Greek: Adapting a script with sensitivity It was in this process of extension and refinement that Leonidas and Zhukov got involved, as well as Robert Slimbach. Lipton had worked on basic Greek and Cyrillic extensions to Bickham for a private client, which jump-started the work that needed to be done to turn Bickham Script into a Pro typeface for Adobe. Lipton had also been concerned about “learning how Cyrillic and Greek glyphs (lowercase mostly) would interact with each other, and keeping the rhythm and flow that was present in the Latin lowercase.” “Though I had designed Cyrillic and Greek roman and italic forms, and even did Cyrillic and Greek script work on Sloop for a custom client, I had little experience with historic roundhand forms in these languages,” says Lipton. Their experience and perspective is invaluable - especially when the type designer does not read either Greek or one of the Cyrillic-written languages, as was the case for Richard Lipton. Leonidas and Zhukov have advised Adobe and many other digital type foundries on the intricacies of Greek and Cyrillic type design, pointing out which similar characters should look the same in multiple scripts and which should not, or which elements of different individual letters need to be consistent within a font. In developing appropriate Greek and Cyrillic versions of Bickham Script, David Lemon - Adobe’s senior manager of type development - brought in two of the foremost experts in coordinating type design across different alphabets: Gerry Leonidas for Greek, and Maxim Zhukov for Cyrillic. Image courtesy of the Letterform Archive, San Francisco. Greek script from George Bickham’s The Universal Penman (London, 1743), folio 208 (detail).
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