gentium font specification

7/29/2019 gentium font specification

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ahwehwdzetsitsir

naboromngohatmexxibilong

gentiuma typeface for the nations

P U R P O S E & I N S P I R A T I O N 2

D E S I G N C H A R A C T E R I S T I C S 4

G L Y P H R E P E R T O I R E 1 2

S A M P L E S E T T I N G S 1 5

F U T U R E D E V E L O P M E N T 1 9


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ABCDEFGHIJKLMNOPQRSTUVWXYZ

Balanced

Gentium was birthedout of the union of two purposesto fulfil academicrequirements and to meet a global need.

It has been designed as part of the Master of Artsin Typeface Design program at the University ofReading. The assignment brief was simple: designtwo contrasting variants of a text typeface with abasic character set.

For inspiration, I looked to both historical andmodern typefacessome familiar, many new tome. The research required for my essays pushedme to discover how designers have solved variousproblems with type. I learned how strongly typedesign has been influenced by practical needs,from lithography to road signage.

What I needed was a unifying purposea problemof my own to solve. This would give me directionand focus, and be a final arbiter of design decisions.

A C K N O W L E D G E M E N T S

It would have been impossible for me to carry this projectthrough to completion without a great deal of help andguidance. I thank Chris Burke for pushing me out to sea;Gerry Leonidas for his constant encouragement and carefuleye; Gerard Unger for his wisdom and personal example;Michael Harvey for teaching me tradition and freedom; therest of the faculty at Reading for their solid historical andtheoretical grounding; and my fellow students for bearingwith my endless revisions.

I am also indebted to four designers who have indeliblyshaped my love for type: Hermann Zapfwhose designsfirst awakened my interest in type, Frederick Goudywhoshowed me that rules can be broken, Matthew Carterwhocontinues to define readability, and Robert Slimbachwhoproves that beauty and utility can be one.

I also thank my colleagues at SIL International for theirunderstanding and technical expertise. Finally, I thank myfamily and loving Creator for their constant support.

Glyphs from Palatino,Berkeley Old Style,Charter and Minion


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3

Intentions

The wider purpose I sought was found in a growingglobal need.

Thousands of ethnic groups around the world usethe Latin script for their languages. In order toadapt this foreign alphabet for their use, manygroups have added new letters or diacritics.Unfortunately, computers offer little support forthese extended Latin alphabets. With the adventof Unicode, some of the technical barriers havebeen removed. Few typefaces, though, includethese extra glyphs. Those that do (such as ArialUnicode), are not very suitable for the wide rangeof publishing needs.

The result is that millions of people are shut outfrom the publishing community. These ethnicgroupsnationsneed a typeface that supports alltheir special letters and is also suitable for broadtext publishing. Ideally, such a typeface would behighly legible, reasonably compact, attractive, andfreely available to all.

Gentium is an attempt to meet this need. It includesmany extended Latin letters and diacritics, but alsosupports both monotonic and polytonic Greek. ACyrillic version is under way and will be added inthe near future.

Gentium is Latin for belonging to the nations. Myhope is that Gentium might be embraced by thenations and empower them to become fully-fledgedmembers of the wider publishing community.

Victor Gaultney

Literacy lessons in Ghana

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Dynamic

nComparison of initial calligraphy andresulting font. Dynamic features in

Gentium Italic: swelling pen-like terminals,smooth but energetic curves, balancebetween sharp and smooth corners. caveboring

Its all Harry Carters fault.In my research on legibility I came across his articleOptical scale in typefounding (Typography 4, 1937)

in which he lauds Fleischman for low joins on theletters h m n. The effect is clearer, he writes.

This stunned me. Could such a calligraphic featureactually benefit legibility? Most trends in readabletypefaces were going in the opposite directiontoward higher joinsto increase counter size.

Would it be possible to create a highly legible facebased upon a calligraphic foundation? How couldthe dynamic nature of the pen be balanced with thesteadiness needed for text type?

I wanted to create a solid, robust face that did notwear its calligraphic heritage too boldly. Too muchcharacter would be a distraction to the reader. Idid desire speed and rhythm, but not at the cost ofclarity and legibility.

My original calligraphic experiments for the romanand italic were completed on consecutive days, andthe result is a close connection between the two.The dynamic features I desired have lived on mostauthentically in the latter.


