In both conferences there were attempts to establish a typographic glossary in Greek.
In the 1990s there were two significant conferences about Greek typography: in 1992 the “DIDOT Program” in Thessaloniki, and in 1995 “Greek letters: from tablets to pixels” in Athens. Almost all printing terms and glossaries of typographic terms in Greek nowadays have been established by non-Greeks, took place outside of Greece, and have been simply translated into Greek language.* The difficulty has been getting all the modern groups to agree to use a standard set of terms. We can identify at least these: typeface designers, typographic designers, calligraphers, teachers of handwriting for children, design teachers, printers, graphic designers, palaeographers, etc. There are many professions that need terminology for everyday purposes. Thus Western type designers and scholars have shied away from anatomical terms in favour of labelling entire models after their creators without significant analysis of their construction and aesthetic relationships. While Greek uppercase, at least as far as fonts are concerned, can be analysed on the same basis as Latin, the lowercase has often been regarded as somewhat ‘exotic’. In the Latin world there have been many endeavours to anatomize the shapes of letters, from Albrecht Dürer’s geometry of capitals in the 16th century to Stephen Coles’s excellent book, The Anatomy of Type, as recently as 2012.
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