Loading typefaces...
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[2] => Codec Pro ME
[titolo1] => Codec Pro ME
[3] =>
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[8] => <p>Codec Pro ME is an extended version of our <strong>Codec Pro typeface</strong>, that provides language coverage for <strong>Middle Eastern countries</strong>, with extended <strong>Arabic</strong> and <strong>Hebrew</strong> glyphs. It developes the original Codec typeface created in 2017 by <strong>Cosimo Lorenzo Pancini</strong>, <strong>Francesco Canovaro</strong> and <strong>Andrea Tartarelli</strong> and features the same wide range of eleven weights, from the hairline-thin to the bulky fat, as well as the original extensive array of alternate glyphs and open type features. The Middle East extension has been realized in collaboration with <strong>Oded Ezer</strong> (who designed the Hebrew glyphs) and <strong>Omaima Dajani</strong> (who provided consulting on the Arabic glyphs). By seamlessly integrating diverse scripts, Codec Pro ME affirms the power of design to foster understanding, bridging gaps and creating connections through the universal language of typography.</p>
[desc1] => <p>Codec Pro ME is an extended version of our <strong>Codec Pro typeface</strong>, that provides language coverage for <strong>Middle Eastern countries</strong>, with extended <strong>Arabic</strong> and <strong>Hebrew</strong> glyphs. It developes the original Codec typeface created in 2017 by <strong>Cosimo Lorenzo Pancini</strong>, <strong>Francesco Canovaro</strong> and <strong>Andrea Tartarelli</strong> and features the same wide range of eleven weights, from the hairline-thin to the bulky fat, as well as the original extensive array of alternate glyphs and open type features. The Middle East extension has been realized in collaboration with <strong>Oded Ezer</strong> (who designed the Hebrew glyphs) and <strong>Omaima Dajani</strong> (who provided consulting on the Arabic glyphs). By seamlessly integrating diverse scripts, Codec Pro ME affirms the power of design to foster understanding, bridging gaps and creating connections through the universal language of typography.</p>
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[20] => zetafonts
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[39] => Codec Pro Me 2024_Zetafonts P01 copy 2.png
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[42] => Cosimo Lorenzo Pancini, Francesco Canovaro
[dato3] => Cosimo Lorenzo Pancini, Francesco Canovaro
[43] => 0.1.2
[dato4] => 0.1.2
[44] =>
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[47] => CodecProMeLogo.svg
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[49] => Andrea Tartarelli (Latin), Oded Ezer (Hebrew), Omaima Dajani (Arabic)
[dato10] => Andrea Tartarelli (Latin), Oded Ezer (Hebrew), Omaima Dajani (Arabic)
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[54] => 1.3;2
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[60] => ss11-Hebrew Numerals:ישראל12;
[dato21] => ss11-Hebrew Numerals:ישראל12;
[61] => 5
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[72] => أنظمة الكتابة في الشرق الأوسط
[dato33] => أنظمة الكتابة في الشرق الأوسط
[73] => تفاعل لغوي بين العربية والعبرية يكشف عن تشابه الكلمات والروابط الثقافية والتأثيرات التاريخية في الشرق الأوسط
[dato34] => تفاعل لغوي بين العربية والعبرية يكشف عن تشابه الكلمات والروابط الثقافية والتأثيرات التاريخية في الشرق الأوسط
[74] => في التفاعل اللغوي بين اللغة العبرية واللغة العربية، نكتشف تحفًة فريدة من الكلمات المشتركة والروابط الثقافية. في اللغة العربية، تأتي كلمة مَاعُون (māūn) التي تعني “مأوى، مأوى، أدوات”، من جذورها في العبرية מָעוֹן (māun). وتُعبِّر مفاهيم دينية بطريقة مشابهة؛ “جهنم” في العربية هي جَهَنَّم (jahannam)، مماثلة للعبرية גֵּיהִנּוֹם (gehinóm)، في إشارة إلى “وادي ابن هنوم”.ن
علاوة على ذلك، يُعتقد أن مصطلح “الشيطان” في العربية، شَيْطَان (šayṭān)، يأتي من العبرية שָׂטָן (satán). يُلخِّص الاحتفال بعيد الفصح وعيد الفصح في كلمة عربية هي فِصْح (fiṣḥ)، متأصلة في العبرية פֶּסַח (pésach). كلمة عربية أخرى هي تَلْمُود (talmūd)، والتي تعني “التلمود”، وتشترك في جذورها مع العبرية תַּלְמוּד (talmúd)، ممثلة للجسر اللغوي بين اللغتين.ن
وبشكل مثير للاهتمام، تعتمد اللغة العربية كلمة تِلْمِيذ (tilmīd) لتعني “الطالب” أو “التلميذ”، والتي تمت مشتقتها من نفس الجذر الذي يشير إلى “التلمود”، واستُعيرت إما من العبرية תַּלְמִיד (talmīd) أو الآرامية תַּلְמִידָא (talmīdā). ويظهر هذا الاقتراض بشكل يبدو أنه يحتفظ بقاعدة النطق “Begadkefat”، مع إبراز الدقة اللغوية.ن
استكشاف أسماء عربية مستعارة من العبرية، مثل إِبْرَاهِيم (Ibrāhīm) من אַבְרָהָם (avrahám) (إبراهيم)، إِسْمَاعِيل (Ismāīl) من יִשְׁמָעֵאל (yishma’él) (إسماعيل)، و يُوسُف (yūsuf) من יוֹסֵף (yoséf) (يوسف)، يكشف عن التراث الثقافي المشترك في اللغة.