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5

Steadiness

no

How could I capture this dynamism in the roman?

Early attempts proved too calligraphicand workedpoorly as typeforms. The process of distilling theforms down to their basic elements was painful.Every time I removed an expressive feature I felt asense of loss. Would the result still seem dynamic?

In the end, steadiness was gained not only through

the loss of pen features, but through consistency,reduction of contrast and intentional serif design.

Because the area at x-height has so much activity,a firm horizontal footing was needed. Slab serifs,though tempting, would have been out of characterin such a humanist face. The best compromise wastraditional bracketed serifs upon a flat base.

Translation from pen to type.Serifs and vertical stems areclearly more typographic. In

addition, stroke weight isslightly reduced and counters

are more open. Obvious pen

features, such as the thinningof lower left to upper rightcurves, are less pronounced.

g

potential energy


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Legible

Readability is everything.It is a combination of many factors, including thelegibility of individual letters and word shapes.

Gentium maximises legibility by avoiding extremecontrast and very thin strokes. Generous countersgive the perception of larger size. The x-height(in relation to cap-height) is large, but ascendersare not allowed to become too short. Finally, themost distinctive aspects of letters are highlightedto heighten shape recognition. Though designedfor 1011 points, this allows Gentium to be usedat even smaller sizes.

Are legibility and economy adversaries?No, they do not need to be so. Techniquesused to improve legibility, such as the useof wide forms, can actually encourageeconomy by allowing smaller sizes to beused. Economical techniques, such as con-densation of certain forms, can make texteasier to read when applied judiciously.The key to harmonising the two is balance.

Are legibility and economy adversaries?No, they do not need to be so. Techniquesused to improve legibility, such as the useof wide forms, can actually encourageeconomy by allowing smaller sizes to beused. Economical techniques, such as con-densation of certain forms, can make texteasier to read when applied judiciously.The key to harmonising the two is balance.

Are legibility and economy adversaries? No, theydo not need to be so. Techniques used to improvelegibility, such as the use of wide forms, can actu-ally encourage economy by allowing smaller sizes

to be used. Economical techniques, such as con-densation of certain forms, can make text easier toread when applied judiciously. The key to harmo-

Are legibility and economy adversaries? No, theydo not need to be so. Techniques used to improvelegibility, such as the use of wide forms, can actu-ally encourage economy by allowing smaller sizes

to be used. Economical techniques, such as con-densation of certain forms, can make text easier toread when applied judiciously. The key to harmo-

Are legibility and economy adversaries? No, they do notneed to be so. Techniques used to improve legibility, suchas the use of wide forms, can actually encourage economyby allowing smaller sizes to be used. Economical techniques,such as condensation of certain forms, can make text easierto read when applied judiciously. The key to harmonising

Are legibility and economy adversaries? No, they do notneed to be so. Techniques used to improve legibility, suchas the use of wide forms, can actually encourage economyby allowing smaller sizes to be used. Economical techniques,such as condensation of certain forms, can make text easierto read when applied judiciously. The key to harmonising

Are legibility and economy adversaries? No, they do not need to be

so. Techniques used to improve legibility, such as the use of wideforms, can actually encourage economy by allowing smaller sizesto be used. Economical techniques, such as condensation of certainforms, can make text easier to read when applied judiciously. The key

Are legibility and economy adversaries? No, they do not need to be so.

Techniques used to improve legibility, such as the use of wide forms,can actually encourage economy by allowing smaller sizes to be used.Economical techniques, such as condensation of certain forms, canmake text easier to read when applied judiciously. The key to harmo-

Gentium at 10, 8.5, 7 and 6 points (7 & 6 pts. have expanded widths).

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Our eyes read the tops ofletters, so these parts are

intentionally differentiated.


