The Hebrew writing is dishonestly very simple. It comprises just 22 characters having no difference in upper or lower situations. no need to bounds nor perspective forms. although, there are two major issues.
The first is letter dimensions, the stability of forms and opposite-forms, goes fully opposite to the hopes of Hebrew readers. some optical that are used to, make complicated forms like צ and ש larger, and easier forms like ד and ה smaller. This seems awkward to inherent designers and they reject it.
The second major problem was the serif. Serif is external to many non-Latin writings but distinctively opposite to Greta Text needs some finalizing at the finish of the strokes. There are no solutions to eliminate strokes.
Calligraphic endings look more natural to great opposite to Hebrew typography, but strange to the bracing lines of Greta Text. acute formal finishing suits the design of Greta, but seem not suitable on the Hebrew letters. Finally, smaller, fine endings are motivated by the broad-nib pen.
Similar design of Hebrew letters made it compulsory to change the endings little for the purpose to avoid a dull touch in a big section of the text, and that personalizing the eliminations are helpful to enhance clearance and distinguish the icon.
Commonly, ‘italic’ does not similar to Hebrew printed typography. This idea is related to the development of the Latin alphabet. although, when Hebrew is written by hand it uses script forms just as a child starts its writing at school time. the informal style hasn’t mixed into printed typography. cursive Hebrew for constant typing was proposed by Michal Sahar.
Many Hebrew letters contain two designs mostly. ordinary for present text and Bold for oppression. sometimes there exist another category but not much suitable for classification of text. The difficult text needs to focus on a variety of designs for the purpose to distinguish kinds of content.
In Hebrew typography, a touch of development is compulsory to solve complicated text conditions. With the help of various typeface, IPTV, an unexpected change in letter distance and underlining word are ordinary solutions that developed to become adjustable meetings.
Word processors and Operating systems refer to an ‘Italic’ style in each language. But the concept of Italic is based in the Latin typography which is not adjustable in Hebrew. consequently, this makes Hebrew readers doubted indirectly to Italic and suppose Italic working easily just like slanted form. They do not have the idea that original Italic is totally different from it.
Cursive Hebrew as a quick way of writing was originated from 7th to the 19th century. Those cursive forms were derived from the common Hebrew letterforms, however, apparently, the two systems seem that they did not match. on the other hand, built and cursive Hebrew systems both were taught to children at their basic studies at the same time. the informal design has not mixed into printed typography.
Cursive Hebrew approached famous in typing for posters between the 1950s. mostly ever this process was used for main headings and very little lines and referred to as a secondary text design for regular reading. Any arrangement of the republic printed their invitations in this style. cursive Hebrew design was introduced as a secondary text design that took place in the 1950s.