TYPE DESIGN INFORMATION PAGE last updated on Mon Apr 15 05:08:44 EDT 2024
FONT RECOGNITION VIA FONT MOOSE
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Type design in Cyprus | ||
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Limassol, Cyprus-based designer of Double Lanes (2018). [Google] [More] ⦿ | |
Alan M. Stanier
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During her studies in Limassol, Cyprus, Alisa Peti created a typeface called De Stijl (2014), named after the neo-plasticist movement. [Google] [More] ⦿ | |
Alphabetum
| Juan-José Marcos García (b. Salamanca, Spain, 1963) is a professor of classics at the University of Plasencia in Spain. He has developed one of the most complete Unicode fonts named ALPHABETUM Unicode for linguistics and classical languages (classical&medieval Latin, ancient Greek, Etruscan, Oscan, Umbrian, Faliscan, Messapic, Picene, Iberic, Celtiberic, Gothic, Runic, Modern Greek, Cyrillic, Devanagari-based languages, Old&Middle English, Hebrew, Sanskrit, IPA, Ogham, Ugaritic, Old Persian, Old Church Slavonic, Brahmi, Glagolitic, Ogham, ancient Greek Avestan, Kharoshti, Old Norse, Old Icelandic, Old Danish and Old Nordic in general, Bengali, Hindi, Marathi, Phoenician, Cypriot, Linear B with plans for Glagolitic). This font has over 5000 glyphs, and contains most characters that concern classicists (rare symbols, signs for metrics, epigraphical symbols, "Saxon" typeface for Old English, etcetera). A demo font can be downloaded [see also Lucius Hartmann's place]. His Greek font Grammata (2002) is now called Ellenike. He also created a package of fonts for Latin paleography (medieval handwriting on parchments): Capitalis Elegans, Capitalis Rustica, Capitalis Monumentalis, Antiqua Cursiva Romana, Nova Cursiva Romana (2014), Uncialis, Semiuncialis, Beneventana Minuscula, Visigothica Minuscula, Luxoviensis Minuscula, Insularis Minuscula, Insularis Majuscula, Carolingia Minuscula, Gothica Textura Quadrata, Gothica Textura Prescissa, Gothica Rotunda, Gothica Bastarda, Gothica Cursiva, Bastarda Anglicana (2014) and Humanistica Antiqua. PDF entitled Fonts For Latin Palaeography (2008-2014), in which Marcos gives an enjoyable historic overview. Alphabetum is not Marcos's only excursion into type design. In 2011, he created two simulation fonts called Sefarad and Al Andalus which imitate Hebrew and Arabic calligraphy, respectively. Cyrillic OCS (2012) is a pair of Latin fonts that emulate Old Church Slavonic (old Cyrillic). In 2013, he created Cuneus, a cuneiform simulation typeface. Paleographic fonts for Greek (2014) has ten fonts designed by Marcos: Angular Uncial, Biblical Uncial, Coptic Uncial, Papyrus Uncial, Round Uncial, Slavonic Uncial, Sloping Uncial, Minuscule IX, Minuscule XI and Minuscule XV. These fonts are representative of the main styles of Greek handwriting used during the Classical World and Middle Ages on papyrus and parchments. There is also a short manual of Greek Paleography (71 pages) which explains the development of Greek handwriting from the fourth century B.C. to the invention of printing with movable type in the middle of the fifteenth A.D. He wrote a text book entitled History of Greek Typography: From the Invention of Printing to the Digital Age (in Spanish; second edition, 2018). See also here and here. [Google] [More] ⦿ |
ALT Foundry