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7

Economy

The type designer needs to understand the effects of every decision on both legibility and econ-

omy. Questions need to be asked: How much can I shorten these descenders before the letters

become misshapen and distracting? Will this really allow lines to be set more closely? Or will

the colour become too heavy and require extra leading? The answers are heavily dependent on

eventual usage. The publishing environment, including paper quality and reproduction process,

may make certain requirements on the typeface. There are no simple guidelines for legibility or

economy that apply in every case. abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRST

The type designer needs to understand the effects of every decision on both legibility and econ-omy. Questions need to be asked: How much can I shorten these descenders before the lettersbecome misshapen and distracting? Will this really allow lines to be set more closely? Or willthe colour become too heavy and require extra leading? The answers are heavily dependent oneventual usage. The publishing environment, including paper quality and reproduction process,may make certain requirements on the typeface. There are no simple guidelines for legibility oreconomy that apply in every case. abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVW

Times New Roman (9.2 point) and Gentium (9 point) compared.Equalised x-heights allow comparison at actual perceived size.

The Universal Declaration of Human Rights states that:Jeder hat Anspruch auf die in dieser Erklrung verkndetenRechte und Freiheiten ohne irgendeinen Unterschied, etwa

nach Rasse, Hautfarbe, Geschlecht, Sprache, Religion,

politischer oder sonstiger berzeugung, nationaler odersozialer Herkunft, Vermgen, Geburt oder sonstigem Stand.

Gentium achieves reasonable economy of spacedespite its wide counters. Due to its high legibilityand large perceived size, it can be set at smallersizeswith a significant reduction in text length.It is as economical as Times.

One factor in this economy is the size and designof capital letters. Modest size, slight compressionand even weighting with lower case glyphs savespace. These features also make Gentium usefulfor languages that use many capitals, such asGerman. There is plenty of room for accentswithout requiring additional leading or painfullycompressed letterforms.


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Attractive

Attention

InterestDesireActionA

E

S

T

H

E

T

IC

S

ERG

ON

O

M

ICS

Utility is not enough.The goal of writing is communication. Writing mustbe read in order to communicate. A typeface should

not only present the words on a medium, but invitethe potential reader to participate.

Advertising experts use the acronym AIDA as aguide. They say that effective communicationrequires getting the persons attention, engagingtheir interest, increasing their desire, and movingthem to action. Paul Mijksenaar has noted that thisprogression is, at the beginning, highly dependent

on aesthetics. Encouraging people to read requiresgetting their attention with something that looksattractive.

Gentium attempts to attract readers though gooddesign and spacing, but also by its calligraphiccharacter. It tries to be a warm and friendly facewithout too many distracting elements.

This is particularly important for new readers.For them to invest the effort to read something, itmust look engaging and pleasant to read. We oftenunderestimate the typographical sensitivity ofthe newly literate, and especially of those whoselanguages require special letters and diacritics.They appreciate good typography, too.

Attractive publications can even help to preserveendangered languages and cultures. The availability

of a good font for a language can make books easierto read and increases the demand for vernacularliterature. It can stimulate literacy efforts and givepeople pride in their own languageand credibilityto others.

Gentium recently received a Certificate of Excellence in Type Design

as part of the bukva:raz! type design competition sponsored by theAssociation Typographique Internationale (ATypI). It was honouredas one of the best designs of the past five years.


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9

Utility

But attractiveness is not enough, either. As interestand desire grow, the ergonomicshow easily text isreadbecomes more important. A successful texttypeface, then, needs to maximise legibility, butmust also be tailored for its intended use.

One of the purposes of Gentium is to support publi-cation of texts in non-European languages aroundthe world. This places special requirements onthe design, and has led to some of Gentiums mostunique features:

Extensive extended Latin character support. Most Latin-based writing systems are supported through broadcoverage of Latin Unicode ranges.

Alternate letter designs for literacy use. Both double-and single-story designs are included for a and g,even in the italic: a g.

Clear, distinctive diacritics. Some languages can begenerally read and understood even without accentmarks. Others, such as some tonal languages, givethem great importance and are unintelligible with-

out them.Alternate versions of some diacritics. Some languagesuse up to three levels of diacritics. Gentiumsgenerous ascenders allow more room for thesecombinations. There are also alternate versions ofsome accents designed especially for when stackingdiacritics are needed.

Reproductive survival. Less contrast and avoidance of

very thin lines allow for less-than-ideal reproduc-tion environments.

Less need for expert glyphs. The smaller size ofcapitals and numerals reduces the need for smallcaps and old-style figures. This enables high-qualitypublishing even without sophisticated software.

Reduced kerning. Gentium includes kerning pairs,but careful spacing and letter design lessens anydependence on kerning, which may be unsupportedin some software.

lillillillillillillillil

Many languages prefer diacritics thatfill the ascender space, but that styleis not suitable with multiple accents.