تظهر هذه الرحلة اللغوية الروابط المستدامة بين العبرية والعربية، مكشوفة الجذور المشتركة والتفاعلات التاريخية التي شكلت المشهد اللغوي في الشرق الأوسط.
[dato35] => في التفاعل اللغوي بين اللغة العبرية واللغة العربية، نكتشف تحفًة فريدة من الكلمات المشتركة والروابط الثقافية. في اللغة العربية، تأتي كلمة مَاعُون (māūn) التي تعني “مأوى، مأوى، أدوات”، من جذورها في العبرية מָעוֹן (māun). وتُعبِّر مفاهيم دينية بطريقة مشابهة؛ “جهنم” في العربية هي جَهَنَّم (jahannam)، مماثلة للعبرية גֵּיהִנּוֹם (gehinóm)، في إشارة إلى “وادي ابن هنوم”.ن
علاوة على ذلك، يُعتقد أن مصطلح “الشيطان” في العربية، شَيْطَان (šayṭān)، يأتي من العبرية שָׂטָן (satán). يُلخِّص الاحتفال بعيد الفصح وعيد الفصح في كلمة عربية هي فِصْح (fiṣḥ)، متأصلة في العبرية פֶּסַח (pésach). كلمة عربية أخرى هي تَلْمُود (talmūd)، والتي تعني “التلمود”، وتشترك في جذورها مع العبرية תַּלְמוּד (talmúd)، ممثلة للجسر اللغوي بين اللغتين.ن
وبشكل مثير للاهتمام، تعتمد اللغة العربية كلمة تِلْمِيذ (tilmīd) لتعني “الطالب” أو “التلميذ”، والتي تمت مشتقتها من نفس الجذر الذي يشير إلى “التلمود”، واستُعيرت إما من العبرية תַּלְמִיד (talmīd) أو الآرامية תַּلְמִידָא (talmīdā). ويظهر هذا الاقتراض بشكل يبدو أنه يحتفظ بقاعدة النطق “Begadkefat”، مع إبراز الدقة اللغوية.ن
استكشاف أسماء عربية مستعارة من العبرية، مثل إِبْرَاهِيم (Ibrāhīm) من אַבְרָהָם (avrahám) (إبراهيم)، إِسْمَاعِيل (Ismāīl) من יִשְׁמָעֵאל (yishma’él) (إسماعيل)، و يُوسُف (yūsuf) من יוֹסֵף (yoséf) (يوسف)، يكشف عن التراث الثقافي المشترك في اللغة.
تظهر هذه الرحلة اللغوية الروابط المستدامة بين العبرية والعربية، مكشوفة الجذور المشتركة والتفاعلات التاريخية التي شكلت المشهد اللغوي في الشرق الأوسط.