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He created Foldgami, Apollo 13 (techno, futuristic), Fatgami, Origamia, Paper Roll, Alt Retro (2010, multilined family), Alt Tiwo (2010, fat counterless), Alt Matey (2010, a family that includes a multiline style; the piano key typeface Alt Matey V2 followed in 2012), ALT Lautus (2010, a minimalistic monoline sans family), Japanese Cities Type Experiment (2010), ALT Alternatice (2010), ALT Vxt11 (2010, a high-contrast art deco octagonal face), ALT Aeon (2010, a unicase but multiline family), Alt Re 32 (2010, techno), ALT Mun (2010, a curlified family), ALT Breo (2011, octagonal family), ALT Exline (2011), Jun Script (2011, connected contemporary upright script), ALT Ayame (2011, condensed squarish family ain the piano key style, +Long), Alt UAV31 (2011, an octagonal experiment), Alt Moav (2011, a striking geometric caps face. Images: i, ii, iii), Alt Geko (2011, an art deco caps face), and Archetype (unicase, Bauhaus). Free fonts at Devian Tart: Alt Retro (2010, multilined family), ALT Hiroshi (2011, ornamental), ALT Deville (2011, spurred). Typefaces made in 2012: DNR001 (hipster style), ALT Kora (for the identity of Drone), ALT Fat (monospaced squarish caps face), ALT Exodus (sci fi face), Alt Wet (a paint splatter face), Alt Sku (ornamental didone face), Alt Robotechnica (pixel face), Exodus (a blackletter style straight-edged typeface), Juk01 (an ornamental mechanical, or steampunk, typeface), Alt Sake (a thin condensed poster typeface). Typefaces from 2013: Modu (alchemic, hipster style), Modu Deco, Bely (a severe-looking almost constructivist Latin/Cyrillic typeface). Typefaces from 2014: Ren (a free vintage display typeface family). Typefaces from 2015: ALT Hazer (a great free shadow sans), ALT Smaq (a family of eight free beveled styles for Latin and Greek). The free fonts as of 2015: ALTBELY, AltJoli, AltPixelsGoneBad, AltRe32-Duo, AltRe32-Normal, AltRenDuo, AltRenRegular, AltRenRetro, AltRenShadow, AltRetroBlack, AltRetroBold, AltRetroLight, AltRetroRegular, AltRetroThin, Alt-Twitchy, AltVxt11, Altapollo13, AltAeon-Black, AltAeon-Bold, AltAeon-Light, AltAeon-Medium, AltAeon-Thin, AltAeonRegular, AltAxlDeco, AltAxlRegular, AltDEVILE, AltGeko-AltGeko, AltMateyv2-Black, AltRobotechnica, AltSku, AltSkuItalic, AltUAV31, AltWet, Altapollo13-Black, Altapollo13, althazer, altsmaq2.8, altsmaq4.8, altsmaq6.8, altsmaq8.8, altexodus, altfatgami, altfatitalic, altfatregular, altfoldgami. Typefaces from 2016: Sadistic (a free scratchy font), System Code (free programming font). Typefaces from 2017: Rekt, Rogue (free). Typefaces from 2018: Alt Catwalk (a fashion mag typeface family), Frantic, Looper (a compass-and-ruler font), Silent Scream (a free dry brush font). free). Flickr link. Behance link. Hellofont link. Devian Tart link. Klingspor link. Creative Market link. View Andreas Leonidou's typefaces. Home page. [Google] [MyFonts] [More] ⦿ |
Ancient Scripts
| Ancient scripts: great jump page by Lawrence Lo. In 2003, he made the runic font Cypriot and the Old Italic font Oscan, which can be downloaded here. [Google] [More] ⦿ |
Andreas Leonidou
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Andy Krahling
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During her studies in Canterbury, UK, Cyprus-born Antria Sofroniou designed an unnamed Latin typeface for a children's book. [Google] [More] ⦿ | |
archaic
| Peter R. Wilson's metafont code (2000-2005) for many archaic languages: Proto-Semitic (16bc), Phoenician (10bc), Greek (6bc), Greek (4bc), Etruscan (8bc), Futharc (Anglo-Saxon, 6ad), Hieroglyphics (30bc: the hieroglf provides a Metafont version of about 80 Egyptian hieroglyphs from Serge Rosmorduc's comprehensive hieroglyph package, see here for a type 1 version called Archaic-Poor-Mans-Hieroglyphs (2005)), Cypriot (9bc). Peter also developed metafont fonts for bookhands. The Archaic ollection contains fonts to represent Aramaic, Cypriot, Etruscan, Greek of the 6th and 4th centuries BCE, Egyptian hieroglyphics, Linear A, Linear B, Nabatean old Persian, the Phaistos disc, Phoenician, proto-Semitic, runic, South Arabian Ugaritic and Viking scripts. The bundle also includes a small font for use in phonetic transcription of the archaic writings. The