HGR are simply defined by their respective roots and uses.
For example:
neeshmosee
נ ש מ ת י
my soul
Look at its root and common use
root
nuhn + shin + mehm
3 Hebrew letters
gematria
50
300
40
=
390
=
shas
talmud
small number gematria
=
5 + 3 + 4
=
12
tribes of israel
its basic meaning is the soul of a jew is related to the study of talmud
= every jew
I have designed an invitation for the celebration of my daughter's bat mitzvah. To match the grey / x-height / etc. between the Hebrew and the English, I went through a few iterations.
Initially, I was using a script face for both languages; however, I wasn't too happy with the English, so I changed everything but the name(s). Once I spaced the two sides, the Hebrew ended at 9.5/18 and the English at 11.5/18.
Initial typefaces were Fontbit Egotrip (Hebrew) and Sudtipos Adios Script (English). Those are still the faces of the names. The rest of the text is now Fontbit Hadasa New and Mrs. Eaves.
Any thoughts on the height of the Hebrew? OK? Too small? I haven't gone through the text to make sure kerning is correct, but I'm happy to take suggestions.
The sample is attached.
Thanks!
Steve
| Attachment | Size |
|---|---|
| invitation sample.pdf | 37.21 KB |
Hi,
I kindly request your help to find a specific font similar to Masterfont´s Torah Typeset.
The font I am looking for is very similar but the differences are quite obvious to the trained eye. I have included an image for you to see the differences between fonts.
I hope someone can help me find the name for the "unknown" font.
Thanks in advance for your help.
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| Torah Font Help.jpg | 82.44 KB |
Greetings! Do you know of a Hebrew font with babylonian vowels/punctuation? I know that a few years ago a proposal was made to implement the babylonian and palestinian systems into the Unicode standard; in the meantime, the easiest way is to keep the existing Hebrew vowels and use a font with babylonian-style design.
Thank you very much for any help you can give!
Michael.
There seems to be no font for the Macintosh that can display properly Hebrew with cantillation marks, a situation I find annoying since my MacBook Pro with OS X 10.5 can't even display in a useful way some Wiki pages I consulted recently. I thus took the time to build such a font, using python and the python fontforge module, starting from the glyphs of Yoram Gnat's Keter YG font.
I first looked for a good corpus of glyph combinations to produce as ligatures, i.e. a repertoire of consonants with their accompanying vowels and marks. The Mechon Mamre site allows downloading such a Bible http://www.mechon-mamre.org/c/ct/c0.htm in a click and I took those html files as my corpus, giving me a little more than 6250 combinations that I wanted to precompose using python with the fontforge python module.
Also, I am no font designer, at all. I thus had to start from an existing font that allows modifications, and since the Mechon Mamre files are based on the Aleppo Codex, of which there is a very nice edition I could get from my university library, the Jerusalem Crown, with a font made by Zvi Narkiss, I chose a font with the same inspiration, namely Yoram Gnat's Keter YG font (available from Taamey Culmus).
Wanting to keep the job as simple as possible, I found no other way than to discard completely the "Hebrew logic" (the Hancock-Hudson layout) used in Yoram Gnat's font, that looked much too complicated for me to handle. I then moved a few dots out of the way to avoid as much as possible clashes with other diacritics; I used a scheme with only 6 marks, namely 'bottom center', 'bottom right', 'top left', 'top center', 'top right' and 'high above'. The idea was simply to reconstruct with a fontforge script each of the combinations occurring in the Crown using the marks and attachments somewhat as they are normally used dynamically in an opentype font; knowing of no tools to do that, I wrote the code for it, but did just the minimum necessary. Another python script generates the mif file and it is ftxenhancer that produced the final font.
Here it is, Keter YG for Macintosh (zip file, 164K and here is how http://www.mechon-mamre.org/c/ct/c2679.htm renders with FireFox on my Powerbook.
If there is any "big mistake" please tell me fast.
