(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!
Copy and past the following text in the Font Sampler to test the font
Vlad Dorosh describes this font: “The original typeface was used in the liturgical books of the last century, published by the presses of the Pochaev Lavra. Pochaevsk UCS was based on an accurate digital version of Pochaevsk. The names of different designers are indicated in different [earlier] versions of this font: OIDA (Orthodox Information Data Associates, year unknown); Nikita Simmons (1996); Archbishop John (1999). It can be assumed that the original font was made by OIDA, then altered by two other designers.”
In reality, the font was originally called “Church Slavonic” and designed by Linotype AG in 1981 and digitized by Adobe Systems Incorporated in 1991. In the days when most type designers were naive and knew little about honoring and protecting copyrights, I was sent a copy of the font in 1991 by a private individual to use in typesetting a book. (I believe that he legally purchased it from Linotype AG. He is now deceased, and I have no way to verify the truth of the situation.) I (Nikita Simmons) was asked to expand the character set to include many missing characters and to re-encode the font. Of the existing characters, however, I made absolutely no alterations. After extensive reworking of the font, I named it “Pochaevsk”. Over the next year I gave a copy to George Bedrin of OIDA (Orthodox Information Data Associates), and he possibly made a few alterations (although I cannot find any, and I believe that OIDA has ceased to distribute the font). [I am completely unaware of the role that Archbishop John plays in this, and since I cannot see any alterations in the font design, I can only conclude that he made no changes.] Somehow a copy of Pochaevsk was given or sold to Vladislav Dorosh and it is now being distributed in UCS-8 encoding. The irmologion.ru version includes almost all of the original character additions of Nikita Simmons, and Vlad Dorosh has added the necessary composite characters to adhere to UCS-8 standards. — In summary, the font Pochaevsk is a cummulative work of a few designers and redesigners.
Here is the version of V. Dorosh.
Design, Publisher, Copyright, License
Copyright 1996 by Starin/Russian Antiquities; developed by Nikita Simmons. Adapted to UCS by Vladislav V.Dorosh, 2001
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Vector reconstruction of Glagolitic Letters, Cyrillic Letters and Ornaments
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