Parents (Total: 13)

The searched file hash is included in 13 parent files which include package known and seen by metalookup. A sample is included below:

Key	Value
MD5	54252D0080F36362CABF0EAE46B19933
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	19.fc23
PackageVersion	20060908
SHA-1	396298E5A3014F7239E58DC5407A7E30AA42A7AE
SHA-256	421113E29E188FDAE5D30CC271048AF7F630B47BCC0C53593D15E2B82706C538

Key	Value
MD5	AAB79170B9902C30918C8396322E488F
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	19.fc23
PackageVersion	20060908
SHA-1	350BE667CD5245814BE48BEECF9E360A41974173
SHA-256	B309B8EF00D9339557C370D840ABA8ED3FFF2CC742EBE010D2D58A6EA16AE5F1

Key	Value
MD5	D1DB9D00F14D6E7F8F2A5CF52178F49F
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	18.fc22
PackageVersion	20060908
SHA-1	DB278D43EB81FAFC62C5EE2D95DFD00A3E8CD2EF
SHA-256	D529B0CE731B7A3C57ACDB1B0C60B79017ECB9EE3E066C549515B1E01881E3D4

Key	Value
MD5	8581E6CBA8760EAE1B647E2D6497E1D4
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	18.fc22
PackageVersion	20060908
SHA-1	9C12D567A0078C1E88038439A94706F7FF189D96
SHA-256	AA8F9923B31E4DB1DBD57AF040E5D36553AB03A59F8D347DAC62B7BAD362550D

Key	Value
MD5	243074ED4D7A5FF413FF8A079DAF9E40
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	18.fc21
PackageVersion	20060908
SHA-1	25F7EBFCF63B3AE65AADB8412A5ADDE1E10EFBE4
SHA-256	331266FFFE8845FFED18782410302EFFD6A40F5E24FA378BFD1E71B086D65D31

Key	Value
MD5	765506D512921F96151D1B3D34FE94BA
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	18.fc22
PackageVersion	20060908
SHA-1	4E98D368F758FBB7F0F20152BC9FA2CA279A59E5
SHA-256	F117D47417E95FD3682455DFB371908157F964A2C9ADF243A51499F7C67C5137

Key	Value
MD5	2C8F276E7D573E5F230986B15692B2ED
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	18.fc22
PackageVersion	20060908
SHA-1	D96C6D0A151D606A36C3FBA82897E12A226641F0
SHA-256	D39B60BBE6C24F005F6FD6583C14C319424E9B6D9878DF78E895EEF6CEB2CD81

Key	Value
MD5	20206247BC7FF42A7BB4E66C437DD8AB
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	19.fc23
PackageVersion	20060908
SHA-1	F0ECF310A7FAAF6D7C8889BC46D7F76A8F67AFF3
SHA-256	11FF8641712D1594035D842A3E35BF2B22AC95B43DEF83A5A00BFC958E462B3D

Key	Value
MD5	F8B2B9147CF3DD3F744E9C47C51CD6D0
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	20.fc24
PackageVersion	20060908
SHA-1	81BF83DB90C0F5D3057DDD6DAAD983E61D2208EF
SHA-256	004BD3F679BFA28406243826F35B8423127549C3FC716C5BA3A3EBE43BE832DC

Key	Value
MD5	D50B27D26241C7B58DC7BCF81952167A
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	20.fc24
PackageVersion	20060908
SHA-1	43D912E32BBFCEB868F3B8AAAF8345A54AE248C6
SHA-256	5C26073E3C9B8204ED49B0B1F39817A703564CB4D44DFC64D0B8E8026FB92B8F

Key	Value
MD5	627C3D7EA4CCF6FFB4A1EAE32161840C
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	18.fc21
PackageVersion	20060908
SHA-1	2C2EF24F88E5EDA0D3848CBA87EF9AB565178F15
SHA-256	817759E4D79D6D39A7124C02DB51F2FFF530CF84DF20E1C32BD1E68D67129ADF

Key	Value
MD5	62CA5509DF55D1ADD1940DD1AF0CBD64
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	18.fc21
PackageVersion	20060908
SHA-1	11A04BDDF05D8AAB04DFF5978C769EDDE0064C90
SHA-256	A75A5A28E7C78350D7A2055C27F9FD24C573247E6E43C0EDF8434B3F87AB867D

Key	Value
MD5	F3B13B17D099CF7E82567B88067820D8
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	19.fc23
PackageVersion	20060908
SHA-1	C2A6A8171E8385B6FF4C7C9F3D34EE22AF9902AC
SHA-256	15409DFDA042663594A779A0FE89B9D6A3BD49258546A7965AD4361E22A77E21