ISO/IEC 9541-1:1991/Amd 1:2001

INTERNATIONAL ISO/IEC
STANDARD 9541-1
First edition
1991-09-15
AMENDMENT 1
2001-01-15
Information technology — Font information
interchange —
Part 1:
Architecture
AMENDMENT 1: Typeface design grouping
Technologies de l'information — Échange d'informations sur les fontes —
Partie 1: Architecture
AMENDEMENT 1: Groupage de conceptions de caractères
Reference number
ISO/IEC 9541-1:1991/Amd.1:2001(E)
©
ISO/IEC 2001

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ISO/IEC 9541-1:1991/Amd.1:2001(E)
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ISO/IEC 9541-1:1991/Amd.1:2001(E)
Foreword
ISO (the International Organization for Standardization) and IEC (the International Electrotechnical Commission)
form the specialized system for worldwide standardization. National bodies that are members of ISO or IEC
participate in the development of International Standards through technical committees established by the
respective organization to deal with particular fields of technical activity. ISO and IEC technical committees
collaborate in fields of mutual interest. Other international organizations, governmental and non-governmental, in
liaison with ISO and IEC, also take part in the work.
International Standards are drafted in accordance with the rules given in the ISO/IEC Directives, Part 3.
In the field of information technology, ISO and IEC have established a joint technical committee, ISO/IEC JTC 1.
Draft International Standards adopted by the joint technical committee are circulated to national bodies for voting.
Publication as an International Standard requires approval by at least 75 % of the national bodies casting a vote.
Attention is drawn to the possibility that some of the elements of this Amendment may be the subject of patent
rights. ISO and IEC shall not be held responsible for identifying any or all such patent rights.
Amendment 1 to International Standard ISO/IEC 9541-1:1991 was prepared by Joint Technical Committee
ISO/IEC JTC 1, Information technology, Subcommittee SC 34, Document description and processing languages.
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ISO/IEC 9541-1:1991/Amd.1:2001(E)
Introduction
The Annex A of ISO/IEC 9541-1:1991 should be replaced with the revised Annex A specified by this amendment.
The Annex A is normative and defines a typeface design grouping scheme to provide values for the mandatory
DESIGNGROUP property in clause 8.6.15.

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ISO/IEC 9541-1:1991/Amd.1:2001(E)
Information technology — Font information interchange —
Part 1: Architecture
AMENDMENT 1: Typeface design grouping
Page 55
Annex A
Replace Annex A of ISO/IEC 9541-1:1991 with the following annex:
Annex A
(normative)
2)
Type design grouping
This annex defines a typeface design grouping scheme whose purpose is to provide values for the mandatory
DSNGROUP property defined in clause 8.6.15. This grouping scheme consists of a three-level hierarchical
structure. The highest (most general) level of the hierarchy is the ISO Class, the second level of the hierarchy is the
ISO Subclass, and the third (most specific) level of the hierarchy is the ISO Specific Group. Typeface examples for
each Specific Group are shown and named wherever possible. These illustrations are intended to serve only as
informative examples, not as a comprehensive catalog.
Typefaces which are similar in appearance or which have characteristics that would allow them to be reasonably
substituted for each other, are grouped together.
Some type designs could be associated with more than one design group, but it is the responsibility of the type
designer or font resource generator to choose the most appropriate group.
This typeface grouping scheme has the following intended purposes:
— To aid both people and software applications in initial selection of typefaces, either in their system or on
remove font servers, which closely resemble a specified style which is not available.
— To provide information that will enable identification of fonts for different international scripts (such as Kanji and
Latin) that will harmonize well when used on a page of a multi-script document (assuming the weights are
matched). Assignment of suitable representations of different scripts to existing classes is encouraged to
support this purpose.
— To help software applications do font substitution, based on style characteristics, when a font referenced in a
document is not available on a user's system. Font substitution based on style alone can cause a document to
be reformatted since the metrics are likely to be different. However, this may be adequate for some
applications. The classification information contained in this document can also be useful for systems capable
of more advanced forms of substitution.
2) Copyright release: The content of this annex is free from ISO/IEC copyright protection.
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ISO/IEC 9541-1:1991/Amd.1:2001(E)
When using this grouping scheme, it may be necessary to consider properties additional to those described in
clause 8 when selecting substitution fonts. Since the grouping value specifies only the style and appearance of a
font, additional properties such as NOMCAPSTEMWIDTH, LCHEIGHT, and metrics can prove useful in matching
the layout and typographic color of a page, and in achieving the best overall match.
NOTE 42 Throughout this grouping scheme, the term "serif" is used to denote both the traditional concept of the
serifs of Roman typefaces, as well as any style of non-plain stroke-ending used in a non-Latin typeface. Although
non-Latin typefaces with non-plain stem endings are included in groups with "serif" in their names, it may generally
be improper to refer to them as "serif" typefaces. The term "sans serif" is used to denote a plain, unembellished
stroke ending.
1.0.0 Uncials class
Typefaces in this class use as a source of their design the Uncial writing hands of Europe used from the 4th to the
10th Century.
1.1.0 Uncials::Single alphabet subclass
These designs are characterized by having one set of alphabetic glyphs having a mixture of both upper and
lowercase letter shapes consistent with the historical Uncial book hand.
1.1.1 Uncials::Single alphabet::Sans Serif
Typefaces in this group have the characteristics of Uncial glyph images, but have plain stem endings.

