Parents (Total: 7)

The searched file hash is included in 7 parent files which include package known and seen by metalookup. A sample is included below:

Key	Value
MD5	7FE608A2E9AB00A1399B55A513D34DB1
PackageArch	noarch
PackageDescription	In Greece the terms italic and oblique have the same meaning since they are borrowed from the latin typographic practice without any real historical equivalent in Greek history. Until the end of the 19th century Greek typefaces were cut and cast indepedently, not as members of a typefamily. The mechanisation of typecutting allowed the transformation of upright Greek typefaces to oblique designs. Nonetheless, the typesetting practice of a cursive Greek font to complement an upright one did not survive the 19th century. The experimental font GFS Olga (1995) attempts to revive this lost tradition. The typeface was designed and digitised by George Matthiopoulos, based on the historical Porson Greek type (1803) with the intention to be the companion of the upright GFS Didot font whenever there is a need for an italic alternative.
PackageMaintainer	Fedora Project
PackageName	gfs-olga-fonts
PackageRelease	11.fc12
PackageVersion	20060908
SHA-1	FDFD8D5CD61B97DAFC3A13594D45A725124AA6A5
SHA-256	9FAD2157864408E27649A804AEB6F1B879701B1858BC44D0D4AE0FA1F9BF3C70

Key	Value
MD5	9BC40ABF37C1676A3E6F05CD64D729AA
PackageArch	noarch
PackageDescription	In Greece the terms italic and oblique have the same meaning since they are borrowed from the latin typographic practice without any real historical equivalent in Greek history. Until the end of the 19th century Greek typefaces were cut and cast indepedently, not as members of a typefamily. The mechanisation of typecutting allowed the transformation of upright Greek typefaces to oblique designs. Nonetheless, the typesetting practice of a cursive Greek font to complement an upright one did not survive the 19th century. The experimental font GFS Olga (1995) attempts to revive this lost tradition. The typeface was designed and digitised by George Matthiopoulos, based on the historical Porson Greek type (1803) with the intention to be the companion of the upright GFS Didot font whenever there is a need for an italic alternative.
PackageMaintainer	Fedora Project
PackageName	gfs-olga-fonts
PackageRelease	11.fc12
PackageVersion	20060908
SHA-1	9C5969389B10840E60F7AA959BE0F1C793BE63BE
SHA-256	6ED1F45A0D107C18F385CE6F953724E8572C70FAA5B850EE5AE121038B600AAA

Key	Value
MD5	A00E295FC888A84A88C62CCFD7E3800B
PackageArch	noarch
PackageDescription	In Greece the terms italic and oblique have the same meaning since they are borrowed from the latin typographic practice without any real historical equivalent in Greek history. Until the end of the 19th century Greek typefaces were cut and cast indepedently, not as members of a typefamily. The mechanisation of typecutting allowed the transformation of upright Greek typefaces to oblique designs. Nonetheless, the typesetting practice of a cursive Greek font to complement an upright one did not survive the 19th century. The experimental font GFS Olga (1995) attempts to revive this lost tradition. The typeface was designed and digitised by George Matthiopoulos, based on the historical Porson Greek type (1803) with the intention to be the companion of the upright GFS Didot font whenever there is a need for an italic alternative.
PackageMaintainer	Fedora Project
PackageName	gfs-olga-fonts
PackageRelease	10.fc11
PackageVersion	20060908
SHA-1	8C23CCD3AEE0EA8C1D5A8E2730EDC9A7BFDE2562
SHA-256	7A4015174AEA705D495FF8EF4E8F2F67BD8803F064375E48CD8170046DA4EA39

