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It is not a matter of DNA or a matter of state identity. It is a matter of dialectic choice. If I want to be Indian or Greek or Chinese in an essential way (accepting and living in accordance to this civilization) then yes. A modern Greek can be Greek (or not) as much as s/he likes. Are they Greek today? Several are.
Look at the greek set of Parmigiano by Typotheque. It is a type system inspired by Bodoni’s typefaces. As you can see on the screenshot, not many straight lines are present on the Greek lowercase letters (which were designed by Irene Vlachou).
As for the techno direction that you mention, I can only say that it is a product of it’s time, which is the ‘90s. I believe that we should not look back to the models of the 90’s at all.
PS Here is a sample of actual Bodoni Greek, published in 1787
Edit: the image from of the Bodoni page is taken from the book Ανθολόγιο Ελληνικής τυπογραφίας [Anthology of Greek typography], edited by George D. Matthiopoulos, Crete University Press & Greek Font Society, 2009
Edit No2: is something wrong with the typeface used here? Where is letter pi?
From left to right:
@John Savard, of course those letterforms that you mention were authentically Greek at their time, but they have actually transformed through the ages. Certain letters like stigma were even abandoned. Would you consider bringing back the long s? Wouldn’t that be an anachronism?
It is a fact that since the formation of the modern Greek state (that was after the revolution that started in 1821) the prevailing model of the greek typographic minuscules is that of Firmin Didot’s printing types. He, as a philhellene, was the first to donate printing presses and movable type to Greeks and those became the norm. Those types are beautiful but they do have issues, regarding stress and contrast. Still, it is what we are accustomed to.
Personally, I divide graphic design and the use of typography in two categories:
1. Book design
2. Everything else
So, in book design, I must say –firstly as a reader– that I mostly like reading the Didot types and Ελζεβίρ (Times Greek). It is really hard for me to read 300 pages on a latinised font. I only do it when I really need to read that particular text.
The challenge of course is for someone to surpass those models, and create new, better greek types that are true and honest and will be accepted by the general public. But I don’t believe that will happen through latinisation. One must first understand these models, by trying to copy them. Myself, I have made a couple of lousy efforts (pictured bellow). This process, I must say, has helped me a lot. Still a long way to go, though.
In the second category, anything goes
@Andreas Stötzner, of course the examples I posted are very casual – not at all formal letters, and certainly they are not minuscules. But they don’t look like uncials to me either. Especially on the third one, as you can see on the image bellow, ascenders, descenders and connected letters are apparent. Isn’t this some kind of evolution?
From top to bottom: Theodore, Joseph, Dorotheus
Fun fact: greek scribes (at least since the 8th century) were not writing using a baseline. They wrote the letters hanging from the –so called for Latin– x-height
Rafael Cases said:
I agree with Twardoch that the way the scholars from rest of the world sees Greek is that of a world typeface. Due to Greek being used not only in Greece but practically the whole scholarly and scientific world and being used alongside Latin, Greek is the most likely to undergo significant pressure to harmonise with Latin.
Adam Jagosz said:
@Uwe Waldmann At the risk of sounding like a smartass... I think final sigma never looks like c. Lunate sigma is a contextless form, used at all positions, replacing both final and regular sigma.
Adam Jagosz said:
since math Greek is used by more people than the Greek language,