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25012510 of 36154 results
10228.
This is an old style serif typeface. Its design is rooted in the forms of Venetian Old Face types.
Description
(no translation yet)
Located in Package: fonts-fanwood
10235.
ancient Greek font revival
Summary
(no translation yet)
Located in Package: fonts-gfs-baskerville
10237.
smart greek typeface revival
Summary
(no translation yet)
Located in Package: fonts-gfs-bodoni-classic
10238.
Giambattista Bodoni was the most prolific Italian typecutter of the 18th century. He was among the first European typecutters to move away from the byzantine cursive tradition with the numerous ligatures which was the norm until then. His Greek types influenced many subsequent designers, yet they fell in disuse by the middle of the 19th century. GFS presented Bodoni's original Greek typeface in the commemorative edition of Pindar's Olympian Odes (2004), in digital version by George D. Matthiopoulos, and is now available for the general public. In the OpenType features, under ligatures, one may alternately use diphthongs with the accents placed in between the characters, as Giambattista Bodoni did when setting greek texts.
Description
(no translation yet)
Located in Package: fonts-gfs-bodoni-classic
10240.
Greek Font Society incorporated Brocar's famous and distinctive type in the commemorative edition of Pindar's Odes for the Athens Olympics (2004) and the type with a new set of capitals, revived digitaly by George D. Matthiopoulos, is now available for general use.
Description
(no translation yet)
Located in Package: ttf-gfs-complutum
10246.
ancient Greek font (Byzantine cursive hand style)
Summary
(no translation yet)
Located in Package: fonts-gfs-gazis
10250.
ancient Greek oblique font revival (companion to GFS Didot)
Summary
(no translation yet)
Located in Package: ttf-gfs-olga
10251.
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: ttf-gfs-olga
10256.
Nevertheless, the excessively calligraphic style of the characters, combined with the steep and uncomfortable obliqueness of the capitals, was out of favour in the 20th century and the type did not survive the conformity of the mechanical type cutting and casting. The font has been digitally revived, as part of our typographic tradition, by George D. Matthiopoulos and is part of GFS' type library under the name GFS Solomos, in commemoration of the great Greek poet of the 19th century, Dionisios Solomos.
Description
(no translation yet)
Located in Package: ttf-gfs-solomos
10258.
In the late 50's Yannis Kefallinos (1894-1958) designed and published an exquisite book with engraved illustrations of the ancient white funerary pottery in Attica in collaboration with Varlamos, Montesanto, Damianakis.
Description
(no translation yet)
Located in Package: fonts-gfs-theokritos
25012510 of 36154 results

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