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Editor's Notes

• #2: Eliyahu Koren (then Korngold) designed one of the first, if not the first, new Hebrew text typeface in Israel, back in the 1930s. He put a lot of focus on readability—on ensuring that the letters could be understood even if only part of the letter was visible.
• #4: Preliminary test of Henri Friedlaender’s “Hadassah” font
• #5: Test prints of the non-released “Hadassah Italic”
• #8: A children’s cursive developed by the designer of Hadassah—Henri Friedlander
• #9: David font family, with David Netui—the only cursive Hebrew font matched to an upright version of which I am aware, by the late Ismar David. The three weights of David have been redigitized by NY typographer Misha Beletsky and are available for purchase and use on today’s computers
• #11: Mixing the old and the new – what does new Hebrew typography look like in our country, the USA, where English and Hebrew or Yiddish frequently mix?
• #17: Some modern Hebrew/English/translit settings. Note that =if= it is important that people read something aloud, it is often desirable to have transliteration. Make sure that transliteration and Hebrew match line:line. Note that with Hebrew and English transliteration, the lines of Hebrew are significantly shorter than for English. If this were Yiddish/English, the lines would be closer to same width.
• #20: From a wall at the National Yiddish Book Center. Drawing and lettering by Ben Katchor.
• #21: Some work by Israeli typographer/type designer Oded Ezer, http://odedezer.com
• #22: Work of Oded Ezer, http://odedezer.com
• #23: Work of Oded Ezer, http://odedezer.com
• #24: Work of Oded Ezer, http://odedezer.com
• #25: Papercut displayed on the wall of the National Yiddish Book Center
• #26: Alphabet by Lili Wronker
• #27: Ben Shahn. One thing to notice is how his Hebrew and English are designed =not= to look alike—the eye is never confused, and the two sets of shapes complement each other.