An alternate set includes shorter ver-sions with tighter spacing. Eventhe dot on i and j are lowered to match.


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Distinctive

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Too much uniformitycan make text harder to read. Distinctive parts ofletters need to be clear. Differences between pairs

of similar letters need highlighting. The identity ofeach letter must be obvious to the reader.

This is especially important when extending theLatin alphabet. The special characters in Gentiumhave their own unique identities that highlighttheir distinctive elements. These letters are not justadd-ons to the basic alphabet, but were an integralpart of the design from the beginning.

e ufa

crnhsuoerheccr n h s uo e

Letters have often been rotated 180 to create new let-

ters, but simple rotation (upper line) creates symbolsthat seem out of place. In Gentium, rotated letters havetheir own identity (lower line), and are designed ingreater harmony with other shapes.

The Gentium family also supports Greek letters, but avoids the tendency to give themLatin forms. Gentium Greek is a separate design that embraces the robust, distinctivecharacter of the Greek script, but does so within the design context of the typeface.

The design of the italic f allowsa clear distinction to be made

between it and the hookedversion. Both are used for the

Ewe language of Ghana.

The single-bowl a and g have smallerbowls than the d and q in order to

improve letter recognition.


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11

Unity

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The wealth of shapes used by Latin-based writingsystems do, nevertheless, need to be placed withina harmonious family. Gentium is tied togetherthrough a common vocabulary of strokes, curves,serifs and terminals first seen in the basic alphabet.

ABCDEFGHIJKLMNOPQRSTUVWXYZABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyzabcdefghijklmnopqrstuvwxyz

Gentium Roman and Italic are also closely related. Italicforms are truly cursive, but share a strong connectionwith the upright letters. Capitals are simply obliqued,with only slight adjustments. The lower case shares thesame calligraphic hand as the upright, but with lessdistillation of shapes. Roman/italic contrast is thengained through a gentle slope and condensation, notthrough radically different letterforms.

Such unity makes the process of transferring literacyskills to italic fonts easier. Even experienced readersbenefit from an italic that is very pleasant to readeven for long runs of text.

Gentium Greek is carefully matched with the Latin alphabet in order to give a similarvisual impression and gray value. The two scripts can be successfully mixed.

Ides et Calendes, Neuchtel, , Martin Winkler. : , , N.-. Gerhard , Martin Winkler ( Behr-Sigel ).

Ides et Calendes, Neuchtel, , Martin Winkler.

: , , N.-. Gerhard , Martin Winkler ( Behr-Sigel ).


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GLYPH REPERTOIRE: GENTIUM RO MAN 22/30


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Sample above includes both regular and alternate versions of diacritics.Only partial glyph repertoire shown. Complete glyph set, supporting all Latin

ranges of Unicode 3.0, is shown in the running footers throughout this booklet.


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GLYPH REPERTOIRE: GENTIUM ITALIC 22/30


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GLYPH REPERTOIRE: GENTIUM GREEK 22/26 14/ 18

Lower case shown with both forms ofperispomeni. Extra space added to accented forms.


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SAMPLE SETTING: GENTIUM GREEK 13/18

, ,

, .

, , , , . ,

, , . ., , , , .

.

118


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SAMPLE SETTING: GENTIUM ROMAN 10/12.5

I The Mountain HomeFar up on the mountainside the little shack stood alone in theclearing. It was roughly yet warmly built. Behind it jagged cliffsbroke the north wind, and towered gray-white in the sunshine.Before it a tiny expanse of green sloped gently away to thepoint where the mountain dropped in another sharp descent,wooded with scrubby firs and pines. At the left a footpath led

into the cool depths of the forest. But at the right the moun-tain fell away again and disclosed to view the picture Davidloved the best of all: the far-reaching valley; the silver pool ofthe lake with its ribbon of a river flung far out; and above it thegrays and greens and purples of the mountains that climbedone upon anothers shoulders until the topmost thrust theirheads into the wide dome of the sky itself.

There was no road, apparently, leading away from the cabin.

There was only the footpath that disappeared into the forest.Neither, anywhere, was there a house in sight nearer than thewhite specks far down in the valley by the river.

