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IPA Phonetic Fonts Encoding
International Phonetic Alphabet Fonts
Serif Fonts with IPA Characters for Book Work
Greek Characters [in] IPA
Know Any Good Phonetic Symbols Fonts?
Phonetic Font Issues Reloaded
Wikipedia: International Phonetic Alphabet
New original Hebrew fonts
Indesign CS2 ME biblical Hebrew, vowel positioning
Hebrew sans serif display font
Hebrew type designs
Sheva, custom marks...
Learning Hebrew calligraphy
Unicode compliant Open Source licensed Hebrew Fonts
Character set for modern Hebrew
A 'digraph' is the use of two letters to represent a single phoneme or a sequence of phonemes that does not correspond to the letters which compose the digraph. In some languages digraphs are considered individual letters for alphabetizing, casing, &c. In other languages, such as English, this is not the case. Some digraphs have their own code points in Unicode, and as thus it is important to understand which digraphs can be decomposed and which cannot.
Not Ligatures : Digraphs - Lets talk about 'em.
A respected Bulgarian painter, with later interest in typography. Works in collaboration with Georgi Kovachov, also involved in the same fields.
"...Book covers, stamps and postcards which they designed introduce a number of new values to the domain of graphic design.
At the competition for new typefaces of Cyrillic alphabet characters, launched in Bulgaria in 1960-61, Milka Pejkova and Georgi Kovachov received second prize for their design of a grotesque print script. While studying the features of old Bulgarian letters, Pejkova discovered its specific architectonics and its glyph rhythm. She began to create artistic letter signs. At the beginning she continued in the tradition of the Cyrillic alphabet and then, inspired by tradition, she began to create original letter images, composed with considerable fantasy...”
The Cypriot syllabary was used in Cyprus from the eleventh century BCE to around the end of the third century BCE. It was used for writing two languages: the Arcado-Cypriot dialect of ancient Greek and an unknown language referred to as "Eteo-Cypriot" that was used in parts of central Cyprus during the classical period. The script contains at least 55 phonetic characters plus a punctuation mark (used for separating words or word groups) and a simple system of numerals.
In origin the Cypriot syllabary is clearly related to Linear A and Linear B, though not especially closely; the immediate ancestor is probably the poorly known Cypro-Minoan script of the Late Bronze Age. During the archaic and classical periods, the Cypriot syllabary existed in two quite different regional varieties: the "standard" syllabary used in central and eastern Cyprus and the "Paphian" syllabary used in western Cyprus. Numerous other variations of glyph shape exist within the known corpus, some probably regional, some probably chronological, and some probably technical or stylistic.
The international Encore Magazine combines art, design and film. The editorial team from around Germany together with freelancers and scouts from all over the globe track down attractive events, innovative products, trends and artists to present them each month in an informative, entertaining and inspirational way.
Encore Magazine is published using the Macromedia Flash format. Multimedia elements like videos and sounds are included with interactivity and animations.
Co-founder and co-publisher:
Daniel Harrington and Pascal Jeschke
Thorsten Konrad, Lars Lehner, Simon Schories and Patrick Marc Sommer
Indices : Paul Duensing
Paul Hayden Duensing was a printer and typefounder who wrote extensively on his field. He sett up his press in Watkinsville, GA and was considered the dean of avocational typefounding in his time. He has so much knowledge of the status of the matrix holdings of the great foundries of Europe. He cut a 30 pt Civilite for Hermann Zapf. Without setting out to do so, he was one of the finest teachers in both the private press and avocational typefounding fields. In an act characteristic of his great generosity, he had in the last year of his life made gifts of his typefounding machines, matrices and effects to promising young people.
List of Registered Feature Tags:
Feature Tag Friendly Name
aalt Access All Alternates
abvf Above-base Forms
abvm Above-base Mark Positioning
abvs Above-base Substitutions
afrc Alternative Fractions
blwf Below-base Forms
blwm Below-base Mark Positioning
blws Below-base Substitutions
calt Contextual Alternates
case Case-Sensitive Forms
ccmp Glyph Composition / Decomposition
MOTE, a black-a-licious type.
Mote is the first typeface from Latinotype, a small new foundry based on latinamerican culture & local vernacular lettering.
Mote, a black-a-licious type is a modern interpretation of latinamerican lettering founded in Santiago de Chile "Mote" drink store.
The "Mote with Huesillos" is a traditional Chilean drink of sugary teaish water with a dried peach and bulgar wheat. We take this drink as a lovely chilean icon to represent our "Muy Delicious" lettering tradition in yummy tasty letters.
- A unique & friendly black typeface
A term used to describe type that has been horizontally or vertically stretched or condensed using graphic design software. Glyph scaling in this manner is almost always inadvisable and is often a sure sign of amateur typography. Space is best saved by reducing the type size or using a condensed (or extended) version of the font professionally drawn by a type designer.
“Squooshed™” is a trademark of Miss Tiff Industries, Inc.
See also Faux Formatting.
Indices : EULA Chart
This table is based on the chart from Interrobang 2 by Nathan Matteson and Tiffany Wardle. The information is here in HTML to make an extensible version of the same information set. If you have suggestions or additions to this chart, please see the contact information at the end of this article.
A term coined by David Berlow to refer to sans typefaces in which "only some of the charaters have serifs."
See also Semi-serif.
The starting point for FF Danubia were typefaces of the 18th century. Viktor Solt-Bittner was experimenting with the typical elements of classicistic type (like the abrupt change from hairlines to thicker lines) developing them further and redrawing them. At times he departed from these models, for instance in the basic forms of the italic letters.
The lower case letters s, v, w and x of many didones are actually smaller upper case letters. By the form of their upstrokes and endings Viktor has tried to adjust them to the other lower case letters.
Inspiration per se can of course lead to utterly original work in Type. Much Type design however, needs to relate closely to work that has come before, and this close resembalance can and has caused confusion and arguements. Especially for a Type designer starting out---it can be hard to understand where inspiration ends, and, to put it in inflamitory terms---stealing begins.
John Downer has made a serious attempt to distiguish between kinds or flavors of inspiration (or lack of it) in his article 'Call It What It Is'. The article is often cited and has been influential. Maybe you will find it helpful as well. The text of the article has been put in the typowiki with the kind permision of John Downer & Emigre.
Call It What It Is
David Lawless was born in Liverpool, UK, in 1974 and studied Graphic Design in 1992 at Kingston University. He started work at MET2, a small design studio in Manchester, in 1994, as well as teaching Foundation and HND Graphic Design part time at St Helens College of Art & Design.
He now works full time at Studio Liddell, a design, illustration and animation studio based in Manchester.