Michel
On Monday, September 19th, an Israeli court found in favor of the plaintiff in a copyright infringement suit against Tzvika and Piki Rosenberg, of Masterfont. The plaintiff, Hannah Tal, alleged that the Rosenbergs had purloined the typeface Hadassah, the work of her father, Henri Friedlaender. Some of the details were reported in Ha'aretz, a major Israeli newspaper:
http://www.haaretz.com/print-edition/news/court-inventor-s-heirs-own-had...
and another article:
http://www.haaretz.com/print-edition/news/whose-font-is-it-anyway-the-ba...
We in the United States can only be aghast at such an event, as our law provides virtually no protection for the design of letters (or many other sorts of graphic design), though it provides much protection for trademarks, the names and symbols under which things are sold. Here, the suit could only demand that the Rosenbergs cease selling the type under its original name.
One should keep in mind that there are other versions of Hadassah around, made in Israel and elsewhere, though not all traded under that name. And there are original types that were inspired by Friedlaender's forms, too. Hadassah, like Ismar David's eponymous type, has become something close to common cultural property in Israel and throughout the Jewish world. Both are modern masterpieces that have suffered greatly in poorly executed versions (a charge one might make against the Rosenbergs in this instance). One might argue, too, that the punchcutter and supervisors at the Amsterdam Tetterode Typefoundry had a large share of responsibility for Hadassah's success. That leads me to think there's a least a drop of wisdom in the U.S. law, though we would do well to have at least a drop of protection, too. But woe to those who design a great classic type!
I've stumbled upon this hebrew type called "Ktav", which is now marketed via Palron & Fontype. it's not impressive untill you understand it's qualities - a good cursive hebrew font with interesting and unique ending letters, rounded structure, and a general graphic language of an ink-written hebrew cursive letters, probably inspired by an actual hebrew cursive sample.
i searched for some info on the designer and found nothing. but i did found an early type sample from palestine (nowadays israel),1922, which featured this font in small sizes for letterpress. so this type was probably designed before 1922.
The previous topic "Hebrew Type Design" was a wasted opportunity. We have there several
people learned and experienced in Hebrew fonts. As a newcomer to this field I could benefit
from reading what they have to say. Sadly, these comments are buried somewhere in the 300 posts and effectively lost.
The 200 or more post from GoHebrew should not be here, they should be in a blog!
Also the subject was changed a few times but when this happened new topics were not created.
PLEASE THINK OF OTHERS.
Mike
Hi,
I've been working on a Hebrew companion for Neuton...
Any critique would be helpful... Looking at it now, I'm think the Hebrew might be a little too condensed, or at the very least my spacing is too tight. (Which is at least part of it.) Some of the thins also might be too thin also. I'll have to work on that. Anything else appreciated!
| Attachment | Size |
|---|---|
| test-13dec2011.pdf | 17.22 KB |
I've heard a little about VOLT (OT?) programming of Hebrew fonts, and am wonder what the specifics are of this. Is it character substitution for nikkud and regular glyphs to use specially designed glyphs with nikkud applied carefully rather than arbitrarily?
Is there a place I can find copies of the original Berthold FrankReuhl? Whether it's specimens or simply books printed using this.
One of the main things I've attributed to Frank Reuhl is it's rounded smoothness and uniformity. From the small number of glyphs I've seen, the original is not completely so.
Thanks!
To what extent is kerning allowed/readable in Hebrew? How far can one go? Is it largely according to the eye - as in Latin, or is there some unspoken rules about spacing here?
:-)
Thanks!
David Hebrew may seem like old news: it happens to be one of the most ubiquitous Hebrew fonts. Everyone has David Hebrew in some form or another installed on their computer (David on Windows, Raanana on Macs). In my recent book The Book Jackets of Ismar David I touched on what made David Hebrew so popular:
"Scarcity of good quality Hebrew type compelled David to embark on his quest to create a new typeface. His work began in 1937, and culminated in the 1954 release of David Hebrew by Intertype Corporation in Brooklyn, N.Y. David’s groundbreaking design was not a revival of an existing type, but was inspired by historic calligraphic hands, distilled to their purest expression. David Hebrew went on to become one of today's most popular Hebrew typefaces and may well be considered Ismar David's most recognized legacy in design. Its success may be attributed to the innovative design approach, but more likely it is due to its clarity, grace, and exceptional beauty."