Figure A.1 — Amsterdam SIMPLEX
1.1.2 Uncials::Single alphabet::Serif
Typefaces in this group have the characteristics of Uncial, and have the serifs that were typical of the historical
forms.

Figure A.2 — Amsterdam LIBRA
1.2.0 Uncials::Duplex alphabet subclass
The designs of this subclass are characterized primarily by having distinct and separate upper and lowercase letter
shapes (a characteristic not found in historical examples).
1.2.1 Uncials::Duplex alphabet::Sans Serif
Typefaces in this group have duplex Uncial forms with plain stem endings.
No Sample Available
Figure A.3 — (---)
1.2.2 Uncials::Duplex alphabet::Serif
Typefaces in this group have duplex Uncial forms with serifs for stem endings.

Figure A.4 — Klingspor AMERICAN UNCIAL
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ISO/IEC 9541-1:1991/Amd.1:2001(E)
2.0.0 Inscriptionals class
Latin typefaces of this general class have the characteristics of being based on monumental lettering which was cut
in stone. Generally they include only uppercase letters and are based on the proportions of the classic Roman
inscriptional glyph images, e.g., having a narrow "E", "F", and "L".
2.1.0 Inscriptionals::Solids subclass
These designs have solid stems.
2.1.1 Inscriptionals::Solids::Sans Serif
Typefaces in this group are based on inscriptional styles, have solid stems, and plain stem endings.

Figure A.5 — Adobe LITHOS
2.1.2 Inscriptionals::Solids::Serif
Typefaces in this group are based on inscriptional styles, have solid stems, and non-plain stem endings.

Figure A.6 — Stempel SISTINA
2.2.0 Inscriptionals::Inlines subclass
These designs have a fine line in the stem which gives the appearance that the lettering is incised in stone or wood.
2.2.1 Inscriptionals::Inlines::Sans Serif
Inscriptional style typefaces with inlines and plain stem endings.
No Sample Available
Figure A.7 — (---)
2.2.2 Inscriptionals::Inlines::Serif
Inscriptional style typefaces with inlines and nonplain stem endings.

Figure A.8 — AUGUSTEA INLINE Nebiolo
2.3.0 Inscriptionals::Outlines subclass
The designs of this subclass are characterized by single lines that define the contour or outline of the glyphs.
2.3.1 Inscriptionals::Outlines::Sans Serif
This group consists of outlined inscriptional styles with plain stem endings.
No Sample Available
Figure A.9 — (---)
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ISO/IEC 9541-1:1991/Amd.1:2001(E)
2.3.2 Inscriptionals::Outlines::Serif
This group consists of outlined inscriptional styles with non-plain stem endings.

Figure A.10 — Bauer COLUMNA

Figure A.11 — Morisawa LINEA
3.0.0 Blackletters class
Designs in this class are characterized by relatively bold, angular, and condensed character shapes. Latin
typefaces in this class are generally based on the late medieval European book hands known as the Blackletter
style. Some variations include bold rounded styles as well as less formal designs showing cursive influences. Non-
Latin typefaces in this class are those based on bold and angular designs.
3.1.0 Blackletters::Formal style subclass
The designs of this subclass are characterized by their condensed appearance; large x-height; with little or no
curves, giving an angular look to the lowercase. Latin-alphabet versions of these typefaces were, historically,
reserved for Bible printing, and were based on the ecclesiastical writing style.
3.1.1 Blackletters::Formal style::Sans serif
This group consists of formal Blackletter designs with plain stem endings.

