#22682
I like bit-mapped screen fonts. In fact, I prefer old-fashioned bit-mapped screen fonts to anything that ATM, TrueType, or Speedo can throw up on the screen. If we're expected to read documents on screen, we need better type than they can offer.
Will-Harris, Daniel. Typofile (1996). Design>Typography>Fonts>Online
#20396
The purpose of the Character Design Standards is to state the general rules for character shapes in Latin based languages in digital fonts. Primarily defining the guidelines designers use for character alignments, both vertical and horizontal and how these relate to other similar characters or character groups.
Microsoft (1999). Design>Typography>Fonts>Online
#23307
A Comparison of Two Computer Fonts: Serif versus Ornate Sans Serif
Fonts are described in terms of their face, style, size and color. There are two main types, namely, serif and sans serif. Serif fonts have small appendages at the top and bottom of the letter. Serif fonts are the preferred fonts for large blocks of text, since the serifs are thought to help to distinguish each letter and thus, make it easier to read strings of characters. Sans serif fonts consist of only primary line strokes and are therefore simpler in shape, e.g. Arial and Futura. In standard typography these fonts are used primarily for short phrases, e.g. headings. This study compares reading performance between an ornate sans serif font (Gigi) and Times New Roman. The traditional measures of reading speed, comprehensibility, and subjective preference were employed.
Morrison, Sarah and Jan Noyes. Usability News (2003). Design>Typography>Fonts>Online
#27533
Examining the Legibility of Two New ClearType Fonts
This article introduces six new ClearType fonts developed by Microsoft. Legibility of two of the serif fonts, Cambria and Constantia, is compared to the traditional serif font Times New Roman. Results show that the legibility, as measured by the number of correct identifications of briefly presented characters, was highest for the new font Cambria, followed by Constantia, and then Times New Roman. Old style digits, such as 0,1, and 2, used in Constantia resulted in confusion with the letters o, l, and z. Times New Roman symbols were confused with both letters and other symbols.
Chaparro, Barbara S., A. Dawn Shaikh and Alex Chaparro. Usability News (2006). Design>Typography>Fonts>Online
#22788
Mark van Bronkhorst's recent type family MVB Verdigris is easier on the eyes than many of the existing typefaces that are used for text at small sizes.
Berry, John D. Creative Pro (2004). Design>Typography>Fonts>Online