While all existing versions of digital David Hebrew are at best lookalikes of the original design, David Hadash™ (Hadash means "new" in Hebrew) offers a faithful digitization of the original drawings, preserving the subtlety and better letterfit of the metal type design, subsequently lost in multiple generations of redrawing for new typesetting systems. This type is for the first time issued as a complete type family envisioned by the designer in the early 1930s, but never fully realized until today. It includes upright (called Formal), cursive (called Script) and monoline (called Sans), each in three weights, as well as extended character set for the upright (called Biblical), including a full set of cantillation marks (te'amim).
It should be noted that the cursive (first issued in one weight by Intertype in 1950s) was the first true cursive Hebrew type of the 20th c. The never-before issued sans is noteworthy as one of the very few "humanistic" Hebrew sans types, closely following the classical proportions of the upright "serif" design.
Despite having been designed over half a century years ago, the appearance of this long-awaited family today is remarkably fresh.
Upd: See the official announcement here.
Hello,
I'm looking for good books about laying out hebrew documents. I'd like to learn about DTP rules for hebrew so as the result looks pleasant and correct to native.
Google doesn't provide the answer, or my question is wrong :)
thanks,
Alexander
Hi,
Can anyone help find a hebrew font that looks most like KarnakPro-Bold
http://www.myfonts.com/fonts/redrooster/karnak-pro/bold/
this is for a translation of the site: http://test.wegetmore.com to hebrew.
thanks,
Hi
Can you please help me here?
How can I to write this script in volt:
In fontlab is
feature ss14 { # Stylistic Set 14
script hebr; # Hebrew
lookup ss1426 {
lookupflag RightToLeft;
sub @ccmp2 qamats' @ss149 maqaf by qamats_qatan;
I tried this in volt but it's not working
qamats' maqaf -> qamats_qatan
Thank you in advance,
Eli Zohar
This is not exactly a typographical question, but I honestly don't know where to ask such things, so please forgive me!
How do I properly mix Hebrew and English? More specifically: Suppose you have a program menu: Should the English menu items be left-aligned? And what about the submenus? Should they be on the right? And what if there's a mix of Hebrew and English? Worse: What if I cannot predict if the items people will put on these menus are Hebrew or English? Should I try to distinguish the languages programmatically? And then do what? Or should I right-align everything, put the submenus on the left and be done with it?
I'm confused.
An interesting 'discovery'...
The letters alef and lamed can form a ligature. That said, a combination of two characters - alef & lamed. What about one character..... an upside-down.... final pe?
See this old siddur:
| Attachment | Size |
|---|---|
| siddur-liga.png | 30.5 KB |
| siddur-liga-1.png | 29.84 KB |
| siddur-liga-A-1.png | 18.02 KB |
| siddur-liga-A-2.png | 18.11 KB |
I have just released the Hebrew Font Shuneet Version 2.0
which now includes a family of different weights. These are Shuneet Light, Shuneet Thin, Shuneet Book, Shuneet Normal, Shuneet Demi and Shuneet Heavy. Each has a matching set of Latin and numeric characters.
There has been some discussion in this forum as to what 'matching' should mean in this context. I take it to mean that a block of Hebrew text and a block of English text should look well together. Also foreign words or sentences embedded in a block of Hebrew text should not detract from the appearance of the Hebrew.
I have also worked on improving the fonts that were included in Shuneet Version 1.0 with the goal of making achieving greater family harmony.
Take a look at my web site : http://hebrew-font-shuneet.com/ where there are many examples.
These fonts are available for free download.
Mike
Hello,
I'm looking for a Bold Condensed / Compressed that matches "Solano" only with Hebrew Characters?
Does anyone know where to head to?
Thank you
Alex
