Greek

I'm currently working on a font, the origins and development of which can be found at http://typophile.com/node/120859.

During the course of that discussion, Vladimir commented that the font had a "dynamic quality... as if a breeze is blowing through the letters...". Separately, I've been quietly following the conversation about Gill Sans Arabic (http://typophile.com/node/92658), as well as other threads here, which touch upon the tendency by some designers to Latinise non-Latin scripts. Chris Lozos posted the following comment in a thread about the correct way to draw the Greek letter /Mu/:

Genplan Pro is finally released! This my debut on MyFonts.

Hi!

I need 2 fonts, both of which must look like handwriting: one for the Greek alphabet, and one for Russian (Cyrillic).

Text is meant to be set in 1730, in an old book.

This is a time-sensitive request -- thanks for any help you can provide!

Thanks!

Mary

Hi!

I need 2 fonts, both of which must look like handwriting: one for the Greek alphabet, and one for Russian (Cyrillic).

Text is meant to be set in 1730, in an old book.

This is a time-sensitive request -- thanks for any help you can provide!

Thanks!

Mary

I'm typesetting a text for a friend: a translation of a Latin text which has quite a few large notes in Classical Greek. I'm thinking about buying Garamond Premier Pro (which I've used before and really like), but first I wanted to see if someone here has other suggestions of nice serif fonts with a good polytonic Greek character set.

Dear friends
Im not enough experienced with FontLab and I need some help. Im facing the following problem while working in InDesign (CS6 - v.8.0.2, MacOSX 10.9.2). OpenType fonts with Greek ligatures do not show old texts correctly when OT features are enabled, in contrast with texts typed from scratch.

Old/new text
Language: Greek
Ligatures: enabled
Result: no ligatures
___________________________
Old text
Language: English
Ligatures: enabled
Result: corrupted text with ligatures
___________________________
New text
Language: English
Ligatures: enabled
Result: ligatures ok

Has anyone encountered also this problem? Is this an Adobe or a FontLab issue? Any help or suggestion will be very much welcomed. Thank you very much in advance!

Konstantinos Siskakis

I'm looking for an italic font with wide Latin and Cyrillic support that looks similar to this Greek font, GFS Solomos. Here's a sample, Romans 3:21-26 (the first word is in GFS Decker for small caps):

The closest thing I have right now is the italic version of Garamond, but it's not quite right--the strokes are too thin and the letters are too narrow. The sample below compares similar glyphs, GFS Solomos on left, italic Garamond on right:

Thanks so much in advance!
--PADetz

I've seen many fonts that use adscript iotas in compound glyphs (Ai, Hi, etc.) but there are many others that use it as a subscript, under the main character glyph. Wikipedia says that the adscript is preferred for epigraphy, paleography or other philological contexts blah blah blah...
I ask to the people that know best the language: greek people. Which one is really preferred in Greece? Adscript iotas or subscript iotas? I think they both look nice but I'm not greek, just a guy making a font.
Thanks in advance!

Hello guys.
I need to find this font, please help.

I only have a sample in Greek though: http://i781.photobucket.com/albums/yy95/f1spa/Miscellaneous/01_zps8f913e...

CONFERENCE:

Based on the success of the Granshan non-Latin typeface design competition held each year since 2008, the Granshan 2013 non-Latin conference will travel to Southeast Asia for its second incarnation:
http://www.granshan.com/

Organized by Typographische Gesellschaft München (tgm) and its partners*, the core of the event is comprised of four days at the end of July featuring workshops, presentations, exhibitions and a symposium. With presenters and attendees from all corners of the world, Granshan is the only conference focused on non-Latin typefaces. As such, it has itself become a focal point of this rapidly growing and maturing field.

* http://www.granshan.com/en/good-ideas-strong-partners

--

COMPETITION:

Veronika Burian's multi-award winning type family Maiola has grown even bigger. Its Pan-European OpenType Pro version now supports, in addition to Cyrillic and Latin A, full polytonic Greek. The calligraphic details of Maiola collaborate gracefully with each of the three scripts and generate a sense of consistent personality that creates a welcoming tension on the page. The polytonic extension was done by Greek specialist Irene Vlachou.

More information about Maiola on our web


We are looking for a project, Univers and Futura in Greek.
We found several solutions, but will need:

Futura Std Book
Futura Std Light
Futura Std Light Condensed
Univers LT Std 47 Light Condensed
Univers LT Std 47 Light Condensed Oblique
Univers LT Std 47 Bold Condensed
Univers LT Std 47 Bold Condensed Oblique

Let us know websites where you can buy or where to download.
Thanks for your cooperation.

dear typophiles!

i am glad to show you my new release, ZionTrain Pro typefamily. I started this font five years ago for city transportation and overall city corporative font as a part of project of second largest Ukrainian city Kharkiv identity by 3z studio. when designing distinctive characters for the font i was wonder how shapes from Ukrainian calligraphy works fine for wayfinding grotesque (look at the tails of Cyrillic -щ- and -ц- for example). unfortunately, this type was not used as planned, but was lived on the street as font of some cultural events, and was used for Kharkiv promotion.

it was featured in Slanted magazine #18 Signage/Orientation.

