New to Typophile? Accounts are free, and easy to set up.
I'm working on a set of packagings in different languages and I'd need to know what difficulties I could find in terms of type, composition, if it's written from left to right or top to bottom. If there's a wiki or a site where I can read information about it please let me know. Here's the list of the languages and what I know so far:
- greek: left to right, no problems with Myriad
- indonesian: from left to right, can work it out as english, no problem
- corean: top to bottom, no problems in terms of type but wondering how to work the text direction
- hindu: not sure if it's left to right, problems with type
- thai: not sure if it's left to right, problems with type
Hey guys, I just need a bit of advice/opinions really.
I've been commissioned to build a display font for a client which I've done. They are now requesting cyrillic & greek extensions for other territories to use. Now what I'm wondering is what's the norm for this, ie. do you build the extra glyphs into the same font as extra unicode characters or do separate font files for the European, Cyrillic and Greek versions?
Thanks in advance, any help is gratefully appreciated!
We - at Intellecta Design - are developing "Reliant", a new typeface based on the classical forms of "BernhardSchoenschrift", originaly designed by Lucien Bernhard and "Liberty", designed by W.T. Sniffin for ATF in 1927, following the original designs from Lucien Bernhard. Well, our font have a extensive set of characters with many ligatures, stylistic alternate forms to the letters, open type solutions, etc etc. Created to work in the more important encondings (Central-European, Baltic, Turkish, Greek). However, because the natural difference between our countries (we lives in Brazil) - we have some difficult to find errors and omissions in the design of Greek characters.
That's a tough one... And i don't feel comfy about it on my own. Please help.
1) Recently we've been working on a identity for a hydrologist. We picked "Purista" as a leading typeface. It was ment mostly for stationery and hydrologic reports – both headlines and body text and we're happy with it's tech look. Unfortunately, we encountered a serious issue with mathematical symbos and greek, wich Purista does not support.
2) As the logo is much in sync with purista, we should stick with that one (a very close inexpensive match with support for what we need would be as perfect as is non-existent)
3) There's no budget for any high-end, multi purpose killer bundles.
Updated description: this is a contemporary serif family I'm working on since January 2010. It was initially just for personal use, but the project grow up to embrace complete Latin, Cyrillic and Greek scripts, besides phonetic alphabets, arrows and dingbats.
It's a text font and the family is planned to have several weights in roman and italic versions. I believe it will be released in early 2013.
1. it must be suitable for books and magazines, with more contrast than contemporary typefaces like Meta Serif, Greta Text or Stuart.
2. it must be clean and legible, with high x-height, generous counterspaces and reduced ornamental elements.
I am working on a redesign for a science magazine/journal and we need a sans serif font with as big a glyph set as possible, including Greeks and quantum symbols and as much math as possible.
I am in need of your suggestions.
A little background is needed: the University where I work and study is using the Angel LMS. The biblical language professors are trying to find a font that could be standardized for both Hebrew and Greek.*
What are our options, considering the following requirements:
*They're open to using separate fonts for Hebrew / Greek if needed.
[EDIT] ** Through a secure LMS.
I'd appreciate your help.
Czech type designer and typographer, writer, lecturer, the impresario of TypeTalks, and partner at Rosetta Type Foundry. He got Masters degrees in Informatics (Masaryk University, Brno) and Typeface Design (University of Reading, UK). From 2004 to 2007 he also ran his own design studio, with projects in graphic, web, and interface design. He has been working as an associate with Tiro Typeworks and giving various type workshops around Europe.
Agamemnon began as an experiment I did on Fontographer years ago. I revived it over a year ago and began discussing it here on Typophile. That original thread is here, but has become long and unwieldy, potentially frightening off new critics trying to wade through the history of revisions. I've since moved development of this font to FontForge. The ability to edit with Spiro curve technology has been invaluable!
The font could be categorized as transitional and slab serif. The serifs and horizontal strokes are cupped and curved, creating a visual texture that should maintain legibility at small sizes and great distances. The current weight, though, is a tad awkward; too heavy for a book weight, but not quite a bold.