[75] => 1.5
[dato36] => 1.5
[76] =>
[dato37] =>
[77] => <h1>The Journey of Codec ME</h1>
<p class="text font-9282" style="margin: 0px auto 45px; padding: 0px; border: 0px; outline: 0px; font-size: 21px; vertical-align: baseline; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial; max-width: 700px; width: 700px; line-height: 1.6; color: #444444; font-family: typeface-text, alt-text, serif;" data-p-id="10">It took us a lot of work to understand that the very natural connection between geometry and letterforms that we can apply in Latin in the wake of the modernist tradition has different connotations and rules in non-Latin typeface design.”Where is the x-height in Arabic?” or “What is the Arabic Futura?” are tricky questions, and can lead to colonial practices, wrongly applying to Arabic typography to the rules of Latin design. We had to study a lot to avoid that, and we must thank <strong style="margin: 0px; padding: 0px; border: 0px; outline: 0px; vertical-align: baseline; background: transparent;">Pascal Zoghbi</strong> from <strong style="margin: 0px; padding: 0px; border: 0px; outline: 0px; vertical-align: baseline; background: transparent;">29LT</strong> for his of the complex nature of vertical references in Arabic and its relationship to the simple system of caps/x-height of Latin.</p>
<p class="image img-aligncenter" style="margin: 0px auto 45px; padding: 0px; border: 0px; outline: 0px; font-size: 21px; vertical-align: baseline; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial; max-width: 100%; width: 1280px; text-align: center; line-height: 1.6; color: #444444; font-family: typeface-text, alt-text, serif;"><span style="margin: 0px; padding: 0px; border: 0px; outline: 0px; vertical-align: baseline; background: transparent;"> <img class="size-full wp-image-1750 aligncenter" style="margin: 0px auto; padding: 0px; border: 0px; outline: 0px; vertical-align: baseline; background: transparent; max-width: 100%; height: auto; display: block;" src="http://zetafonts.com/blog/wp-content/uploads/2021/02/Codec-Pro-Me-2024_Vertical-Metrics-Arabic.png" sizes="(max-width: 966px) 100vw, 966px" srcset="https://zetafonts.com/blog/wp-content/uploads/2021/02/Codec-Pro-Me-2024_Vertical-Metrics-Arabic.png 966w, https://zetafonts.com/blog/wp-content/uploads/2021/02/Codec-Pro-Me-2024_Vertical-Metrics-Arabic-300x141.png 300w, https://zetafonts.com/blog/wp-content/uploads/2021/02/Codec-Pro-Me-2024_Vertical-Metrics-Arabic-768x361.png 768w" alt="Codec Pro Me 2024_Vertical Metrics Arabic" width="966" height="454" /> </span></p>
[dato38] => <h1>The Journey of Codec ME</h1>
<p class="text font-9282" style="margin: 0px auto 45px; padding: 0px; border: 0px; outline: 0px; font-size: 21px; vertical-align: baseline; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial; max-width: 700px; width: 700px; line-height: 1.6; color: #444444; font-family: typeface-text, alt-text, serif;" data-p-id="10">It took us a lot of work to understand that the very natural connection between geometry and letterforms that we can apply in Latin in the wake of the modernist tradition has different connotations and rules in non-Latin typeface design.”Where is the x-height in Arabic?” or “What is the Arabic Futura?” are tricky questions, and can lead to colonial practices, wrongly applying to Arabic typography to the rules of Latin design. We had to study a lot to avoid that, and we must thank <strong style="margin: 0px; padding: 0px; border: 0px; outline: 0px; vertical-align: baseline; background: transparent;">Pascal Zoghbi</strong> from <strong style="margin: 0px; padding: 0px; border: 0px; outline: 0px; vertical-align: baseline; background: transparent;">29LT</strong> for his of the complex nature of vertical references in Arabic and its relationship to the simple system of caps/x-height of Latin.</p>
<p class="image img-aligncenter" style="margin: 0px auto 45px; padding: 0px; border: 0px; outline: 0px; font-size: 21px; vertical-align: baseline; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial; max-width: 100%; width: 1280px; text-align: center; line-height: 1.6; color: #444444; font-family: typeface-text, alt-text, serif;"><span style="margin: 0px; padding: 0px; border: 0px; outline: 0px; vertical-align: baseline; background: transparent;"> <img class="size-full wp-image-1750 aligncenter" style="margin: 0px auto; padding: 0px; border: 0px; outline: 0px; vertical-align: baseline; background: transparent; max-width: 100%; height: auto; display: block;" src="http://zetafonts.com/blog/wp-content/uploads/2021/02/Codec-Pro-Me-2024_Vertical-Metrics-Arabic.png" sizes="(max-width: 966px) 100vw, 966px" srcset="https://zetafonts.com/blog/wp-content/uploads/2021/02/Codec-Pro-Me-2024_Vertical-Metrics-Arabic.png 966w, https://zetafonts.com/blog/wp-content/uploads/2021/02/Codec-Pro-Me-2024_Vertical-Metrics-Arabic-300x141.png 300w, https://zetafonts.com/blog/wp-content/uploads/2021/02/Codec-Pro-Me-2024_Vertical-Metrics-Arabic-768x361.png 768w" alt="Codec Pro Me 2024_Vertical Metrics Arabic" width="966" height="454" /> </span></p>
[78] => https://zetafonts.com/blog/the-journey-of-codec-me/
[dato39] => https://zetafonts.com/blog/the-journey-of-codec-me/
[79] => body .container_fontllist .font_name {line-height:85%;}
body .testersize .text_editor_small p {direction:rtl;}
body .testersize p {direction:rtl;}
[dato40] => body .container_fontllist .font_name {line-height:85%;}
body .testersize .text_editor_small p {direction:rtl;}
body .testersize p {direction:rtl;}
[80] => arabic_hebrew
[dato41] => arabic_hebrew
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