bundle's own directory includes a font installation map file for the whole collection. The authors are Peter R. Wilson, Uwe Zimmermann and Apostolos Syropoulos. See here for the type 1 fonts Archaic-OandS (2005) and Archaic-OandS-Italic (2005). Here we find type 1 versions called Square-Capitals (2005) and Square-Capitals-Bold (2005). He also made the type 1 typefaces Archaic-Etruscan (2005), Archaic-Runic (2005) and Archaic-ProtoSemitic (2005). Further packages of type 1 and metafont fonts: Archaic-Aramaic (2005), South Arabian (2005, for the South Arabian script, in use for about 1000 years from roughly 600 BC; based on a metafont by Alan Stanier), Archaic-Linear-B (2005: a syllabary used in the Bronze Age (15bc) for writing Mycenaean Greek), Archaic-Nabatean (2005: the Nabatean script used in the Middle East between the fourth centuries BC and AD), Archaic-Old-Persian (2005: the Old Persian Cuneiform script in use between about 500 to 350 BC.), Archaic-Ugaritic-Cuneiform (2005: the Ugaritic Cuniform script in use about 1300 BC), Archaic-Cypriot (1999-2005). [Google] [More] ⦿ |
Behance link. [Google] [More] ⦿ | |
Cypriot student who graduated in 2007 from the University of Reading, where she designed Phoebe, a serif text face. [Google] [More] ⦿ | |
Cypriote metafont
| From Essex University, Alan M. Stanier's metafont for Cypriot. [Google] [More] ⦿ |
Aka Aemil, b. Cyprus. After studying Mathematics at the University of Athens he obtained an MA in Digital Arts from the Athens School of Fine Arts. He worked as an animator and graphic designer, and later studied type design at Esad Type in Amiens, France. He is currently working as a senior type designer at Monotype in London. FontStructor who made the Latin / Greek stencil typeface ATF Lorem (2013). [Google] [More] ⦿ | |
Typographer at the Cyprus University of Technology. [Google] [More] ⦿ | |
Fahri Özkaramanli
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Froso Leventi (Limassol, Cyprus) created the thin avant-garde caps typeface Long Cherry (2013). [Google] [More] ⦿ | |
George Douros
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Greek type and graphic designer, b. 1945, Nicosia (Cyprus), who studied at Doxiadis School of Art. He is active in type design since the mid-eighties and has designed fonts for various companies, among them Linotype. He teaches at Vakalo school of Art and Design, and is one of the three Course Leaders at the Graphic Design department. He collaborates with Cannibal Fonts since 1997. At Cannibal, he published Blast Gothic CF, Derrida CF Book, Garamond CF, and Hot Metal CF. Co-designer at Linotype of a version of the Sabon family (1986). [Google] [MyFonts] [More] ⦿ | |
From the ISTVC site, a list of their aims: To publish journals, books and electronic documents as well as to establish a library-archive of conventional and electronic artefacts related to typography and visual communication. To develop and participate in research programmes in the fields of theory, history and practice of typography and visual communication education in collaboration with Cypriot and foreign scientists as well as to build long term and meaningful relationships among similar research bodies based in Cyprus and abroad. To provide high quality services to all interested parties at national and international levels. These may include courses, seminars, workshops and field trips directed to educators and professionals as well as specialised professional training and educational validation in the fields of typography and visual communication. To organise and promote scientific and cultural events, lectures, national and international conferences and exhibitions, and to establish awards and scholarships. [Google] [More] ⦿ | |
Fontspace link. [Google] [More] ⦿ | |
Juan-José Marcos García
