Croatica

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(EN) The quick brown fox jumps over the lazy dog. (NL) Op brute wijze ving de schooljuf de quasi-kalme lynx. (CS) Nechť již hříšné saxofony ďáblů rozezvučí síň úděsnými tóny waltzu, tanga a quickstepu. (HU) Jó foxim és don Quijote húszwattos lámpánál ülve egy pár bűvös cipőt készít. (RO) Înjurând pițigăiat, zoofobul comandă vexat whisky și tequila. (RU) Разъяренный чтец эгоистично бьёт пятью жердями шустрого фехтовальщика. (BG) Огньове изгаряха с блуждаещи пламъци любовта човешка на Орфей. (SR) Фијуче ветар у шибљу, леди пасаже и куће иза њих и гунђа у оџацима. (EL) Ταχίστη αλώπηξ βαφής ψημένη γη, δρασκελίζει υπέρ νωθρού κυνός. Type your own text to test the font!
Church Slavonic texts
Copy and past the following text in the Font Sampler to test the font

 

CODEX ZOGRAPHENSIS

ⰅⰂⰀⰌⰅⰎⰋⰅ ⰑⰕⰟ ⰊⰑⰀ̆ⰐⰀ (EVANGELIE OT IOANA)

ⱄⰽⱁⱀⰻ · ⰱⱑⰰ̆ⱎⰵ ⱄⰾⱁⰲⱁ · ⰺ҅ ⱄⰾⱁⰲⱁ ⰱⱑⰰ̆ⱎⰵ ⱁⱅⱏ ⰱ҃ⰰ · ⰺ҅ ⰱ҃ⱏ ⰱⱑⰰ̆ⱎⰵ ⱄⰾⱁⰲⱁ · ⱄⰵ ⰱⱑ ⰺ҅ⱄⰽⱁⱀⰻ ⱁ̆ⱅⱏ ⰱ҃ⰰ · ⰲⱐⱄⱑ ⱅⱑⰿⱐ ⰱⱏⰻⱎⱔ · ⰺ҅ ⰱⰵⰶ ⱀ̑ⰵⰳⱁ ⱀⰻⱍⱐⱅⱁⰶⰵ ⱀⰵ ⰱⱏⰻⱄⱅⱏ · ⰵⰶⰵ ⰱⱏⰻⱄⱅⱏ · ⰲⱏ ⱅⱁⰿⱐ ⰶⰻⰲⱁⱅⱏ ⰱⱑ · ⰺ҅ ⰶⰻⰲⱁⱅⱏ ⰱⱑ ⱄⰲⱑⱅⱏ ⱍ҃ⰽⱁⰿⱏ · ⰺ҅ ⱄⰲⱑⱅⱏ ⰲⱏ ⱅⱏⰿⱑ ⱄⰲⱐⱅⰻⱅⱏ ⱄⱔ · ⰺ҅ ⱅⱏⰿⰰ ⰵⰳⱁ ⱀⰵ ⱁⰱⱐⱗⱅⱏ · Ⰱⱏⰻⱄⱅⱏ ⱍ҃ⰽⱏ · ⱂⱁⱄⱏⰾⰰⱀⱏ ⱁⱅⱏ ⰱ҃ⰰ · ⰺ҅ⰿⱔ ⰵⰿⱆ ⰺ҅ⱁⰰⱀⱏ · ⱄⱐ ⱂⱃⰻⰴⰵ ⰲⱏ ⱄⱏⰲⱑⰴⱑⱅⰵⰾ̑ⱐⱄⱅⰲⱁ · ⰴⰰ ⱄⱏⰲⱑⰴⱑⱅⰵⰾ̑ⱐⱄⱅⰲⱆⰵⱅⱏ ⱁ ⱄⰲⱑⱅⱑ · ⰴⰰ ⰲⱐⱄⰻ ⰲⱑⱃⱘ ⰺ҅ⰿⱘⱅⱏ ⰺ҅ⰿⱐ · ⱀⰵ ⰱⱑ ⱅⱏ ⱄⰲⱑⱅⱏ · ⱀⱏ ⰴⰰ ⱄⱏⰲⱑⰴⱑⱅⰵⰾ̑ⱐⱄⱅⰲⱆⰵⱅⱏ ⱁ ⱄⰲⱑⱅⱑ · Ⰱⱑ ⱄⰲⱑⱅⱏ ⰺ҅ⱄⱅⰻⱀⱏⱀⱏⰻ · ⰺ҅ⰶⰵ ⱂⱃⱁⱄⰲⱑⱎⱅⰰⰵⱅⱏ ⰲⱄⱑⰽⱁⰳⱁ ⱍ҃ⰽⰰ · ⰳⱃⱔⰴⱘⱎⱅⰰⰵⰳⱁ ⰲⱏ ⰿⰻⱃⱏ · ⰲⱏ ⰿⰻⱃⱑ ⰱⱑ · ⰺ҅ ⰿⰻⱃⱏ ⱅⱑⰿⱐ ⰱⱏⰻⱄ · ⰺ҅ ⰿⰻⱃⱏ ⰵⰳⱁ ⱀⰵ ⱂⱁⰸⱀⰰ · Ⰲⱏ ⱄⰲⱁⱗ ⱂⱃⰻⰴⰵ · ⰺ҅ ⱄⰲⱁⰻ ⰵⰳⱁ ⱀⰵ ⱂ[ⱃⰻⱔ]ⱎⱔ · ⰵⰾⰻⰽⱁ ⰶⰵ ⰺⱈⱏ ⱂⱃⰻⱗⱅⱏ %ⰹ · ⰴⰰⱄⱅⱏ ⰺ҅ⰿⱏ ⰲⰾⰰⱄⱅⱐ ⱍⱔⰴⱁⰿⱏ ⰱ҃ⰶⰻⰵⰿⱏ ⰱⱏⰻⱅⰻ · ⰲⱑⱃⱆⱙⱎⱅⰻⰿⱏ ⰲⱏ ⰺⰿⱔ ⰵⰳⱁ · ⰺ҅ⰶⰵ ⱀⰵ ⱁⱅⱏ ⰽⱃⱏⰲⰻⰹ · ⱀⰻ ⱁⱅⱏ ⱂⱁⱈⱁⱅⰻ ⱂⰾⱏⱅⱐⱄⰽⱏⰻ · ⱀⰻ ⱁⱅⱏ ⱂⱁⱈⱁⱅⰻ ⰿⱘⰶⱐⱄⰽⱏⰻ · ⱀⱏ ⱁⱅⱏ ⰱ҃ⰰ ⱃⱁⰴⰻⱎⱔ ⱄⱔ · Ⰺ҅ ⱄⰾⱁⰲⱁ ⱂⰾⱏⱅⱐ ⰱⱏⰻⱄⱅⱏ · ⰺ҅ ⰲⱐⱄⰵⰾⰻ ⱄⱔ ⰲⱏ ⱀⱏⰻ · ⰺ҅ ⰲⰻⰴⱑⱈⱁⰿⱏ ⱄⰾⰰⰲⱘ ⰵⰳⱁ · ⱄⰾⰰⰲⱘ ⱑⰽⱁ ⰺⱀⱁⱍⱔⰴⰰⰵⰳⱁ ⱁⱅⱏ ⱁ҃ⱌⰰ · ⰺ҅ⱄⱂⰾⱏⱀⱐ ⰱⰾⰰⰳⱁⰴⱑⱅⰻ ⰺ҅ⱄⱅⰻⱀⱏⰻ · Ⰺ҅ⱁⰰⱀⱏ ⱄⱏⰲⱑⰴⱑⱅⰵⰾⱐⱄⱅⰲⱆⰵⱅⱏ ⱁ ⱀ̑ⰵⰿⱐ · ⰺ҅ ⰲⱏⰸⱏⰲⰰ ⰳ҃ⰾⱔ · ⱄⱐ ⰱⱑ ⰵⰳⱁⰶⰵ ⱃⱑⱈⱏ · ⰳⱃⱔⰴⱏⰻ ⱂⱁ ⰿⱀⱑ ⱂⱃⱑⰴⱏ ⰿⱏⱀⱁⱙ ⰱⱏⰻⱄⱅⱏ · ⱑⰽⱁ ⱂⱃⱏⰲⱑⰹ ⰿⰵⱀⰵ ⰱⱑ · ⰺ҅ ⱁⱅⱏ ⰺ҅ⱄⱂⰾⱏⱀ̑ⰵⱀⰻⱑ ⰵⰳⱁ ⰿⱏⰻ ⰲⱐⱄⰻ ⱂⱃⰻⱗⱈⱁⰿⱏ · Ⰱⰾⰰⰳⱁⰴⱑ̆ⱅⱐ ⰲⱏⰸ ⰱⰾⰰⰳⱁⰴⱑⱅⱐ · ⱑⰽⱁ ⰸⰰⰽⱁⱀⱏ ⰿⱁⱄⱑⱁⰿⱐ ⰴⰰⱀⱏ ⰱⱏⰻⱄ · ⰱⰾⰰⰳⱁⰴⱑⱅⱐ ⰺ҅ ⰻⱄⱅⰻⱀⰰ ⰺ҃ⱄ ⱈ҃ⰿⱐ ⰱⱏⰻⱄⱅⱏ · ⰽ҃ⱁⱌ ·

 

ЖИТІЀ СТ҃А́ГѠ Є҆Ѵⷢ҇ЛІ́СТА МАТѲЕ́А,

ѿ сѡфро́нїа.

