Package Descriptions for Ubuntu

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  1. Series focal
  2. Template “ddtp-ubuntu-universe”
  3. French (fr)
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13999.
Under the influence of the neoclassical ideals of the late 18th century, the famous French typecutter Firmin Didot in Paris designed a new Greek typeface (1805) which was immediately used in the publishing programme of Adamantios Korai, the prominent intellectual figure of the Greek diaspora and leading scholar of the Greek Enlightenment. The typeface eventually arrived in Greece, with the field press which came with Didot’s grandson Ambroise Firmin Didot, during the Greek Revolution in 1821.
 
Description
Sous l’influence des idéaux néo-classiques de la fin du dix-huitième siècle, le fameux créateur français de caractères, Firmin Didot, à Paris a conçu une nouvelle police de caractères grecs (1805) qui a été immédiatement utilisée par Adamance Coray, la figure intellectuelle prééminente de la diaspora grecque et le principal érudit de l’éveil au grec. Cette police finalement arriva en Grèce sous l’influence du petit-fils de Didot, Ambroise Firmin Didot, pendant la révolution grecque en 1821.
Translated by Łukasz Zemczak
Located in Package: fonts-gfs-didot-classic
14000.
Since then the typeface has enjoyed an unrivaled success as the type of choice for almost every kind of publication until the last decades of the 20th century. Didot's original type design, as it is documented in publications during the first decades of the 19th century, was digitized and revived by George D. Matthiopoulos in 2006 for a project of the Department of Literature in the School of Philosophy at the University of Thessaloniki, and is now available for general use.
 
Description
Depuis lors, cette police a rencontré un succès sans égal comme choix de n’importe quelle publication jusqu’aux dernières décennies du vingtième siècle. La conception originelle des caractères de Didot, comme elle est documentée dans des publications du dix-neuvième siècle, a été numérisée et relancée par George D.[nbsp]Matthiopoulos en 2006 pour un projet du Département de littérature dans l’École de philosophie de l’Université de Thessanolique, et est maintenant disponible pour une utilisation normale.
Translated by Łukasz Zemczak
Located in Package: fonts-gfs-didot-classic
14001.
ancient Greek font (Byzantine cursive hand style)
 
Summary
(no translation yet)
Located in Package: fonts-gfs-gazis
14002.
During the whole of the 18th century the old tradition of using Greek types designed to conform to the Byzantine cursive hand with many ligatures and abbreviations - as it was originated by Aldus Manutius in Venice and consolidated by Claude Garamont (Grecs du Roy) - was still much in practice, although clearly on the wane. GFS Gazis is a typical German example of this practice as it appeared at the end of that era in the 1790's. Its name pays tribute to Anthimos Gazis (1758-1828), one of the most prolific Greek thinkers of the period, who was responsible for writing, translating and editing numerous books, including the editorship of the important Greek periodical Ερμής ο Λόγιος (Litterary Hermes) in Wien. GFS Gazis has been digitally designed by George D. Matthiopoulos.
 
Description
Pendant toute la durée du 18ème siècle, la tradition de l'utilisation de fontes grecques visant à se conformer à la cursive byzantine avec de nombreuses ligatures et abréviations - comme elle a été lancée par Alde Manuce à Venise et consolidée par Claude Garamont (Grecs du Roy) - était encore beaucoup dans la pratique, bien que clairement sur ​​le déclin. GFS Gazis est un exemple allemand typique de cette pratique, car il est apparu à la fin de cette époque dans les années 1790. Son nom rend hommage à Anthimos Gazis (1758-1828), l'un des penseurs grecs les plus prolifiques de l'époque, qui était responsable de la rédaction, la traduction et l'édition de nombreux livres, dont le rédacteur en chef de l'importante revue grecque Ερμής ο Λόγιος (Littéraire Hermes) à Vienne. GFS Gazis a été conçue numériquement par George D. Matthiopoulos.
Translated and reviewed by gisele perreault
Located in Package: fonts-gfs-gazis
14003.
modern Greek font family with matching Latin
 
Summary
famille moderne de fontes grecques avec les fontes latines correspondantes
Translated by Steve Langasek
Located in Package: fonts-gfs-neohellenic
14004.
Neohellenic is a Greek font family characterized by round, even pen strokes. It consists of several weights (normal, italic, bold, and bold italic) as well as a Latin version.
 
Description
Neohellenic est une famille de fontes grecque caractérisé par des traits arrondis, à la limite écrit à la plume. Elle se compose de plusieurs graisses (normale, italique, grasse et italique grasse) ainsi que d’une version latine.
Translated by Steve Langasek
Located in Package: fonts-gfs-neohellenic
14005.
Former Greek types had harked back to classical models. In 1927, Victor Scholderer chose instead to revive one which had first appeared in a 1492 printing of Macrobius attributed to Joannes Rubeus. In 1993-4 the typeface was digitized by the Greek Font Society, with the addition of a new set of epigraphic symbols.
 
Description
Les types grecs précédents étaient revenus aux modèles classiques. En 1927, Victor Scholderer a choisi à la place de relancer un type apparu dans l’édition de 1492 de Macrobius attribuée à Joannes Rubeus. En 1993-4 cette police d’écriture a été numérisée par la Greek Font Society, avec l’addition d’un nouvel ensemble de symboles épigraphiques.
Translated by Steve Langasek
Located in Package: fonts-gfs-neohellenic
14006.
ancient Greek oblique font revival (companion to GFS Didot)
 
Summary
(no translation yet)
Located in Package: fonts-gfs-olga
14007.
In Greece the terms italic and oblique have the same meaning since they are borrowed from the latin typographic practice without any real historical equivalent in Greek history. Until the end of the 19th century Greek typefaces were cut and cast independently, not as members of a typefamily. The mechanisation of typecutting allowed the transformation of upright Greek typefaces to oblique designs. Nonetheless, the typesetting practice of a cursive Greek font to complement an upright one did not survive the 19th century. The experimental font GFS Olga (1995) attempts to revive this lost tradition. The typeface was designed and digitised by George Matthiopoulos, based on the historical Porson Greek type (1803) with the intention to be the companion of the upright GFS Didot font whenever there is a need for an italic alternative.
 
Description
(no translation yet)
Located in Package: fonts-gfs-olga
14008.
Greek font (Porson revival)
 
Summary
police de caractères grecque (reprise de Porson)
Translated by Jean-Marc
Reviewed by Sylvie Gallet
Located in Package: fonts-gfs-porson
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