Sirba, a robust typefamily by Nicolien van der Keur, for complex text environments, now offers even more possibilities. The recent update includes a full set of phonetic symbols, designed upon request for the use in dictionaries, and the extension to polytonic Greek. Although the historical way of writing Latin and Greek is very different from each other, the Greek is designed to harmonize well when used together with the Latin. Irene Vlachou and Gerry Leonidas assisted the development of Sirba polytonic Greek with their professional expertise.

more information at: http://www.type-together.com/Sirba

Sirba, a robust typefamily by Nicolien van der Keur, for complex text environments, now offers even more possibilities. The recent update includes a full set of phonetic symbols, designed upon request for the use in dictionaries, and the extension to polytonic Greek. Although the historical way of writing Latin and Greek is very different from each other, the Greek is designed to harmonize well when used together with the Latin. Irene Vlachou and Gerry Leonidas assisted the development of Sirba polytonic Greek with their professional expertise.

more information at: http://www.type-together.com/Sirba

Current progress:

Original post:

Here's a little project I've started recently. At present it's just uppercase: all the standard Latin (except S) plus a few Greek and Cyrillic caps I was able to start easily from Latin. There are a few alternates in there too. Any general observations are welcomed, and I'm particularly interested in the Cyrillic И. The current glyph (which is simply the alternate N reversed) doesn't feel right to me, but I can't really tell why.

Spacing is, as you can see, nowhere near complete. And no kerning is shown here.

The Eaglefeather font family is based on the alphabet designed by the master architect, Frank Lloyd Wright, for the Eaglerock project in 1922. In 1998, in conjunction with the Frank Lloyd Wright Foundation, Taliesen West, P22 released the FLLW Eaglefeather Set, an adaptation of the font that included a set of extras and other type-savvy features. In 1999, the font was further expanded with a light version as well as small caps and a unique informal version in three weights- Regular, Light and Bold. P22 FLLW Eaglefeather Pro completes the family with the addition of two new weights, Hairline and Black, and adds new language support for Greek, Cyrillic and full Pan-European Latin plus OpenType features available for all pro styles. In all, the NEW Eaglefeather Pro Family contains 15 full-featured, OpenType fonts plus 20 basic styles.

I design a magazine, each issue is about a specific city. The next issue will be about Athens, Greece. I am trying to get in touch with any type designers who live and/or work in Greece, preferably Athens. Do you know of anyone?

The past 2 issues of the magazine have used typefaces created by high profile type designers in appropriate cities and I wish to continue this precedent by representing the city through the typography.

Any help or opinions on Greek type please get in touch! thanks. Feel free to email me here: hello@luketonge.com

I'm designing a blog for a theologian, which means he'll be occasionally writing in (biblical) Hebrew and Greek. If possible I'd like to steer off the beaten path and use a webfont. Do you know of any webfonts that offer this kind of language support?

[I initially thought of Gentium, which would be a great choice, but the webfont version only includes the Latin alphabet.]

Thanks in advance for your help.

EDIT: just noticed Gentium does indeed include WOFF files for Gentium Plus, but I'm trying my best to avoid self-hosting the files. Still, I guess there's my first typeface for the list. Any others?

I’ve been working on a family of multiscript monospaced bitmap screen fonts, and I’d appreciate your comments.

Some remarks in advance:

So I just read in Bringhurst's Elements that the hedera is one of the oldest typographic ornaments, "present in early Greek inscriptions" (p. 311).

By any chance, can anyone point me to a photo of the hedera in one of these ancient Greek inscriptions? I would love to see it's use in the wild.

Hi, can anyone help me identify these two fonts? Thanks!

On 24 May, Russia, Bulgaria, Macedonia, and other countries that follow Eastern Ortodox tradition, celebrate Saints Cyril and Methodius day. This day also commemorates the invention of the Glagolitic and Cyrillicalphabets.

In the ninth century, Glagolitic was invented by two brothers known as the “Apostles of the Slavs” to translate Christian texts into the language of the Great Moravia region. Later on, in the 9–10th century, one of their disciples who moved to Bulgaria invented the Cyrillic alphabet as a derivative of the Glagolitic and Greek alphabets.

Tosche's picture

Greek Phi and Cyrillic Ef

Hi everyone,

I'm making Greek capital Phi Φ and Cyrillic capital Ef Ф.
While comparing several typefaces, I noticed that many of them include Phi and Ef designed separately.

Basically it seems that you can extend the stem beyond the baseline and Cap line for the sake of visual adjustment, and you can do it further with Phi (I've seen some inscriptions that have O part of Φ aligned to the baseline and Cap line).

But even with those which do not include extended Phi Φ and Ef Ф, they are still designed differently.
For example, Lucida Grande's Greek Phi is made slightly bolder and wider than Cyrillic Ef.

If you are aware of this issue, please tell me why they are treated that way (historical or practical reasons behind it), and the problem of using identical outline.

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