FS Olivia Paneuropean® font family
Antwerp
On a visit to Belgium and the Netherlands while still an MA student at Reading University, Eleni Beveratou made some important discoveries. First, there was the letter ‘g’ from the Didot family seen at Plantin Moretus Museum in Antwerp, which seemed “almost like a mistake”. Then there were strange details such as the serifs on the “l”, “h”, “k”, “b” ¿and “d” in Egmont Cursive and other typefaces by Sjoerk Hendrik de Roos, found in volumes of poetry she picked up from a chaotic bookshop in Amsterdam.
These were characters that stood out from the text but seemed to blend harmoniously with the rest ¿of the letters. “And there it was, the spark. ¿I decided to design a typeface that would capture the details of the process of writing.”
A guiding hand
Eleni shared her initial thoughts with Phil Garnham and Jason Smith. They liked what they saw in her tentative first sketches, and gave her the chance to develop her ideas further. Phil, in particular, provided valuable input as FS Olivia took shape.
Eleni’s main influence – the handwritten – would give the font its character. “When creating a typeface,” says Eleni, “it’s fair to say that it reflects some of the designer’s personality. And that’s certainly the case with ¿FS Olivia.
“Although technology is part of my everyday life. I am a great admirer of traditional graphic design where you can touch and feel paper and ink.”
Irregular
“What I particularly like,” says Eleni, “is that a printed item can develop its own personality sometimes as a result of imperfections in the print.
“FS Olivia has some of ¿these characteristics as it’s inspired by handwriting, ¿and yet it also includes some ¿very modern features.”
Feminine and fascinating, FS Olivia captures the expressive twists and turns of (the poet’s?) pen on paper, with low junctions, ¿deep top serifs and semi-rounded edges.
Round outstrokes contrast with ¿the rough corners of the instroke, while strong diagonals and inclined serifs create a richly textured pattern.
Polytonic
It’s only fitting that there should be a version of this poetic font for one of the birthplaces of poetry and song. Eleni, who hails from Athens, developed an extensive range of glyphs that could be used for the Greek language, in both modern and ancient texts.
For the latter, there is a version of Olivia for displaying polytonic Greek (a system that utilises a range of accents and “breathings”), which brings the 21st century technology of OpenType to the presentation of poetic texts from Ancient Greece.
Just think what Homer could have done with that.
On a visit to Belgium and the Netherlands while still an MA student at Reading University, Eleni Beveratou made some important discoveries. First, there was the letter ‘g’ from the Didot family seen at Plantin Moretus Museum in Antwerp, which seemed “almost like a mistake”. Then there were strange details such as the serifs on the “l”, “h”, “k”, “b” ¿and “d” in Egmont Cursive and other typefaces by Sjoerk Hendrik de Roos, found in volumes of poetry she picked up from a chaotic bookshop in Amsterdam.
These were characters that stood out from the text but seemed to blend harmoniously with the rest ¿of the letters. “And there it was, the spark. ¿I decided to design a typeface that would capture the details of the process of writing.”
A guiding hand
Eleni shared her initial thoughts with Phil Garnham and Jason Smith. They liked what they saw in her tentative first sketches, and gave her the chance to develop her ideas further. Phil, in particular, provided valuable input as FS Olivia took shape.
Eleni’s main influence – the handwritten – would give the font its character. “When creating a typeface,” says Eleni, “it’s fair to say that it reflects some of the designer’s personality. And that’s certainly the case with ¿FS Olivia.
“Although technology is part of my everyday life. I am a great admirer of traditional graphic design where you can touch and feel paper and ink.”
Irregular
“What I particularly like,” says Eleni, “is that a printed item can develop its own personality sometimes as a result of imperfections in the print.
“FS Olivia has some of ¿these characteristics as it’s inspired by handwriting, ¿and yet it also includes some ¿very modern features.”
Feminine and fascinating, FS Olivia captures the expressive twists and turns of (the poet’s?) pen on paper, with low junctions, ¿deep top serifs and semi-rounded edges.
Round outstrokes contrast with ¿the rough corners of the instroke, while strong diagonals and inclined serifs create a richly textured pattern.
Polytonic
It’s only fitting that there should be a version of this poetic font for one of the birthplaces of poetry and song. Eleni, who hails from Athens, developed an extensive range of glyphs that could be used for the Greek language, in both modern and ancient texts.
For the latter, there is a version of Olivia for displaying polytonic Greek (a system that utilises a range of accents and “breathings”), which brings the 21st century technology of OpenType to the presentation of poetic texts from Ancient Greece.
Just think what Homer could have done with that.
FS Olivia Paneuropean Bold Italic
Desktop fonts are designed to
be installed on a computer for
use with applications.
Licensed per user.
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Annual web fonts are licensed
for a set number of page views.
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annually per issue.
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processes to create items.
A license is per server core CPU per year.
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FS Olivia Paneuropean
Select technical format and
language support of the font.
language support of the font.
Technical details
OpenType outline flavour:
CFF - PostScript-Outlines
Technical font names:
File name: FSOliviaPro-BoldItalic.otf
Windows menu name: FS Olivia Pro
PostScript name: , FSOliviaPro-BoldItalic
PostScript full name: , FSOliviaPro-BoldItalic
Windows menu name: FS Olivia Pro
PostScript name: , FSOliviaPro-BoldItalic
PostScript full name: , FSOliviaPro-BoldItalic
Catalog number:
167518959
Characters:
1456