An update to earlier presentations on Hebrew typography, focusing a bit more on recent Israeli typographers, and on how to best mix Hebrew and English--in two parts to deal with slideshare file size limits.
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.
Preliminary test of Henri Friedlaender’s “Hadassah” font
Test prints of the non-released “Hadassah Italic”
A children’s cursive developed by the designer of Hadassah—Henri Friedlander
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
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?
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.
From a wall at the National Yiddish Book Center. Drawing and lettering by Ben Katchor.
Some work by Israeli typographer/type designer Oded Ezer, http://odedezer.com
Work of Oded Ezer, http://odedezer.com
Work of Oded Ezer, http://odedezer.com
Work of Oded Ezer, http://odedezer.com
Papercut displayed on the wall of the National Yiddish Book Center
Alphabet by Lili Wronker
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.