Figure A.12 — ITC HONDA
3.1.2 Blackletters::Formal style::Serif
This group consists of formal Blackletter designs with serifs for stem endings.

Figure A.13 — Lanston Monotype GOUDY TEXT

Figure A.14 — Ryobi MIYABI

Figure A.15 — Cimos, KUFI Script
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ISO/IEC 9541-1:1991/Amd.1:2001(E)
3.1.3 Blackletters::Formal style::Sans serif, engraved
The designs of this specific group have plain stem endings and have a pattern of hatching or shading in the stems.
No Sample Available
Figure A.16 — (---)
3.1.4 Blackletters::Formal style::Serif, engraved
The designs of this specific group have serifs and have hatching or shading in the stems.

Figure A.17 — Klingspor DEUTSCHE ZIERSCHRIFT
3.1.5 Blackletters::Formal style::Simplified, with concave stem endings
Typefaces in this group have concave stem endings, long ascenders, and short descenders.

Figure A.18 — Letraset KUFIC MEDIUM
3.1.6 Blackletters::Formal style::Simplified, concave stem endings with two character twist
Arabic typefaces in this group have concave stem endings, long ascenders, short descenders, and two character
twist.

Figure A.19 — Cimos MUSTASIMI
3.1.7 Blackletters::Formal style::Modified, with concave stem endings
Typefaces in this group have concave stem endings, long ascenders, short descenders, and modified lines
(especially the base line).

Figure A.20 — Letraset ROYAL KUFI
3.1.8 Blackletters::Formal style::Simplified, with "Fish Tail" stem endings
Typefaces in this group have "Fish Tail" stem endings, long ascenders, and short descenders.

Figure A.21 — Compugraphic KUFI
3.1.9 Blackletters::Formal style::Modified, with "Fish Tail" stem endings
Typefaces in this group have "Fish Tail" stem endings, long ascenders, short descenders, and modified lines
(especially the base line).
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ISO/IEC 9541-1:1991/Amd.1:2001(E)

Figure A.22 — Cimos KUFI
3.1.10 Blackletters::Formal style::One character twist, with "Fish Tail" stem endings
Typefaces in this group have "Fish Tail" stem endings, long ascenders, and one character twist.

Figure A.23 — Boutros KUFI
3.1.11 Blackletters::Formal style::Display, old style black
Typefaces in this group have "Fish Tail" stem endings, a bold weight, and short ascenders and descenders in
addition to their classic appearance.

Figure A.24 — Letraset KUFI DISPLAY
3.1.12 Blackletters::Formal style::Display, modern style black
Typefaces in this group have concave stem endings, and represent a modern version of designs classified under
3.1.11.

Figure A.25 — Letraset ANTARAT
3.2.0 Blackletters::Round style subclass
The designs of this subclass have characteristics of the Blackletters class but are less angular.
3.2.1 Blackletters::Round style::Sans serif
The designs of this specific group have plain stem endings.

Figure A.26 — Berthold POST ROMAN
3.2.2 Blackletters::Round style::Serif
The designs of this specific group have non-plain stem endings.

Figure A.27 — Lanston Monotype GOUDY THIRTY
3.2.3 Blackletters::Round style::Sans serif, engraved
The designs of this specific group have no serifs and have a pattern of hatching or shading in the stems.
No Sample Available
Figure A.28 — (---)
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ISO/IEC 9541-1:1991/Amd.1:2001(E)
3.2.4 Blackletters::Round style::Serif, engraved
The designs of this specific group have serifs and have hatching or shading in the stems.
No Sample Available
Figure A.29 — (---)
3.3.0 Blackletters::Hybrid style subclass
The designs of this subclass are characterized by their mixture of both Blackletters Formal style (3.1.0) and the
Serifs style (4.1.1). The historical models for this design are from the late 1400's (Subiaco Monastery; Da Spira
Brothers).
3.3.1 Blackletters::Hybrid style::Sans serif
The designs of this specific group have plain stem endings.

Figure A.30 — Klingspor WALLAU
3.3.2 Blackletters::Hybrid style::Serif
The designs of this specific group have non-plain stem endings.

