:-)

They're drooling over it!

hhp

FYI, a revamped Fonts section with a new showcased font:
http://armenotype.com/2010/11/showcase-calouste/

hhp

An interesting development:
In a bit of fortunate timing, a competition and conference
have been launched to honor innovation, technology use
and good design among Armenian Websites.

The first phase of the competition is a popular vote, so we
need your help to get to phase two! Please take a moment
to vote for Armenotype here: http://tinyurl.com/2dhzkdq

And please tell others to do the same! With everybody's
help, and if phase two goes well, we'll convey the passion
for the Armenian script to as many people as possible.

Thank you.

hhp

There’s no excuse for a navbar made up of images, let alone images without alt text.

Hi, Joe. The alt text is on my to-do list. As I said on Armenotype I'm quite aware that some things aren't solved optimally yet. Honestly though, I would rather live with a navbar with images with no alt texts for a bit than not have the website up.

Joe, that sounds like a rust-belt bumper sticker.

> than not have the website up.

Zzzactly. Especially since this is a non-commercial venture, not to
mention that the launch deadline was determined ~1600 years ago. :-)

hhp

BTW, I forgot to point out a good reason for having the buttons as graphics: as mentioned in the colophon* they're set in Mana**, a handmade grayscale bitmapfont. Now, if I end up making a webfont of that...

* http://armenotype.com/colophon/

** http://www.themicrofoundry.com/manademo/

hhp

Very nice website! I'd love to see a site about the LATIN alphabet presented as nicely.

Dan, check out that column for that Trajan guy. It is pretty old--school but still cool. ;-)

voted :-)

Thanks in part to Nina's technical wizardry in implementing an elegant and robust multi-lingual mechanism, we now have our first article in Armenian, and English:
http://armenotype.com/2010/11/remembering-the-mekhitarists/?lang=hy
http://armenotype.com/2010/11/remembering-the-mekhitarists/
Enjoy!

hhp

Bravo to both of you, even if Nina did the hard work ;-)

Don't forget the translator! (Actually two of them - the other
one requested anonymity - she ordered chocolates instead. :-)

hhp

Anyone who orders chocolate automatically goes to the top of my list! :-)

After an inexcusably long dormancy (my fault 100%) there's now some new material:
http://armenotype.com/2012/04/archipelago/
http://armenotype.com/2012/04/ernestine-vem/
Check the Gallery too.

And there's more in the pipeline...

hhp

A typeface based on the "Bolorgir" traditional pattern is noted as something you did before you knew any better... but typefaces that are heavily Latinized aren't right either.

Many people here will understand what you're getting at, but naïve readers of that article will be perplexed - because if one doesn't imitate "world culture", what else is left but to stand solidly on authentic historical tradition?

Of course, the answer is to draw on authentic historical roots - but not be chained to them. To be original. To look elsewhere - to Japan, to the Arab world, to Ethiopia, to Greece - for inspiration, not just to United States mass culture. But that has to be said, as it's not something everyone will guess or understand.

John, thanks for reading it!

I guess (or at least hope) it will get people (no matter their background) thinking. I should point out that it's in the Opinion section, which might excuse its relative opacity.

Also, there's room for comments after the essay. Please feel free to state your critique there... which would give me a great opportunity to elaborate! :-)

hhp

Thank you!

I'll give others time to hopefully chime in, then I will.

hhp

Of course, the answer is to draw on authentic historical roots

One way to do that is to look at pre-typographic text culture and, in effect, move forward from there along new lines. This is especially fruitful in the case of scripts that have been ill served by the technical limitations of previous font and typesetting technologies, or which have ossified in their typographic form as a result of having too few type designs available for too long (which seems to have been the case with the Armenian bolorgir style).

We're very fortunate in the case of Armenian that there is such a good palaeographic study of the script. I wish every script I worked with had such a resource!

On a scale of 1 to 10, or however one wishes to put it, though, except for the fact of being a script with a small number of users (and hence a small number of type designers), I don't think Armenian faces severe problems.

Of course, balancing "Armenian-ness" defined, however incorrectly, as a resemblance to Bolorgir (the weighted sans-serif type with the really small x-height and slanted lowercase, for those who don't want to look it up) with Latin typeface conventions is a challenge. But it's simply a stylistic void that invites designers to propose solutions.

On the other hand, properly implementing the calligraphic rules of Arabic stretches the limits of current electronic font technology.

Ethiopic doesn't have a fundamental technical problem, but the character set is large enough that the forms of some of the elements of its syllabary were compromised to allow the language to be typed on an ordinary typewriter. So while fonts for the language don't require sophisticated character to glyph mapping, keyboards may need work. (Think of Chinese or Korean input methods.)

Even Greek - which has a larger (and more economically prosperous, at least until recently) community of users than Armenian - has, in my opinion, a more serious problem than Armenian. It, too, was under Turkish rule for a long time, leading to Greek typography being done chiefly by foreigners. And so we have the effects of Porson Greek on the script.

Greek capital letters, like those of Cyrillic, fit the standard Latin paradigm just fine. But capitals and lower case were basically not integrated at all in Porson Greek. While most modern typefaces do better at this, this, in my opinion, is a very basic stylistic issue which, so far, does not seem to be addressed in a satisfactory manner outside of sans-serif faces.

In the case of the Latin alphabet, Bembo, Caslon, Garamond, Bodoni, Baskerville, Century Expanded, Caledonia and Times Roman can be said to all resoundingly embody pretty well the same basic answer to the question "What should the Latin alphabet look like".

So much so, that perhaps the Latin alphabet is more ossified than Armenian, at least at present, despite the effects of Bolorgir. It's a good thing we have a solution that makes everyone happy, though - and the Latin alphabet, being so widely used, does get lots of experimental designs being done for it.