![]() ![]() The second glyph is a variant, which is definitely not required for full use of the polytonic alphabet (though it’s nice that it’s included) but φ is, of course, a very common letter. Both of these glyphs include a small, detached x floating above the letter itself. For some reason, the following two glyphs are unusable, because of a weird problem: (1) lowercase phi (φ = U+03C6 = glyph ID: 571 = character code 966), and (2) the cursive variant of theta (θ = U+03D1 = glyph ID 582 = character code 977). I’m an academic who writes regularly about ancient Greek, and it’s very exciting to discover a new polytonic font-something which happens very rarely indeed.īut…I a couple of fundamental problems with Coelacanth, which ought to be really easy to fix, although I do not know how to do so. It’s amazing that you were able to cover such a vast field of glyphs. I recently discovered Coelacanth and I think it’s beautiful. An alternative italic closer to Arrighi may eventually be offered as well.ĭownload the Coelacanth font family. Arrighi was an independent design with no relationship to Centaur and I hope to give the new italic a stronger link to Centaur‘s distinctive DNA. Then I will be gradually fleshing out the other extremes of light and dark, very large and very small type-sizes - all the remaining fonts can be interpolated from these.Ĭoelacanth R14 glyphs font features and kerning test sheetĪn italic is underway, rather different to the Arrighi that has standardly accompanied Centaur. My immediate goal is to extend these glyphs and features to bold and italic versions to create a rudimentary usable type-family. One of the fonts, 14-point Regular, has a high number of glyphs for European languages, Greek and Cyrillic, as well as small and petite caps, contextual glyph variants and advanced kerning. Coelacanth demo sheetĬoelacanth is a work in progress. Centaur was tremendously versatile, as elegant and readable in the smallest caption text as it was at display sizes. There are surprisingly few digital revivals of Centaur, and none that I know of providing the smaller optical sizes that were available in the original metal type. Taking up the challenge, I have been creating Coelacanth, a typeface inspired by Bruce Rogers’ legendary Centaur, described by some as the most beautiful typeface ever designed. In fact, not a single freeware font exists with a rich set of glyphs, weights and optical sizes - until now. Some of these have bold and italic variants, perhaps even small capitals but almost none offer different optical sizes. Of the hundreds of thousands of free fonts on the web, only a tiny handful are ‘text’ fonts suitable for plain text. ![]()
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