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Director of the University of Macedonia Press and Chairman of AlterVision, Typography and Visual Communication Ltd. Professor at the University of Nicosia, Cyprus. Author of various books, including "Casting the Greek newspaper" (Hellenic Literary and Historical Archive, Thessaloniki, 1999), and editor of "Hyphen, a typographic forum". The Proceedings of the 1st International Conference on Typography&Visual Communication were published in 2004 by University of Macedonia Press. Articles in English by John Bowman, Justin Howes, Yannis Haralambous, Ole Lund, Petra Cerne Oven, Milena Dobreva, Manolis Savidis, James Mosley, Barry Roseman, Peter Karow, Maria Nicholas, Stephan Fuessel, Mary Dyson, Victor Koen, Michael Twyman, Phil Baines, Andrew Boag, Paul Stiff, Karel van der Waarde, Jannis Androutsopoulos, Petr van Blokland, Garrett Boge, Evripides Zantides, Alan Marshall, Christopher Burke, Jean-François Porchez, Simon Daniels, David Lemon, Hrant Papazian, Sadik Karamustafa and others, and edited by Klimis Mastoridis. The loneliness of Greek typography: Myth or reality? is the title of his talk at ATypI 2008 in St. Petersburg. Founder of the International Conference on Typography and Visual Communication (ICTVC) that is often held in Thessaloniki, Greece. [Google] [More] ⦿ | |
Lawrence Lo
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Designer of a public domain Unicode font in 2005 called MPH 2B Damase. It can be found here. Created by Mark Williamson, it covers Armenian, Cherokee, Coptic (Bohairic subset), Cypriot Syllabary, Cyrillic (Russian and other Slavic languages), Deseret, Georgian (Asomtavruli and Nuskhuri but no Mkhedruli), Glagolitic, Gothic, Greek (including Coptic characters), Hebrew, Latin, Limbu, Linear B (partial coverage of ideograms and syllabary), Old Italic, Old Persian cuneiform, Osmanya, Phoenician, Shavian, Syloti Nagri (no conjuncts), Tai Le (no combining tone marks), Thaana, Tifinagh, Ugaritic, Vietnamese. See also here. The font is used by the popular Debian Linux software. Mark Williamson also designed a free fonts for Osmanya, Ugaritic and Shavian called Andagii (2003). His Penuturesu covers Linear B. Mark contributed to the GNU Freefont project, which used these ranges:
Dafont link. [Google] [More] ⦿ | |
MD-Type
| Cypriot type designer Mehmet Dogan runs MD-Type in Mersin, Cyprus. Creator of the rounded squarish typeface family MD Type Rounded (2012), which also covers Turkish. [Google] [MyFonts] [More] ⦿ |
Mehmet Dogan
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Osman Nuri Alkan
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Paleofonts V. 2
| Vasil Gligorov from Skopje, Macedonia, has a 16MB file with almost 300 truetype fonts that represent 30 ancient scripts: Luwian, Ugaritic, Aramaic, Runic, Syriac, Glagolitic, OCS Cyrillic, Persian Cuneiform, Egyptian Hieroglyphs, Demotic, Linear A (Complex signs), Linear B, Proto-Greek, Ancient and Medieval Greek, Ancient and Medieval Latin, Gothic, Etruscan, Oscan, Phoenician, Galilean, Celto-Iberian, Coptic, Meroitic, Cypriot, Vina, Ancient Hebrew, Samaritan, Sanskrit, Ugaritic, Manichean, Ogham, Umbrian, Asomtavruli Mrglovani, Siloam type-Inscription. Alternate URL. [Google] [More] ⦿ |
Peter R. Wilson
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Governor's Beach, Cyprus-based designer of the free minimalist sans typeface Abster (2018), the free typeface January (2018), and the free neon font Neon (2018). [Google] [More] ⦿ | |
Runic World Tamgaci