Figure A.31 — Stephenson Blake BOLOGNA
3.3.3 Blackletters::Hybrid style::Sans serif, engraved
The designs of this specific group have no serifs and have a pattern of hatching or shading in the stems.
No Sample Available
Figure A.32 — (---)
3.3.4 Blackletters::Hybrid style::Serif, engraved
The designs of this specific group have serifs and have hatching or shading in the stems.
No Sample Available
Figure A.33 — (---)
3.4.0 Blackletters::Informal style subclass
The designs of this subclass are generally based on medieval European Gothic cursive book hands.
3.4.1 Blackletters::Informal style::Sans serif
Typefaces in this group have characteristics of an informal Blackletters style, but have plain stem endings.
No Sample Available
Figure A.34 — (---)
3.4.2 Blackletters::Informal style::Serif
Designs in this group have cursive Blackletter characteristics and serifs.
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ISO/IEC 9541-1:1991/Amd.1:2001(E)

Figure A.35 — Bauer LEGEND

Figure A.36 — Cimos SUNBULY
3.4.3 Blackletters::Informal style::Sans serif, engraved
The designs of this specific group have plain stem endings and a pattern of hatching or shading in the stems.
No Sample Available
Figure A.37 — (---)
3.4.4 Blackletters::Informal style::Serif, engraved
The designs of this specific group have serifs and hatching or shading in the stems.
No Sample Available
Figure A.38 — (---)
3.4.5 Blackletters::Informal style::Unjoined
Designs in this group have a light (additional white space) appearance, with unjoined glyphs.

Figure A.39 — Compugraphic ARABIC MATH
4.0.0 Serif class
Typefaces in this class have stems with non-plain stem endings and are ones which are not associated with the
other classes. Latin typefaces in this group have the traditional serifs; non-Latin typefaces may have any variety of
functional or decorative stem endings.
NOTE 43 Although non-Latin typefaces in this class are grouped here because of their non-plain stem endings, it
may generally be improper to refer them as being "serif" typefaces.
4.1.0 Serifs::Oldstyle subclass
The typefaces in this category show characteristics of the typefaces created in Europe between the late 15th
Century and the 17th Century.
4.1.1 Serifs::Oldstyle::Venetian
The Latin-alphabet typeface designs in this category have a diagonal bar on the lowercase "e"; relatively monotone
stem thickness; a sweeping tail on the uppercase "R"; and are based on the type styles of the early Venetian
printers circa 1470-1490's.

Figure A.40 — Ludlow EUSEBIUS
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ISO/IEC 9541-1:1991/Amd.1:2001(E)
4.1.2 Serifs::Oldstyle::Garalde
These typefaces are generally based on the original typeface designs of printers such as Aldus Manutius and
Claude Garamond. General characteristics of the Latin-alphabet typefaces are ascenders taller than the uppercase,
and a horizontal bar on the lowercase "e".

Figure A.41 — Monotype GARAMOND
4.1.3 Serifs::Oldstyle::Dutch / English
Latin-alphabet typefaces in this category (based on 17th to 18th century Dutch designs) are characterized in part
by a wedge shaped serif on the lowercase "t", spur serif on the capital "G", and a concave apex on the capital "A".

Figure A.42 — Stempel JANSON
4.2.0 Serifs::Transitional subclass
Typefaces in this group have characteristics of the typefaces that followed after W. Caslon (circa 1720) and before
G. Bodoni (circa 1800).
4.2.1 Serifs::Transitional::Direct Line
Typefaces in this category are characterized by fine serifs and noticeable contrast in the weight of the thick and thin
strokes. In Latin-alphabet typefaces, capital letters are nearly all the same width. These typefaces have
characteristics in common with the early English designs from the early 1700's to the 1800's (e.g., Baskerville,
Bulmer, Bell).

Figure A.43 — BASKERVILLE
4.2.2 Serifs::Transitional::Modified
These typefaces, although based on the same models as above (European designs of the 1700's), are so
significantly different that they cannot fit into the direct line category.

Figure A.44 — Linotype GOUDY OLD STYLE

Figure A.45 — Cimos THULUTH
4.2.3 Serifs::Transitional::Arabic Modified II
Arabic typefaces in this group have long ascenders and descenders, more cursive characteristics, and light strokes.
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ISO/IEC 9541-1:1991/Amd.1:2001(E)

Figure A.46 — Letraset THULUTH
4.3.0 Serifs::Modern subclass
Typefaces in this group exhibit extreme contrast between the thick and thin strokes, as well as hairline serifs,
vertical stress, and a condensed appearance.
4.3.1 Serifs::Modern::Continental
These designs are based on, or exhibit characteristics in common with the typestyles of the Italian printer, Bodoni,
or the French printer, Didot.