Within the shack a wide fireplace dominated one side ofthe main room. It was June now, and the ashes lay cold on thehearth; but from the tiny lean-to in the rear came the smelland the sputter of bacon sizzling over a blaze. The furnishingsof the room were simple, yet, in a way, out of the common.There were two bunks, a few rude but comfortable chairs, a

table, two music-racks, two violins with their cases, and eve-rywhere books, and scattered sheets of music. Nowhere wasthere cushion, curtain, or knick-knack that told of a womanstaste or touch. On the other hand, neither was there anywheregun, pelt, or antlered head that spoke of a mans strength andskill. For decoration there were a beautiful copy of the SistineMadonna, several photographs signed with names well knownout in the great world beyond the mountains, and a festoon of

pine cones such as a child might gather and hang.


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17`

SAMPLE SETTING: GENTIUM ROMAN 11/13GENTIUM ITALIC 9/10.5

NUKAN MAAMNI YNYII O PL HUDCLARATION UNIVERSELLE DES DROITS DE LHOMME

Dn juwoo bltmPrambule

A k klonn d ti nukn ei yn yiihu di lb l, tlinmo ld lil di nwundi.

Considrant que la reconnaissance de la dignit inhrente tous les membres de la famille humaineet de leurs droits gaux et inalinables constitue le fondement de la libert, de la justice et de la paixdans le monde,

A k ln nukn di mn yn nun di pli kweiwoo oi, di l dimmni l, yi di hw k imn d mn di hu, kele ynnun k bi.

Considrant que la mconnaissance et le mpris des droits de lhomme ont conduit des actes debarbarie qui rvoltent la conscience de lhumanit et que lavnement dun monde o les treshumains seront libres de parler et de croire, librs de la terreur et de la misre, a t proclamcomme la plus haute aspiration de lhomme,

A k ti nukn ei ynyii hu mn m knw, ho nukn hwppn hw wi t hemi ii hu itwnun di.

Considrant quil est essentiel que les droits de lhomme soient protgs par un rgime de droit pourque lhomme ne soit pas contraint, en suprme recours, la rvolte contre la tyrannie et loppression,

A k li kele yepu ehu mn u hw t bi.Considrant quil est essentiel dencourager le dveloppement de relations amicales entre nations,

A k li kele hu nun owoo , ti lele hin di w Klonn hu, yi di w ttw yii ll ikulo, y pn y di w yii n lb l hui.

Considrant que dans la Charte les peuples des Nations Unies ont proclam nouveau leur foi dansles droits fondamentaux de lhomme, dans la dignit et la valeur de la personne humaine, dans

lgalit des droits des hommes et des femmes, et quils se sont dclars rsolus favoriser le progrssocial et instaurer de meilleures conditions de vie dans une libert plus grande,

A k yn li kele d kpn ni di liimu h nb lelei d ti i yn yii hu m mni i.

Considrant que les Etats Membres se sont engags assurer, en coopration avec lOrganisation desNations Unies, le respect universel et eectif des droits de lhomme et des liberts fondamentales,

A k ilihi tni ti hwiln nukn di d lb l , l y k di liimu h bkp, yili li kele diw kpn n o yn.

Considrant quune conception commune de ces droits et liberts est de la plus haute importancepour remplir pleinement cet engagement,


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SAMPLE SETTING: GENTIU M WITH ALTERNATE DIACRITICS

Yi ny-zm r jrh numbyn

1Kr-ju yi n, d Yi ny-zm r y wn. Ry wn d Yi, s r y w Yi. Kr-ju yi n,d r y wn d Yi. W rmy dnn Yi t nr wrh kn gak. Kn rd ga tn Yi y r zmr dnn t r wrh y. W rmy r n p ny, sny m mmy w numbyn b pw. Pw d yrc-byn w, s c-byn d y r cr y.

Yi tw l md n b, yl Zh. t zhn byilu,mn n y pw d zhn-cnn, mn ly b gak t dnn b zw ny. d my cc y w pw d

y. W tw b tw m b yl pw d zhn-cnn.Yi zm r dd r w pw zhn, r t l w w,mn r yr l gak.

