Greta Sans Condensed Hebrew

Design concept

Greta is a powerful toolbox capable of dealing with the most complex typographical situations, supporting Latin, Greek, Cyrillic, Hebrew, Arabic and now also Devanagari. It is the largest available system of interrelated styles available for the Hebrew language, coming in 10 weights and 4 widths. Read more about development of Greta Sans▸

greta sans diagram hebrew

Styles

Greta Sans was planned from the outset as a system of interrelated styles, and comes in 10 weights which, combined with its four widths (Compressed, Condensed, Normal, Extended), create a tremendous range of possibilities. Even the intervals between the styles are an integral part of this unified typeface system.

greta sans widths

International Typography

The Pro version of Greta Sans supports Latin, Greek and Cyrillic writing scripts, Greta Sans Devanagari supports the largest South-East Asian languages, and separately, we offer Arabic version via our sister company TPTQ-Arabic.com.

greta sans languages LCGAHD



Continuous Optical sizes

Greta Sans is designed as a continuous optical size system. While the basic text styles (Regular) are spaced and optimised more loosely for use at small sizes, the surrounding extremes (Hairline, Black) are designed to be used as Display types, and therefore spaced and kerned tightly. The resulting spectrum then runs continuously from Display to Text to Display use.

OpenType features

Like all Typotheque fonts, Greta Sans includes Small Caps in all styles. Additionally, Greta includes a wealth of other advanced OpenType features such as alternative styles of letters controlled by Stylistic Set substitutions. For more information please see the PDF instructions, or the Features section.

greta sans hebrew condensed alt

Author & Awards

Greta Sans (Latin) was designed by Peter Biľak. The Hebrew version was designed jointly by Peter Biľak with Daniel Berkovitz, and released in 2017. In 2015, Greta Sans (multilingual) was recognised by the Tokyo TDC, and in 2016, it was selected as the winner by The Society of Typographic Arts, Chicago.