Figure A.47 — BODONI

Figure A.48 — Monotype SONZINO

Figure A.49 — Gujerathi
4.3.2 Serifs::Modern::Fat Face
Typefaces in this group are based on the modern style type designs of W. Thorowgood.

Figure A.50 — Stephenson Blake THOROWGOOD ROMAN

Figure A.51 — Cyrillic Typestyle

Figure A.52 — Compugraphic OUSBOUH
4.4.0 Serifs::Contemporary subclass
This group does not have any clear recognizable historical model.
4.4.1 Serifs::Contemporary::Eclectic
Typefaces in this group are of a mixed design in which a variety of design sources are recognizable.
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ISO/IEC 9541-1:1991/Amd.1:2001(E)

Figure A.53 — Monotype PERPETUA
4.4.2 Serifs::Contemporary::Fine serif
The serifs of typefaces in this group are very small and pointed and have small bracketing.

Figure A.54 — ITC QUORUM

Figure A.55 — Sha-ken KASOGO
4.4.3 Serifs::Contemporary::Lettering
Typefaces in this group are based on the lettering styles of American sign painters of the early 20th Century.

Figure A.56 — UNIVERSITY
4.5.0 Serifs::Legibility subclass
Obvious characteristics of Latin-alphabet typefaces of this group are large x-height, short ascenders and
descenders. The general characteristics are that they were designed for applications where legibility is a major
consideration. They may be based on a variety of historical designs.
4.5.1 Serifs::Legibility::Rounded (traditional)
These designs were originally intended to be used for newspapers and were mostly based on previous typeface
models. Some designs, however, were not based on historical models, but were developed to address specific
technical printing problems. In Latin-alphabet typefaces of this group, the rounded letters such as "c", "e", "o" are
based on traditional rounded forms.

Figure A.57 — Monotype TIMES ROMAN

Figure A.58 — Greek: Monotype TIMES ROMAN

Figure A.59 — Sha-ken SHINBUN TOKUFUTO MINCHO
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ISO/IEC 9541-1:1991/Amd.1:2001(E)

Figure A.60 — Lotus
4.5.2 Serifs::Legibility::Super-elliptical (square)
The traditionally rounded parts of the glyphs in this group are based on a super-elliptical (squared-off ellipse)
design.

Figure A.61 — Stempel MELIOR
4.6.0 Serifs::Square serif subclass
The serifs are relatively heavy and may or may not be bracketed.
4.6.1 Serifs::Square serif::Monotone
The designs of this group are characterized by serifs that are approximately the same weight (thickness) as the
stems, with no fillets or brackets connecting the stems and serifs.

Figure A.62 — ATF STYMIE
4.6.2 Serifs::Square serif::Clarendon
The designs of this specific group are characterized by serifs that are much heavier than traditional serifs, but less
than the weight of the stems. The serifs have brackets connecting to the stems.

Figure A.63 — Bauer FORTUNE
4.6.3 Serifs::Square serif::French Clarendon
The designs of this specific group are characterized by serifs that are thicker than the stems, and can have
brackets between the stems and serifs.

Figure A.64 — ATF P. T. BARNUM
4.6.4 Serifs::Square serif::Short (stub) Serifs
The distinguishing features of this group are small, stubby serifs and relatively bold stems.

Figure A.65 — ATF CHELTENHAM
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ISO/IEC 9541-1:1991/Amd.1:2001(E)
4.6.5 Serifs::Square serif::Typewriter
Typefaces in this group consist of designs that were originally intended for typewriters or were based on
monospaced typewriter styles.

Figure A.66 — ATF BULLETIN TYPEWRITER
4.6.6 Serifs::Square serif::Dot matrix
The typefaces in this group are based on the glyphs produced by a dot matrix output device.
No Sample Available
Figure A.67 — (---)
4.7.0 Serifs::Latin subclass
These designs are characterized by serifs that have angled fillets, giving the appearance of triangular shaded serifs.
4.7.1 Serifs::Latin::Solid
The stems of the typefaces in this group are solid.

Figure A.68 — WIDE LATIN
4.7.2 Serifs::Latin::Inline
The stems of the typefaces in this group have an interior line which evokes the look of lettering incised in stone or
wood.

