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Unicode Fonts for Ancient Scripts |
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Aegean and Eastern Mediterranean Scripts, Egyptian Hieroglyphs, Sumero-Akkadian Cuneiform, Musical Symbols, Symbol Blocks of the Unicode Standard, Text Typefaces based on old Greek fonts, et al. |
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Aegean |
Aegean covers the following scripts and symbols supported by The Unicode Standard 5.2: Basic Latin, Greek and Coptic, Greek Extended, some Punctuation and other Symbols, Linear B Syllabary, Linear B Ideograms, Aegean Numbers, Ancient Greek Numbers, Ancient Symbols, Phaistos Disc, Lycian, Carian, Old Italic, Ugaritic, Old Persian, Cypriot Syllabary, Phoenician, Lydian, and Archaic Greek Musical Notation. Aegean allocates in the Supplementary Private Use Plane 15, the following scripts and symbols, as yet unsupported by Unicode: Cretan Hieroglyphs, Cypro-Minoan, Linear A, the Arkalochori Axe, Ancient Greek and Old Italic variant alphabets. In this version: • Cretan Hieroglyphs are redesigned and expanded to cover signs on seals. • Cypro-Minoan is entirely new and in agreement with the latest edition of the inscriptions. • Idalion, Akanthou, Eteocypriot, Ancient and Recent Paphian variants of the Cypriot Syllabary are available as its Open Type Stylistic Sets I-V. |
version 3.02
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Aegyptus |
Ars longa, vita brevis; this is the final version of Aegyptus. The font encodes some 7100 Egyptian Hieroglyphs, all with a graphical representation. The main sources of glyphs are Hieroglyphica and the work of Alan Gardiner. Egyptian Hieroglyphs are allocated in the Supplementary Private Use Plane 15, for the lack of a standard. The font also covers Basic Latin, Egyptian Transliteration characters, Meroitic, some Punctuation and other Symbols and the Gardiner set of Egyptian Hieroglyphs supported by The Unicode Standard 5.2 (13000 - 1342F). • The Gardiner set is also available in the small font Gardiner (regular and bold). • Mark-Jan Nederhof has rescaled and re-encoded Gardiner into an AegyptusSubset font to match his NewGardiner font. • Michel Bottin has re-encoded Aegyptus and created an AegyptusMeroitic subset, in anticipation of future Unicode coverage of Meroitic. • Neoklis Kyriazis has created wonderful color images of the Gardiner glyphs. |
version 3.11
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Akkadian |
Akkadian covers the following scripts and symbols supported by The Unicode Standard 5.2: Basic Latin, Greek and Coptic, some Punctuation and other Symbols, Cuneiform, Cuneiform Numbers and Punctuation. |
version 2.52
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Symbola |
Symbola (formerly issued as Unicode Symbols) covers the following scripts and symbols supported by The Unicode Standard 5.2: Basic Latin, Latin-1 Supplement, Latin Extended-A, IPA Extensions, Spacing Modifier Letters, Greek and Coptic, Cyrillic, Cyrillic Supplementary, General Punctuation, Superscripts and Subscripts, Combining Diacritical Marks for Symbols, Letterlike Symbols, Number Forms, Arrows, Mathematical Operators, Miscellaneous Technical, Control Pictures, Optical Character Recognition, Box Drawing, Block Elements, Geometric Shapes, Miscellaneous Symbols, Dingbats, Miscellaneous Mathematical Symbols-A, Supplemental Arrows-A, Supplemental Arrows-B, Miscellaneous Mathematical Symbols-B, Supplemental Mathematical Operators, Miscellaneous Symbols and Arrows, Supplemental Punctuation, CJK Symbols and Punctuation, Yijing Hexagram Symbols, Vertical Forms, Combining Half Marks, CJK Compatibility Forms, Specials, Tai Xuan Jing Symbols, Counting Rod Numerals, Mathematical Alphanumeric Symbols, Mahjong Tile Symbols, Domino Tile Symbols. |
version 2.54
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Musica |
Musica (formerly issued as Musical Symbols), covers the following scripts and symbols supported by The Unicode Standard 5.2: Basic Latin, Greek and Coptic, some Punctuation and other Symbols, Byzantine Musical Symbols, (Western) Musical Symbols, Archaic Greek Musical Notation. |
version 2.52
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Analecta |
Analecta is an ecclesiastic scripts font, covering Basic Latin, Greek and Coptic, some Punctuation and other Symbols, Coptic, typographica varia, Specials, Gothic and Deseret. |
version 2.52
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Alexander |
A text typeface using the Greek letters designed by Alexander Wilson (1714-1786), a Scottish doctor, astronomer, and typefounder. The type was especially designed for an edition of Homer’s epics, published in 1756-8 by Andrew and Robert Foulis, printers to the University of Glasgow. A modern revival, Wilson Greek, has been designed by Matthew Carter in 1995. Peter S. Baker is also using Wilson’s Greek type in his Junicode font for medieval scholars (2007). Latin and Cyrillic are based on a Garamond typeface. The font covers the Windows Glyph List, IPA Extensions, Greek Extended, Ancient Greek Numbers, Byzantine and Ancient Greek Musical Notation, various typographic extras and several Open Type features (Case-Sensitive Forms, Small Capitals, Subscript, Superscript, Numerators, Denominators, Fractions, Old Style Figures, Historical Forms, Stylistic Alternates, Ligatures). |
