![]() It is almost always used for headlines and very short text and was never meant as a secondary text style for continuous reading. ![]() Cursive Hebrew became popular in lettering for posters during the 1950s. While both constructed and cursive Hebrew systems are taught at schools simultaneously from when children start to read, the informal style hasn’t integrated into printed typography.Īs a comparison, the Latin Italic, used together with the formal upright style as one unified system, has been is use from around the 1500s. Those cursive forms were adapted from the formal Hebrew letterforms, although seemingly the two systems look rather unrelated. It was a time lapse, an accelerating and pioneering process of designing the face of modern Hebrew.Ĭursive Hebrew developed from the 7th to the 19th century, as a faster method of writing. Those essential typefaces, created out of line with normal historical processes, were designed with an affinity to the ancient hand-scripts known in Hebrew, from 530 BC (Second Temple Period). (David: Ismar David, Hatzvi: Zvi Hausman, Narkis Block: Zvi Narkiss, Hadassah: Henri Friedlander, Koren: Eliyahu Koren). In less than a decade, five of the most canonical and influential Hebrew typefaces were designed. The first revival of Hebrew as a modern printed text happened in Germany at the beginning of the 20th century, when a few new Hebrew typefaces were designed-Frank-Rühl is the most significant one of that time (Raphael Frank and Otto Rühl, Leipzig, 1910), followed by other examples of modern Hebrew type, in the 1950s. Its alphabet was considered a holy script and was used historically for religious needs. Hebrew is one of the oldest writing scripts. While the Latin typography has developed tools for differentiating text hierarchies that enabled the expression of distinctly different types of content (uppercase, lowercase and small caps, formal (upright) and informal (italic) styles)-and which became integral to the development of modern typography, Hebrew has not made such advancements. They are not aware that a ‘true’ Italic is an entirely different construction principle of letterforms. As a result, Hebrew readers confuse Italic with oblique and consider Italic simply as a slanted form. But the notion of Italic is rooted in the Latin typography and is unrelated to Hebrew. Operating systems and word processors do suggest an ‘Italic’ style in every language (slanting letters in a fixed angle). In Hebrew typography, a sense of improvisation is necessary to solve complex text situations: using a different typeface, a d r a m a t i c change in letter spacing, and underlining words are common solutions that evolved to become acceptable conventions. Occasionally there are also in-between weights, but those usually fail to create a clear hierarchy of text.Ĭomplex text requires working with a range of styles in order to differentiate types of content. Most of the Hebrew text typefaces consist of two styles at the most: Regular for running text, and Bold for emphasis.
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