea through chains of associated ideas, thus altering the notion of a picture as representi ng a scene fixed in time and space