Greek

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.

Hi everyone,

I'm desperately looking to find what font is used for the branding of the National Theatre of Greece (used in all their publications as well as in their logo). Here is their website http://www.n-t.gr/en
The website of the designers of the new brand http://www.mnpdesign.gr/

I also include some visuals. (Note the particularity of the uppercase R in the logo or the lowercase b in the English tagline)

Thanks a lot !



Hello dear typophiles,

I'm working on typesetting a document with mixed latin and greek text. My problem is not being able to find out what font was used for the greek, or even a suitable replacement.

The "manuscript" that I received is an XML file, so I have no information on what font was used for the typesetting of the previous edition, and I'm having a hard time finding out what font was used.


Rosetta Type Foundry (Press release)
Strong focus on multi-script typography

Brno, Czech Republic (February 2011) The new independent type foundry Rosetta released its website (www.rosettatype.com) and online store on January 2011. The foundry intends to provide typefaces for new and rapidly growing markets that require special language support for particular orthographies, languages and writing systems.

Rosetta was created by David Březina and the prolific duo responsible for the successful foundry TypeTogether (www.type-together.com), Veronika Burian and José Scaglione. The three Co-Founders are graduates of the University of Reading, which has a long standing tradition of research in non-latin typography.

Rosetta is an independent foundry, created by David Březina, José Scaglione and Veronika Burian, with a strong focus on multi-script typography. It is a response to the increasing interest and need, within the global market, for multi-script typefaces that are both technically and aesthetically of the highest standard. Rosetta is committed to promoting research and knowledge in that area and to support excellence in world script type design.

Rosetta Type Foundry announced (Press release)
Strong focus on multi-script typography

Brno, Czech Republic (February 2011) The new independent type foundry Rosetta released its website (www.rosettatype.com) and online store on January 2011. The foundry intends to provide typefaces for new and rapidly growing markets that require special language support for particular orthographies, languages and writing systems.

Rosetta was created by David Březina and the prolific duo responsible for the successful foundry TypeTogether (www.type-together.com), Veronika Burian and José Scaglione. The three Co-Founders are graduates of the University of Reading, which has a long standing tradition of research in non-latin typography.

happy New Year, typophiles!
I am glad to present a new Osnova family, sans serif workhorse.

Hello all,

I'm having a problem and hopefully you type-wizards want to help me out...
I've been asked to design a birth announcement, the father is Dutch and the mother is Greek so the announcement should be bilingual.
I'm already using Zapfino but can't find a font that has Greek characters and matches Zapfino.

Does someone have suggestions or hints how I should handle this?

A big thanks in advance,
Dries

Hi,

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

SBLLM's picture

Cyrillic & Greek extensions

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!
Si

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.

Goals:

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.

Hello everyone,

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:

  • Unicode
  • Must have support for Greek & Hebrew (must point correctly in Hebrew)
  • License: something that would allow us to upload to our own server and distribute to registered students only** / or system font (cross-platform compliant)

*They're open to using separate fonts for Hebrew / Greek if needed.
[EDIT] ** Through a secure LMS.

I'd appreciate your help.

Dan

Indices : Designers : David Březina

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.

Indices : Writing Systems : Greek

Greek Alphabet:
ΑΒΓΔΕΖΗΘΙΚΛΜΝΞΟΠΡΣΤΥΦΧΨΩ
αβγδεζηθικλμνξοπρσ(ς)τυφχψω

Greek Script: A History by Gerry Leonidas

Syndicate content Syndicate content