| Gumushane, Turkey, and Gothenburg, Sweden-based designer of fonts developed based on old European runic inscriptions, old Asian runic inscriptions, old Hungarian runic inscriptions, runic inscriptions found in Africa, and italic inscriptions such as Etruscan and Iberian. Typefaces from 2022: Ongunkan All Runic Unicode A (a major font that covers Latin, Old Hungarian, Old Turkic, Old Italic, runic, Tifinagh, Lycian, Lydian, Carian, Phoenician, Cypriot, Ogham, Old South Arabian, Old North Arabian, Old Persian, and Ugaritic), Ongunkan Phrygian, Ongunkan Armanen Runes (a series of 18 runes, closely based on the historical Younger Futhark, introduced by Austrian mysticist and Germanic revivalist Guido von List in his Das Geheimnis der Runen, published as a periodical article in 1906, and as a standalone publication in 1908), Ongunkan Danish Futhark (he explains: Prior to 500 AD the 24-rune Elder Futhark was used in Denmark. From 500 AD to 800 AD there were many transitional futharks, reflecting a change from the 24-rune Futhark to the 16-rune Futharks. By the end of this period, the 24-rune Futhark went completely out of use and the 16-rune Futharks had prevailed.), Ongunkan Gothenburg Futhark Swe (based on the 26-letter Bohuslän runes, which are used in the west coast area), Ongunkan Latin Space, Ongunkan Latin Techno, Ongunkan Norwegian Futhark (he explains: The oldest runes discovered in Norway date from 400 AD. They were based upon the 24-rune Elder Futhark of Germanic origin. Two of the runes in the Elder Futhark, Pertra and Eoh, have never been found in any Norwegian rune text. From 550 AD to 700 AD there was a transition period between the older 24-rune Futhark and the newer 16-rune Futharks. By the end of this period, the 24-rune Futhark went completely out of use and the 16-rune Futharks had prevailed. About 900 AD, the Shorttwiggs-runes were introduced from Sweden. Shortly thereafter, from 1000 AD, Futharks with more than 16 runes became more prevalent, as these were more consistent with the Latin alphabet. These types of runes were used in Norway up to 1800 AD), Ongunkan Anglo Saxon Spirit, Ongunkan Younger Futhark One, Ongunkan Younger Futhark (he explains: The Younger Futhark, also called Scandinavian runes, is a runic alphabet and a reduced form of the Elder Futhark, with only 16 characters, in use from about the 9th century, after a transitional period during the 7th and 8th centuries. The reduction, somewhat paradoxically, happened at the same time as phonetic changes that led to a greater number of different phonemes in the spoken language, when Proto-Norse evolved into Old Norse. Also, the writing custom avoided carving the same rune consecutively for the same sound, so the spoken distinction between long and short vowels was lost in writing. Thus, the language included distinct sounds and minimal pairs that were written the same. The Younger Futhark is divided into long-branch (Danish) and short-twig (Swedish and Norwegian) runes; in the 10th century, it was further expanded by the "Hälsinge Runes" or staveless runes. The lifetime of the Younger Futhark corresponds roughly to the Viking Age. Their use declined after the Christianization of Scandinavia; most writing in Scandinavia from the 12th century was in the Latin alphabet, but the runic scripts survived in marginal use in the form of the medieval runes (in use ca. 1100-1500) and the Latinised Dalecarlian runes (ca. 1500-1910)), Ongunkan Fantastic Latin, Ongunkan Modern Latin, Ongunkan Sweden Futhark, Ongunkan Sweden Dalecarlian Run (a late version of the runic script that was in use in the Swedish province of Dalarna until the 20th century), Ongunkan Sweden Dalecarlian Run, Ongunkan Old Turkic Yenisei (based on the Yenisei inscriptions, which consist of a total of 158 Turkish inscriptions, kurgans (graves) and rock stones that have been found along the Yenisei river, which passes through the Khakasya, Tuva and Altai autonomous republics in Russia. The inscriptions were written with Turkish stamps, also known as the Orkhon Alphabet), Ongunkan Old