Sample?

hhp

See

http://www.polytoniko.org/fonts.php?newlang=en

Search for Greek 90

You will find

These fonts are used by Atelier Fluxus Virus for typesetting, they are not distributed in any way. The names we give are those of traditional Greek typography; between parentheses we provide also the name of the corresponding font in Monotype machines.

Looking at the font, it would work set hot-metal, printed letterpress. If it were digitized without tremendous skill, it would be unreadable.

Thank you for your reply.

I found this. Yiannis H. uses MT 90 throughout his study which you can read here:
http://omega.enstb.org/yannis/pdf/boston99.pdf

So it's totally digital (it's selectable in pdf), but i dont get it - why aren't they distributing it?!

Sample from the said pdf:

the most beautiful greek font of all times

!?

What Andreas said. Sorry.

You might look at the results Granshan from the past two years:
http://granshan.org/index.php?lang=eng&mode=competition_2010
http://granshan.org/index.php?lang=eng&mode=competition_2011

Personally my favorite (as an admitted non-expert
however) is Apollonia (although I'd much rather the
lc eta descend - thanks to John Hudson for waking
me up to that).

> why aren't they distributing it?!

To make their publications special. Stamperia Valdonega
uses that strategy, producing highly sensitive revivals of
classic faces, with optical scaling taking pride of place.

hhp

Comments about the taste are silly, štotzner.

I thank you, hrant. They probably just want to keep it to themselves.
There is solution for that, though :D

Cya

> There is solution for that, though :D

Like what?

hhp

> why aren't they distributing it?!

My guess is that Fluxus Virus is still using a system in the spirit of this 10 year old paper:

http://omega.enstb.org/yannis/pdf/thessaloniki.pdf

On Haralambous' site, you can find a recent paper in Greek, "to be published", that was typeset using the omega system. His font formats may just be his own.

Comments about the taste are silly, štotzner.

I don’t think this is a question of mere taste you posted initially.
Beauty, as you put it, can be subject to judgement, hence comments.

I was only challenging your ample statement “most beautiful font of all times” because I think there are quite a lot faces surpassing it. In my opinion.

And cheers for czechifying my name, I like that.

I think there are quite a lot faces surpassing it. In my opinion.

Like what?

Unfortunately, while I think that Monotype Greek 90 is a beautiful typeface, I have to agree that calling it the most beautiful one of all time is hyperbole. It reminds me of some generic Scotch Roman face.

However, at least it doesn't impose the upright capitals, italic lowercase convention of Porson Greek...

But I would hold Times, Palatino, and Artemisia to be superior, for example.

It reminds me of some generic Scotch Roman face.

Considering what Haralambous says about it, and what I find on the site of the Greek Font Society, I have to induce that the font is based on a 1805 design by Firmin Didot which thus predates Scotch Roman. That design was revived in 2006 by George D. Matthiopoulos for a project of the Department of Literature in the School of Philosophy at the University of Thessaloniki and is available as GFS Didot Classic (with surprisingly heavy capitals). The Greek Font Society also distributes a more modern design by Takis Katsoulidis, digitised by George Matthiopoulos, GFS Didot (that comes with TeX Live and MacTeX).

Thank you all.

Could it be that the “left handed” stress of this type is derived from its conception for use in texts which were predominantly Latin, employing the typical right-handed stress of the time, and this effect consequently provided substantial contrast for a few words of Greek, vis-à-vis both Roman and Italic?

no, I think this stress resulted from a particular kind of pen (reed?) and was established long before the mixture of Greek and Latin became an issue.
Perhaps John Hudson can point to something on this.

Monotype series 90 was the best seller of all Monotype Greeks. The 11-point size sold 950 sets of matrices. That figure testifies to its popularity in Greece; but in academic use in England it is rarely seen in comparison to series 106 Porson and series 192 New Hellenic. Neither Cambridge University Press nor Oxford showed it in their specimens, although Cambridge substituted the upright caps of this series for the inclined ones of Porson. Some further details about Monotype Greeks, especially New Hellenic, and a specimen of some other Greek types not often seen, may be found in my book The Greek types of the Jericho Press (2014; just published). More information is at http://www.jericho-press.com.