![]() Simple albeit with a few geometric touches, this family pack was designed by Arta Osherov and published by Masterfont. All you need are these lovely Hebrew fonts and you’re good to go. You don’t need to be an expert if you want to incorporate a few of its elements and/or aesthetics into your works. Known as the language of sacred texts, Hebrew is both fascinating and vital. ![]() This has been the way to write Hebrew up to the present. The Masoretic Hebrew texts of the Bible were written this way. The Hebrew symbols we know today began around 11th Century A.D. Most of the scrolls from the Dead Sea Caves were written in late Semitic script, where it saw first use between the 4th Century B.C. There are theories of this being older than what the current discoveries suggest. Its foundations dated as far as between the 20th and 12th centuries B.C. The Hebrew alphabet saw just as many changes as its spoken counterpart throughout the years. The late 19th Century saw its revival as a spoken language among people. Judaists kept the language alive through their liturgies. It also served as a language of commerce in Jews of varying first tongues. Hebrew was no longer widely spoken by Late Antiquity, but it continued to see use as a literary language in Spain. It had gone through several changes during these times, notably due to the rise and fall of empires in the region. It was widely accepted that Hebrew flourished as a spoken language from 1200 to 586 BCE. These are languages once used by people throughout the Levant, Mesopotamia, Anatolia, and all the way to the east Mediterranean. This means Noam Text can be the go-to family across the board and capitalise on the desire for clear typographic progress in this modern age.Hebrew is the last of the Canaanite dialects. Aligned with TypeTogether’s commitment to produce high-quality type for the global market, the complete Noam Text family displays an impressive amount of discretion, applying to wide use-cases by not edging too close to religious motifs or imbibing in secular indulgence. Noam Text’s three total weights provide a proper solution for integrating texts in both scripts, as well as a contemporary alternative for use in books, newspapers, and magazine design. These virtues help it endure harsh printing conditions and subpar inks and paper. Noam Text Latin’s italic is rounded and reading friendly, is condensed to generate a lighter texture than the roman, and has a flowing stance. Originally derived from the Hebrew, the shallow horizontal curves and strong baseline serifs provide dynamism and enhance the reading flow. Noam Text is intended mostly for setting long texts, so it strives to achieve maximum legibility in minimum space with its large x-height, short and fairly condensed Latin capitals, large and open counters, and low contrast. Among other technologically advanced details, Noam Text was programmed for all expected scenarios of mixing Hebrew, Latin, figures, and punctuation. Of unique importance - all punctuation marks have a Hebrew version, which makes each script complete and uncompromising. All these have been taken into account in Noam Text’s modern design. Hebrew and Latin have opposite reading directions, creating many issues: opposing directionality of the open counters vertical stress in Latin, but horizontal in Hebrew fewer extenders in Hebrew and no Hebrew capital letters. In short order, users will recognise Noam Text as a source of progress in its bilingual abilities. Noam Text’s design goal was to create a coherent family with both Latin and Hebrew serif text typefaces, each authentic to its own script, and which would serve as an alternative to last century’s predecessor. Since 1908, the Frank-Rühl fonts have dominated the Hebrew book and newspaper market. In this way, TypeTogether is happy to introduce Noam Text: A Hebrew and Latin serif font that builds on its heritage with the twin tools of honour and progress. It can’t really be called progress unless it honours its history. Hebrew speaker? Click here for the full story.Īdi Stern’s Noam Text shows that typographic progress is often in the small things - in the perfecting of familiar traditions and in staying loyal to the spirit of what came before.
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