Turkic Arrival (based on an alien language in the science fiction movie called Arrival), Ongunkan Old Turkic Predator (old Turksih runic; based on alien script from the Fantastic Predator movie), Ongunkan Runic Predator (runic; based on alien script from the Fantastic Predator movie), Ongunkan Runic, Ongunkan Greek Script, Ongunkan Karamanli Turkic Scrip (based on the Greek alphabet used by the Karamanli Turks (who are Orthodox Christians) and adapted to Turkish), Ongunkan Kensington Runestone (a rune-covered slab of brownstone that was claimed to have been discovered in central Minnesota in the United States in 1898; probably a hoax perpetrated by its discoverer, Olof Öhman), Ongunkan Old Hungarian Runic (used in parts of Transylvania until the 1850s; banned by Istvan, the first Christian king of the Hungarians (Szekel)), Ongunkan Rosetta Stone (ancient Greek as seen on Egypt's rosetta stone), Ongunkan Tifinagh Berber. [Google] [MyFonts] [More] ⦿ |
Designer of the school project experimental font Energytye (2013), which started out by images of batteries. Urbanstone (2013) is an octagonal typeface that reflects on urban decay. Salih was based in Morphou, Cyprus, and is now in Izmir, Turkey. Hagia Sophia (2013) is a display typeface that is based on the architecture of the church/mosque Hagia Sophia in Istanbul. Snakes (2014) is a paperclip typeface. Kistype (2014) is based on Seher Kis's handwriting. [Google] [More] ⦿ | |
Sunwalk Designs
| The type design work of Manchester, NH's Andy Krahling, features handwriting fonts and grungy typefaces. Free typefaces include Elementric, AndyHand, Matta, Bobcat, MrHanky, Ruffian Outline, Ruffian Bold, Pointed, PointedOut, FatLefty, Jinx, Strait, Cyprian, Primer, Schooldaze, CrudHeads, Squish, Skimpus, Schooldaze, Simpleton, Squish, Sigmund, Bobcat, Dot2Dot, Kilroy Was Here, Matt9, Scrawllege, Simpleton, Lockjaw, Zag, Stockquote, Type Block (2012), HesitantShadow, Bloated, Jailbird and NotsoSkimpus. Andy also makes handwriting and signature fonts. Logo fonts custom-made at about 100USD a font. Commercial fonts at 10USD a shot include Britta Regular, Class Bold, Class, Cowpoker, Fred Regular, Jerko Bold, Jerko Outline, Jerko Regular, Joe, Lockjaw Bold, Marko Heavy, Marko Regular, Maryhand, Minerva Bold, Minerva, Norm Write Bold, Norm Write Left, Norm Write, Scripto Hand Bold, Scripto Hand, Tape, Wallaby. Dafont link. Abstract Fonts link. Catalog. Abstract Fonts link. [Google] [More] ⦿ |
The Fifth International Conference on Typography and Visual Communication (ICTVC 2013) | Conference in Nicosia, Cyprus, 6-8 June 2013, organized by Klimis Mastoridis at the University of Nicosia, Cyprus. Coorganizers include Gerry Leonidas and Anna Kiriakidou. Web links: http://www.flickr.com/photos/25247013@N03/sets/72157634122434873/, http://www.eyemagazine.com/blog/post/type-in-multiple-directions, http://www.haniotika-nea.gr/123235-Διεθνές%20συνέδριο%20“ενάντια%20στη%20λήθη”%20.html, http://blogs.reading.ac.uk/typography-at-reading/2013/06/12/reading-at-ictvc-5-nicosia-2/, http://www.parathyro.com/?p=21834, http://www.parathyro.com/?p=21445, http://fineartcourseuhcy.wordpress.com/2013/06/11/against-lethe-ictvc-exhibition-at-politis-newspaper-department-of-design-and-multimedia-university-of-nicosia/, http://www.facebook.com/pages/Ictvc-International-Conference-on-Typography-Visual-Communication/310862722345918?ref=hl#. [Google] [More] ⦿ |
