![]() ![]() ![]() While this visual continuity can help to harmonise the three scripts across the design of a typeface, it can also make it difficult to maintain the individual integrity of each script. The Cyrillic lowercase makes use of several characters found in Latin, whilst others appear to be derived from elements found in Latin letters in an almost constructed manner. The only shared letter shape is the omicron (the Latin lowercase o). ![]() and retain their written heritage as they developed along a different route to that of Latin. Greek lowercase letters are all unique shapes specific to the Greek language. The lowercase though differs quite extensively. All three scripts share, in part, a common heritage, this can easily be seen through common characters especially in the capitals. In 2004 Bliss was upgraded to the OpenType format and 2006 brought another expansion with Greek and Cyrillic scripts added across the whole family. ExtraLight was added five years later together with an expanded character set to include Central European languages. īliss was originally released in 1996 as a six weight family. The lowercase also continues this straight and curved stroke terminal detailing. Horizontal top strokes of E F T and Z have oblique cuts that are balanced by the same detail in the rounded lower strokes of C J Q and S. As well as letter proportion, the details seen in the stroke terminals help to establish the personality of Bliss. ![]() Here the A to Z show a variety of widths, such as a narrow E and wide O. In contrast to the 19th century tradition of grotesque sans serifs, where the proportions of the capitals tend to be even, the proportions of Bliss show the influence of the Roman Square capital. The lowercase letters demonstrate some of these ideas, such as the lowercase l which differentiates itself with a curved foot at its base, and the humanist two-bowled g that’s typically found in English sans serif designs from 19th to mid 20th centuries. Letter shapes were chosen for their simplicity, legibility and ‘Englishness’ (where forms are typically softer, more flowing and generous in their curves). Many of the ideas and details seen in these typefaces played their part in the design development of Bliss. ![]()
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