version 3.01
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Alfios |
Lowercase upright Greek were designed in 1805 by Firmin Didot (1764 – 1836) and cut by Walfard and Vibert. The typeface, together with a complete printing house, was donated in 1821 to the new Greek state by Didot’s son, Ambroise Firmin Didot (1790 – 1876). Lowercase italic Greek were designed in 1802 by Richard Porson (1757 – 1808) and cut by Richard Austin. They were first used by Cambridge University Press in 1810. Capitals, Latin and Cyrillic, as well as the complete bold weights, have been designed in an attempt to create a well-balanced font. The font covers the Windows Glyph List, Greek Extended, various typographic extras and some Open Type features (Numerators, Denominators, Fractions, Old Style Figures, Historical Forms, Stylistic Alternates, Ligatures); it is available in regular, italic, bold and bold italic. |
version 1.01
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Anaktoria |
Grecs du roi was designed by Claude Garamond (1480 – 1561) between 1541 and 1544, commissioned by king Francis I of France, for the exclusive use by the Imprimerie Nationale in Paris. Greek in Akaktoria is based on a modern version of Grecs du roi prepared by Mindaugas Strockis in 2001. Lowercase Latin stems from the titles in the 1623 First Folio Edition of Shakespeare. Scott Mann & Peter Guither prepared a modern version for The Illinois Shakespeare Festival in 1995. Cyrillic has been designed to match the above Greek and Latin. The font covers the Windows Glyph List, Greek Extended, various typographic extras and some Open Type features (Numerators, Denominators, Fractions, Old Style Figures, Historical Forms, Stylistic Alternates, Ligatures, Swash Capitals). |
version 1.01
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Aroania |
In 1927, Victor Julius Scholderer (1880 – 1971), on behalf of the ‘Society for the Promotion of Greek Studies’, got involved in choosing and consulting the design and production of a Greek type called ‘New Hellenic’ cut by the Lanston Monotype Corporation. He chose the revival of a round, and almost monoline type which had first appeared in 1492 in the edition of Macrobius, ascribable to the printing shop of Giovanni Rosso (Joannes Rubeus) in Venice. Aroania is a modern recast of Victor Scholderer’s ‘New Hellenic’ font, on the basis of Verdana. The font covers the Windows Glyph List, Greek Extended, various typographic extras and is available in regular and bold. The regular style of the font also covers IPA Extensions, Ancient Greek Numbers, Byzantine and Ancient Greek Musical Notation and several Open Type features (Case-Sensitive Forms, Small Capitals, Subscript, Superscript, Numerators, Denominators, Fractions, Old Style Figures, Historical Forms, Stylistic Alternates, Ligatures). |
version 1.01
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Atavyros |
Robert Granjon (1513 – 1589) produced his Parangonne Greque typeface (garmond size) at the instigation of Christophe Plantin as a counterpart to Garamond’s Grec du roi, in Antwerp Holland, between 1560 - 1565. It was used in Plantin’s multilingual Bible of 1572. Versions of Granjon’s type were used for the 1692 edition of Diogenes Laertius and for the Greek-Dutch edition of the New Testament in 1698, both published by Henric Wetstenium in Amsterdam. A digital revival was prepared by Ralph P. Hancock for his Vusillus font in 1999. Latin and Cyrillic are based on a Goudy typeface. The font covers the Windows Glyph List, Greek Extended, various typographic extras and some Open Type features (Numerators, Denominators, Fractions, Old Style Figures, Historical Forms, Stylistic Alternates, Ligatures). |
version 1.01
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Avdira |
Upright is based on the lowercase Greek letters in the typeface used by Demetrios Damilas for the edition of Isocrates, published in Milan in 1493. A digital revival was prepared by Ralph P. Hancock for his Milan (Mediolanum) font in 2000. Italic Greek were designed in 1802 by Richard Porson (1757 – 1808) and cut by Richard Austin. They were first used by Cambridge University Press in 1810. Capitals, Latin and Cyrillic, as well as the complete bold weights, have been designed in an attempt to create a well-balanced font. The font covers the Windows Glyph List, Greek Extended, various typographic extras and is available in regular, italic, bold and bold italic. The regular style of the font also covers IPA Extensions, Ancient Greek Numbers, Byzantine and Ancient Greek Musical Notation and several Open Type features (Case-Sensitive Forms, Small Capitals, Subscript, Superscript, Numerators, Denominators, Fractions, Old Style Figures, Historical Forms, Stylistic Alternates, Ligatures). |
version 1.01
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other |
These are work-fonts, with glyphs in the Private Use Area of the BMP. There are no plans of future versions. • Anatolian: Anatolian Hieroglyphs (F200 ··· F4FF). • Maya: Maya Hieroglyphs (F200 ··· F847). • Unidings: glyphs useful for a Last Resort font (F200 ··· F67D). |
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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. |
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fonts designed by George Douros |
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