R y wn l w w, s l w ly b y r prlwar y. E j w rmy dnn Yi t n r wrh l

w. R t r cc ly b s, s b y shn b zw dey. d rmy ga, b jl shn b zw de, s rce bmy m jrh Yi by, b g z r m yil. S b

y Yi by jrh d numbyn jn r d numbynpbl y. B y bal d k dnn t b jrh Yi by

y. W Yi cc r ce b jrh r by.Yi ny-zm r jrh numbyn, s numbyn y

my jm n s. N yrh n zw y. W Da m p zw y my By-dw y ne. sn w j dd.

W my dnn n t n n lwar Yi g w kn n-dw yil n zhn zhn.

Y-cn ny r Zh k mThe Word Became Flesh

In the beginning was the Word, andthe Word was with God, and the Wordwas God. He was with God in the be-ginning. Through him all things weremade; without him nothing was madethat has been made. In him was life,and that life was the light of men. Thelight shines in the darkness, but thedarkness has not understood it.

There came a man who was sentfrom God; his name was John. He cameas a witness to testify concerning thatlight, so that through him all menmight believe. He himself was not thelight; he came only as a witness to thelight. The true light that gives light toevery man was coming into the world.

He was in the world, and thoughthe world was made through him, theworld did not recognize him. He cameto that which was his own, but his owndid not receive him. Yet to all whoreceived him, to those who believed inhis name, he gave the right to becomechildren of Godchildren born not ofnatural descent, nor of human decisionor a husbands will, but born of God.

The Word became flesh and livedfor a while among us. We have seenhis glory, the glory of the one and onlySon, who came from the Father, full ofgrace and truth.

[1] , , . [2] . [3] , [4] , [5] , . [6] [7] , . [8] . [9] , , . [10] , . [11] , . [12] ,

, , [13] . [14] , , , .


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19$

Future

SOURCES AND REFERENCES

Page 1: Photo courtesy NASA.Page 3: Photo courtesy Colin Woodward.Page 4: Quote from Harry Carter, Optical scale in typefounding (Typography 4, 1937), p. 5.Page 8: Illustration courtesy Paul Mijksenaar, Bureau Mijksenaar www.mijksenaar.com;

More information on the bukva:raz!competition can be found athttp://www.atypi.org/atypicompresults.pdf.Page 11: Greek text from Olivier Clement,

http://www.myriobiblos.gr/texts/greek/contacts_clement_monde.html.Page 15: Text from Murray, Gilbert, et. al., eds., The Oxford Book of Greek Verse (Oxford: Oxford University

Press, 1931), p. 509.Page 16: Text from Eleanor H. Porter,Just David (1916), p. 1-2.Page 17: Texts in Kpelewo (Guinea) and French. From the Universal Declaration of Human Rights

http://www.unhchr.ch/udhr/index.htm.

Page 18: Texts from Le Nouveau Testament en Lyl du Burkina Faso, 2001 by Wyclie Bible Translators,used by permission; Holy Bible: New International Version, 1978 by the New York International BibleSociety, used by permission; B.F. Westcott and F.J.A. Hort, eds., The Greek New Testament(1881).

All other portions of this booklet are 2002 J. Victor Gaultney. All rights reserved.Gentium was produced using Macromedia Fontographer, Freehand, FontLab, and Adobe Photoshop.

Booklet produced with Adobe InDesign, Photoshop and Microsoft Word.

Gentium is available for use by anyone at

no charge, in order to stimulate literatureproduction around the world. To downloadthe most recent version of Gentium, or get acopy of this booklet in PDF format, visit theGentium web site:

http://www.sil.org/~gaultney/gentium/

The current version of Gentium contains onlyregular and italic faces, and supports only

Latin and Greek scripts. Cyrillic support isunder development, and preliminary workhas begun on additional weights. A comple-mentary sans-serif face is in embryonic form.

Priorities for these developments will bedriven by users. Comments and suggestionsare welcomed at [email protected]. Theweb site will also be the central location for

information on ongoing development.


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hodawurdnyimpapemnyinah

sayekektyndlitnngterwilgruppirelijuikolhaugantmanomeriigatraitlonglukimpa

bntilkytitiroknsye kewiyapakandayk

August 2002

J. Victor [email protected]://www.sil.org/~gaultney/gentium/

In partial fullment of the requirements for theMaster of Arts in Typeface DesignDepartment of Typography & Graphic CommunicationUniversity of Reading, [email protected]

gentium font specification

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