Papers by Kostas Bartsokas
This essay focuses on the development of Greek types in early
printed books in Europe. It examine... more This essay focuses on the development of Greek types in early
printed books in Europe. It examines and compares the most
distinct models of Greek typefaces cut in the late 15th and early
16th century. The purpose of this study is to provide a context for
evaluating the transition of written scripts into metal typefaces, by
investigating into the range of letterforms as defined by these first
models.
It begins by sketching the historical context of the early years
of printing and the role of the actors involved in the production
and printing of Greek texts and books. Following that, it provides
an overview of the development of Greek writing hands and presents
the challenges that type-makers had to face. Afterwards, it
defines the classes of typefaces created in relationship to the models
that were followed. Finally, the dissertation concludes with an
analysis of the four more exemplary types of these classes, Brocar’s
Complutensian Greek, Damila’s Milan type, the 3rd Aldine type,
and Kalliergis’ Venice type. The analysis compares the range of
forms that appear, and discusses how conventional notions of type
apply in the Greek typographic script.
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Papers by Kostas Bartsokas
printed books in Europe. It examines and compares the most
distinct models of Greek typefaces cut in the late 15th and early
16th century. The purpose of this study is to provide a context for
evaluating the transition of written scripts into metal typefaces, by
investigating into the range of letterforms as defined by these first
models.
It begins by sketching the historical context of the early years
of printing and the role of the actors involved in the production
and printing of Greek texts and books. Following that, it provides
an overview of the development of Greek writing hands and presents
the challenges that type-makers had to face. Afterwards, it
defines the classes of typefaces created in relationship to the models
that were followed. Finally, the dissertation concludes with an
analysis of the four more exemplary types of these classes, Brocar’s
Complutensian Greek, Damila’s Milan type, the 3rd Aldine type,
and Kalliergis’ Venice type. The analysis compares the range of
forms that appear, and discusses how conventional notions of type
apply in the Greek typographic script.