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Austria (typeface)

Austria was the typeface formerly used on all official road signage in Austria made prior to 2010. A modified version of its German counterpart DIN 1451, it came in narrow- and medium-width fonts. Since 2010 it has been replaced on all new road signs by the more recently developed TERN typeface.

                                               

Brusseline

Brusseline is a custom typeface developed in 2006 by Eric de Berranger for the signage of the Brussels public transport network managing metro, pre-metro and trams. The typeface started being used on the network in 2007 as part of company image campaign. The name is inspired by Parisine, the typeface of Paris’ public transport network.

                                               

Cartier (typeface)

Cartier is a family of serif old style typefaces designed by Carl Dair in 1967, who was commissioned by the Governor General of Canada-in-Council to create a new and distinctively Canadian typeface. The first proof of Cartier was published as "the first Canadian type for text composition" to mark the centenary of Canadian Confederation. In 1977 a revival of Cartier was produced under the name Raleigh by Robert Norton. This typeface was later redesigned by Canadian typographer Rod McDonald in a digital format. McDonalds Cartier family removed inconsistencies in the baseline weight, and streamlined the stroke angles to enforce a strong horizontal flow. His work was a form of homage to the validity of Dairs original design, which was incomplete and plagued with weight, stroke, and grid issues because Dair insisted that the type foundry not refine the face.

                                               

Clarendon (typeface)

Clarendon is the name of a slab-serif typeface that was released in 1845 by Thorowgood and Co. of London, a letter foundry often known as the Fann Street Foundry. The original Clarendon design is credited to Robert Besley, a partner in the foundry, and was originally engraved by punchcutter Benjamin Fox, who may also have contributed to its design. Many copies, adaptations and revivals have been released, becoming almost an entire genre of type design. Clarendons have a bold, solid structure, similar in letter structure to the "modern" serif typefaces popular in the nineteenth century for body text for instance showing an R with a curled leg and ball terminals on the a and c, but bolder and with less contrast in stroke weight. Clarendon designs generally have a structure with bracketed serifs, which become larger as they reach the main stroke of the letter. Mitja Miklavcic describes the basic features of Clarendon designs and ones labelled Ionic, often quite similar as: "plain and sturdy nature, strong bracketed serifs, vertical stress, large x-height, short ascenders and descenders, typeface with little contrast" and supports Nicolete Grays description of them as a "cross between the roman and slab serif model". Gray notes that nineteenth-century Ionic and Clarendon faces have "a definite differentiation between the thick and the thin strokes", unlike some other more geometric slab-serifs. Slab serif typefaces had become popular in British lettering and printing over the previous thirty-five years before the original Clarendon’s release, both for display use on signage, architectural lettering and posters and for emphasis within a block of text. The Clarendon design was immediately very popular and was rapidly copied by other foundries to become in effect an entire genre of type design. Clarendon fonts proved extremely popular in many parts of the world, in particular for display applications such as posters printed with wood type. They are therefore commonly associated with wanted posters and the American Old West. A revival of interest took place in the post-war period: Jonathan Hoefler comments that "some of the best and most significant Clarendons are twentieth century designs" and highlights the Haas and Stempel foundrys bold, wide Clarendon display face as "a classic that for many people is the epitome of the Clarendon style."

                                               

Clearview (typeface)

Clearview, also known as Clearview Hwy, is the name of a humanist sans-serif typeface family for guide signs on roads in the United States. It has also been used in Canada, Indonesia, the Philippines, Israel, and Sri Lanka. It was developed by independent researchers with the help of the Texas Transportation Institute and the Pennsylvania Transportation Institute, under the supervision of the Federal Highway Administration. It was once expected to replace the FHWA typefaces in many applications, although newer studies of its effectiveness have called its benefits into question. Initial testing indicated that Clearview was 2 to 8 percent more legible in both day- and night-time viewing than the then-dominant Series E Modified on overhead signs, particularly benefiting older drivers, with a 6 percent increase in legibility distance. A design goal of Clearview was the reduction of irradiation effects of retroreflective sign materials. Reduced nighttime overglow or haloing was expected also to improve recognition rates for computer road sign detection. However, these tests also compared new signs in Clearview to existing, weathered signs in the existing Highway Gothic font. The new fonts apparent legibility "was more due to the fact that older, worn signs were being replaced with nice, fresh, clean signs which were, naturally, more legible." Better testing also revealed that legibility was worse for negative contrast signs dark lettering on light backgrounds such as on speed limit and yellow warning signs.

                                               

DIN 1451

DIN 1451 is a sans-serif typeface that is widely used for traffic, administrative and technical applications. It was defined by the German standards body DIN - Deutsches Institut fur Normung German Institute for Standardization, pronounced as "Din", in the standard sheet DIN 1451- Schriften typefaces in 1931. Similar standards existed for stencilled letters. Originally designed for industrial uses, the first DIN-type fonts were a simplified design that could be applied with limited technical difficulty. Due to the designs legibility and uncomplicated, unadorned design, it has become popular for general purpose use in signage and display adaptations. Many adaptations and expansions of the original design have been released digitally.