Key	Value
MD5	278F95CB6D450DBCDE76BC73EABBEE61
PackageArch	noarch
PackageDescription	In Greece the terms italic and oblique have the same meaning since they are borrowed from the latin typographic practice without any real historical equivalent in Greek history. Until the end of the 19th century Greek typefaces were cut and cast indepedently, not as members of a typefamily. The mechanisation of typecutting allowed the transformation of upright Greek typefaces to oblique designs. Nonetheless, the typesetting practice of a cursive Greek font to complement an upright one did not survive the 19th century. The experimental font GFS Olga (1995) attempts to revive this lost tradition. The typeface was designed and digitised by George Matthiopoulos, based on the historical Porson Greek type (1803) with the intention to be the companion of the upright GFS Didot font whenever there is a need for an italic alternative.
PackageMaintainer	Fedora Project
PackageName	gfs-olga-fonts
PackageRelease	11.fc12
PackageVersion	20060908
SHA-1	02C182517E262E7857967BE09E9673C59D44D605
SHA-256	3CFF4B05160ACA75A41668796E77C8BB2E5EEAA5CBBADAC87553A1CB11AA1A8C

Key	Value
MD5	EF46AF4937C4F4804BC949C7967ED18F
PackageArch	noarch
PackageDescription	In Greece the terms italic and oblique have the same meaning since they are borrowed from the latin typographic practice without any real historical equivalent in Greek history. Until the end of the 19th century Greek typefaces were cut and cast indepedently, not as members of a typefamily. The mechanisation of typecutting allowed the transformation of upright Greek typefaces to oblique designs. Nonetheless, the typesetting practice of a cursive Greek font to complement an upright one did not survive the 19th century. The experimental font GFS Olga (1995) attempts to revive this lost tradition. The typeface was designed and digitised by George Matthiopoulos, based on the historical Porson Greek type (1803) with the intention to be the companion of the upright GFS Didot font whenever there is a need for an italic alternative.
PackageMaintainer	Fedora Project
PackageName	gfs-olga-fonts
PackageRelease	10.fc11
PackageVersion	20060908
SHA-1	7D0F1779F47ED7697D82F352FDD5F62894146122
SHA-256	6D86053199E70DA85D2F84FD4507F46531762C26259D41DC507FE87258FA0246

Key	Value
MD5	635ABD8350AB4D4F0868EFEF159FC9E1
PackageArch	noarch
PackageDescription	In Greece the terms italic and oblique have the same meaning since they are borrowed from the latin typographic practice without any real historical equivalent in Greek history. Until the end of the 19th century Greek typefaces were cut and cast indepedently, not as members of a typefamily. The mechanisation of typecutting allowed the transformation of upright Greek typefaces to oblique designs. Nonetheless, the typesetting practice of a cursive Greek font to complement an upright one did not survive the 19th century. The experimental font GFS Olga (1995) attempts to revive this lost tradition. The typeface was designed and digitised by George Matthiopoulos, based on the historical Porson Greek type (1803) with the intention to be the companion of the upright GFS Didot font whenever there is a need for an italic alternative.
PackageMaintainer	Fedora Project
PackageName	gfs-olga-fonts
PackageRelease	11.fc12
PackageVersion	20060908
SHA-1	D813B4D1F3CB632D37D5D85C57E55D5046ABA548
SHA-256	5EF08A7D0B5EA17B2221B8DC9674D7964F40B28982CD78871B318C37FA1FA707

Key	Value
MD5	E6DD83B498F03D32961D5CC9AB0681F7
PackageArch	noarch
PackageDescription	In Greece the terms italic and oblique have the same meaning since they are borrowed from the latin typographic practice without any real historical equivalent in Greek history. Until the end of the 19th century Greek typefaces were cut and cast indepedently, not as members of a typefamily. The mechanisation of typecutting allowed the transformation of upright Greek typefaces to oblique designs. Nonetheless, the typesetting practice of a cursive Greek font to complement an upright one did not survive the 19th century. The experimental font GFS Olga (1995) attempts to revive this lost tradition. The typeface was designed and digitised by George Matthiopoulos, based on the historical Porson Greek type (1803) with the intention to be the companion of the upright GFS Didot font whenever there is a need for an italic alternative.
PackageMaintainer	Fedora Project
PackageName	gfs-olga-fonts
PackageRelease	11.fc12
PackageVersion	20060908
SHA-1	3D5E5278CEBD99D2B465159136F601978335BCB0
SHA-256	701113A7D3BA56866C922F967FED6F0A32FEFD1FA6912D8BBEACB19D4B8A4B4E