Intone - MA Typeface Design

3.2.2 Justified irregularities regarding weight distribution for the Greek
Originally, the Greek script has a switch on the weight of the lines. Unlike most modern
Greek typefaces available today, the ones I created feature heavier lines on the top and bottom
part, rather than on the sides, in order to create an old-fashioned Greek typeface that
communicates the handwritten character and “sits” better on the page.
3.2.3 Spacing and kerning
The more you space, the more you need to space! It became clear to me that the overall
texture of the text gets better with spacing. However, some details become more prominent,
demanding adjustments to the spacing or the design of the letterform itself. At the
end I only applied basic kerning between capital and lowercase letters and a few lowercase
combinations, in both Latin and Greek as detailed kerning should only be done when the
typeface is totally adjusted.
3.3 Extention of the character set
3.3.1. Diacritics and numerals
àáâãäåăāą
ἀἁἂἃἄἅἆἇ
ἈἉἊἋἌἎ
1234567890
In a somewhat final stage, I added diacritics, old style numbers, and polytonic Greek characters
to my typeface. For now, only the old style numbers are developed, because they are
better fit for poetry collections. The addition of polytonic Greek was mandatory for Greek
poems. This revealed several issues that helped me understand how to properly space them
and how to carefully distinct diacritics and punctuation. All of the diacritics are strong, thus
emphasizing the intonation of each word.
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