Figure A.69 — Stephenson Blake CHISEL
4.8.0 Serifs::Engraving subclass
Latin-typefaces in this group are based upon the designs of the copper-plate engravers.
4.8.1 Serifs::Engraving::Barbed serif
Typefaces in this group have bifurcated or barbed serifs.

Figure A.70 — NICHOLAS COCHIN

Figure A.71 — Cimos SOUFI
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4.8.2 Serifs::Engraving::Straight serif (fine)
The main characteristic of this group is very small and pointed serifs, with small fillets. In alphabetic typefaces in
this group, the letters are generally all uppercase.

Figure A.72 — ATF COPPERPLATE GOTHIC

Figure A.73 — HILYAH SOLID
4.9.0 Serifs::Free Form subclass
The typefaces in this group have ornaments and styling derived from, or influenced by the Art Nouveau movement
of the late 1800's and the early 1900's. They are often characterized by irregular organic forms, twining fronds,
sinuous curves, etc.
4.9.1 Serifs::Free Form::Solid
The stems of typefaces in this group are solid.

Figure A.74 — Weisert ARNOLD BOCKLIN

Figure A.75 — ASRI HEADLINE
4.9.2 Serifs::Free Form::Outline
The typefaces in this group have ornaments and styling derived from Art Nouveau styles; the shapes are outlined
by contour lines of a uniform weight.

Figure A.76 — ATF ERRATIC OUTLINE
4.10.0 Serifs::Computer subclass
The primary characteristics of these faces are that they give the appearance of faces associated with computer
character recognition styles or LED displays.
4.10.1 Serifs::Computer::OCR
The typefaces in this group are based on designs created to be machine readable.
No Sample Available
Figure A.77 — (---)
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ISO/IEC 9541-1:1991/Amd.1:2001(E)
4.10.2 Serifs::Computer::Digital
Characters are segmented and composed of straight lines, such as those in LED displays.
No Sample Available
Figure A.78 — (---)
4.11.0 Serifs::Miscellaneous subclass
Any typeface that has serifs and does not fit into any of the previous categories may be in this group.

Figure A.79 — ATF CASLON ANTIQUE
4.12.0 Serifs::Mincho subclass
These typefaces have thick vertical strokes and thin horizontal strokes. There is a noticeable wedge shape ending
on the right end of the horizontal strokes.
4.12.1 Serifs::Mincho::Old Style
The features of the stem endings of these typefaces are relatively smooth and rounded. The size difference
between the Kana and Kanji is larger than the difference in New Style (4.12.2). The counters are relatively small.

Figure A.80 — Sha-ken SHUEI MINCHO
4.12.2 Serifs::Mincho::New Style
The features of the stem endings are relatively sharp and angular. The size of the Kana is smaller than that of the
Kanji, but less so than in the Old Style (4.12.1). The counters are relatively large.

Figure A.81 — Sha-ken HONRAN MINCHO B
4.12.3 Serifs::Mincho::Old Style::Miscellaneous
This class is for any Mincho typeface that does not fall into the New Style or Old Style group.

Figure A.82 — Ryobi NAU MB
5.0.0 Sans serifs class
Typefaces in this class have plain stem endings, and are not in the Uncials, Inscriptionals, Blackletters, or
Ornamentals classes.
5.1.0 Sans serifs::Gothic subclass
This subclass contains designs based on the earliest of the Latin-alphabet sans serif printing typefaces (circa 1815).
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5.1.1 Sans serifs::Gothic::Grotesque
The Latin-alphabet designs of this group are based on the early sans serif designs, and are characterized by a two
story lowercase "a"; and may have a spur serif on the uppercase "G".

Figure A.83 — ATF FRANKLIN GOTHIC

Figure A.84 — Monotype GILL SANS

Figure A.85 — Greek:Monotype GILL SANS
5.1.2 Sans serifs::Gothic::Neo-grotesque
The Latin-alphabet designs of this specific group are based on early sans serif designs, but have been modernized.
They are characterized by having a two story lowercase "a" and a one story lowercase "g"; and may have a spur
serif on the uppercase "G".

Figure A.86 — Linotype-Hell HELVETICA

Figure A.87 — Sha-ken ISHII FUTO GOTHIC

Figure A.88 — ITC LATIF
5.1.3 Sans serifs::Gothic::Typewriter
Typefaces in this group are based on the monospaced designs used for typewriters.

Figure A.89 — LETTER GOTHIC
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© ISO/IEC 2001 – All rights reserved

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