Матѳе́й, и҆́же и҆ леѵі́й, а҆пⷭ҇лъ ѿ мытаре́й, во і҆ꙋде́и пе́рвый вѣ́ровавшихъ ра́ди ѿ ѡ҆брѣ́занїѧ, є҆ѵⷢ҇лїе хрⷭ҇то́во писмены̀ и҆ глаго́лы є҆вре́йскими сочинѝ, невѣ́домомꙋ по си́хъ во є҆́ллинское сїѐ прело́жшꙋ: є҆вре́йское же да́же до дне́сь є҆́сть въ книгохрани́тельницѣ кесарі́йской, ѿ памфі́ла мꙋ́ченика тща́тельнѡ ᲂу҆стро́ившейсѧ. Мнѣ́ же ѿ назѡре́ѡвъ, въ вері́и сѷрі́йстѣй сїѐ ᲂу҆потреби́вшихъ, во́лѧ подаде́сѧ сегѡ̀ преписа́нїѧ: и҆́мже є҆́сть и҆звѣ́стно вѣ́дати, ꙗ҆́кѡ и҆дѣ́же бы є҆ѵⷢ҇лі́стъ и҆лѝ ѿ лица̀ своегѡ̀, и҆лѝ ѿ лица̀ гдⷭ҇а на́шегѡ і҆и҃са хрⷭ҇та̀ и҆ сп҃са, свидѣ́тєльства ᲂу҆потреби́лъ дре́внихъ писа́нїй, не послѣ́довати во́ли седми́десѧтъ толко́вникѡвъ, но є҆вре́йской: ѿ ни́хже два̀ сꙋ́ть ѻ҆́на: И҆з̾ є҆гѵ́пта воззва́хъ сн҃а моего̀: и҆, Ꙗ҆́кѡ назѡре́й нарече́тсѧ. (л. а҃ ѡ҆б.)

Description

As I began to develop the font I also read quite a bit about typography. In an article about various scripts I found out that experts differentiate mature scripts from those that are immature by seeing if capital letters differ from lower case letters, and if these have varying ascenders and descenders, so that the written text is easier to read. I also wanted to do these requirements justice by the development of the font.
In designing the letters I have standardised their forms as much as possible with the goal of designing a modern standard font with serifs, similar to the well-known “Times New Roman”.
In total I have invested around four year’s work of my leisure time in this project and I finally finished the font in April 2009. It’s not easy for me to say which geographical or historical influences are reflected in my font. You could say that it ties various traditions from different regions and centuries of Croatian Glagolitic culture together. For this reason I have named the font simply “Croatica”.
I believe I have provided almost all the Glagolitic letters that were used in the past, and some variations and ligatures (as no cursive equivalents exist for the older letters that were not used any more in Croatia, I created some myself); additionally also the Glagolitic numbers and all important punctuation marks and other special symbols, so that the font contains more than 260 characters.
My aim was for the font to find use not only for the contemprary Croatian language, but also for all other Glagolitic and (Old)Church Slavonic texts.
The only current problem with this font is the inadequate unicode and the keyboard coding. I found a solution for writing/typing (unfortunately a transliteration is not possible), but lobbying the Unicode Consortium from different sides could and should done for the expansion of the Glagolica unicode.
It is my wish that the font be made available for use for all interested persons and institutions that are concerned with this topic.

Design, Publisher, Copyright, License

Design: Nenad Hančić

Publisher: Nenad Hančić

Copyright, 2009: Nenad Hančić

License: Creative Commons Attribution-ShareAlike 3.0 Germany License

Permissions: Private use Commercial use Modification Distribution
Limitations: Liability Warranty
Conditions: License and copyright notice Same license

Nenad Hančić

Nenad Hančić-Matejić

Nenad Hancic (Glagolitica Fonts&Co) specializes in Glagolitic. He created two fonts, Croatica (2009), and Glagolica Missal DPG. The lower case letters of Glagolica Missal DPG are based on Missal from 1483, while the capital letters are based on those of Transit of St. Jerome from 1508. Nenad lives in Duesseldorf, Germany.
Typefaces: Croatica, Glagolica Missal DPG, Vinodolski Zakon

More… TYPE DESIGN INFORMATION | Nenad Hančić

Free License

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  Vector reconstruction of Glagolitic Letters, Cyrillic Letters and Ornaments
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