The Fourth International Conference on Typography and Visual Communication (ICTVC 2010) | Conference in Nicosia, Cyprus, 17-19 June 2010, organized by Klimis Mastoridis at the University of Nicosia, Cyprus. The announcement: On 17, 18&19 June 2010 the Department of Design&Multimedia at the University of Nicosia will be hosting the 4th International Conference on Typography and Visual Communication (ICTVC) with the general theme "Lending Grace to Language". [...] ICTVC is organized in collaboration with the Mass Media and Communication Institute (IMME), Cyprus, and AlterVision, Greece, and is supported by the Department of Typography&Graphic Communication at the University of Reading (UK), the Association Typographique Internationale (ATypI), the Greek Graphic Designers Association (EGE) and the Thessaloniki Design Museum. Web links for the first four ICTVC conferences: , http://www.flickr.com/groups/ictvc2010/, http://www.facebook.com/pages/4th-ICTVC/190465083336, http://www.flickr.com/groups/ictvc2007/pool/, http://www.23hq.com/tag/ictvc, http://www.helveticafilm.com/newblog/2007/06/23/macedonian-madness/, http://news.kathimerini.gr/4dcgi/_w_articles_civ_1_08/07/2007_233273, http://news.kathimerini.gr/4dcgi/_w_articles_civ_1_21/06/2007_231459, http://www.leonidas.org/dokuwiki/doku.php/texts:interviews:epsilon, http://www.slanted.de/eintrag/verbal-graphic, http://biographix.blogspot.com/2007/07/3-workshops-2.html, http://backpacker.gr/files/typography.pdf, http://s174.photobucket.com/albums/w112/mafaldaQ/ICTVC/, http://tsevis.blogspot.com/2007/06/3rd-ictvc-mozaix-synthetix.html, http://vids.myspace.com/index.cfm?fuseaction=vids.individual&VideoID=23502418, http://www.vcdc.gr/forum/viewtopic.php?f=2&t=16988, http://raissaki.gr/pages/3rdictvc.html?which=results⟨=english, http://www.typophile.com/node/31532, http://www.youshouldliketypetoo.com/about/the-year-at-reading/, http://typestack.com/uncategorized/first-cyprus-type-conference/, http://www.books.gr/ViewShopProduct.aspx?Id=3609891, http://tobaccorri.blogspot.com/2007/06/3.html, Ο ΠΟΛΙΤΗΣ | ΜΑΪΟΣ 2010. [Google] [More] ⦿ |
Unicode Font Guide For Free--Libre Open Source Operating Systems | A guide to Unicode-based fonts and script projects that are ideal for free/libre/open source (FLOSS) operating systems like Linux and FreeBSD. Maintained by Ed Trager, Ann Arbor, Michigan. Under Pan-Unicode fonts, he lists in 2005:
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Unicode Fonts for Ancient Scripts
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Since George permits redistribution, I am offering his work for download here. [Google] [More] ⦿ |
Vasil Gligorov
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Wordmark
| An on-line tool to showcase the fonts installed on one's computer. Description: [...] Wordmark.it detects fonts installed on your system with a small Flash script written by Marko Dugonjic of Type Tester. It also uses Remy Sharp's font detection script. [...] I'm Fahri Özkaramanli (b. Nicosia, 1980), a freelance visual communication designer living in Istanbul. I received my BA in Visual Communication Design at Istanbul Bilgi University in 2005 where I am a candidate in VCDMFA and currently teaching Web Design and Interactive Web Projects courses as a part time instructor. [Google] [More] ⦿ |
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Graphic designer who is originally from Cyprus. During his Masters studies at IED in Firenze, Italy, he created the octagonal typeface 
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Ripon, CA-based designer of 
This is a fantastic source of free high-quality fonts for scripts of the greater Aegean vicinity, Egyptian Hieroglyphs, Meroitic, Sumero-Akkadian Cuneiform, Musical Symbols and all Symbol Blocks in the Unicode Standard. George Douros is their Greek font designer. His free fonts come with this exemplary footnote: In lieu of a licence: Fonts in this site are offered free for any use; they may be opened, edited, modified, regenerated, posted, packaged and redistributed. Many of his fonts contributed to important section in the GNU Freefont project. Here is the list: 
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