The dialect under scrutiny, the last remnant of the broad zone of Slavic dialects that were once spread throughout Epirus from Lake Ohrid and the Pindus Mountains to the Adriatic and Ionian Sea coasts (see Seliščev, 1981/1931), is spoken in Boboshtica and Drenova in Korça district. However, during the subsequent process of language attrition the language community in question split into three groups regarding the use of the markers: of the last six remaining speakers one speaker used only ǵe as an optional marker one speaker used toko as an optional marker four other speakers used toko as a regular progressive marker. In the first third of the 20 th century both markers were used as synonyms. At the same time, its choice to mark progressive was additionally motivated by the phonetic similarity with another Albanian progressive marker duke. Two processes intertwine on the grammaticalisation path of the other ( toko): originally an adversative conjunction (‘but’), it was structurally mapped to its polysemic (adversative, but also affirmative, progressive, conditional) Albanian counterpart po. One of them dates back to locative ( ǵe ‘where’). This expansion has been regarded extensively around the world, and can be seen on various online typographic services such as, open-source font libraries such as Google Font Library, and throughout the vast range of state-of-the-art typography growing on and for the web.The article focuses on two markers of progressive aspect that are emerging in a Balkan Slavic dialect in Albania, presumably under Albanian influence. These new standards opened a wide range of possibilities for web developers, designers and end-users, allowing them to expand the use of web-fonts beyond the proprietary selection of fonts embedded in operating systems. allows emebbing of any font to a web page, similar to they way images are embedded. Over the past year (since the release of the Firefox 3.6 browser) since the implementation of the standard in all of the popular browsers.

Moreover, the design for the Hebrew version of Arial was inspired by the font 'Narkis Neue' as an attempt to serve as an equivalent to the Latin version of Arial, which was developed itself as a poor interpretation of the modern san-serif font 'Helvetica'. Times with no choice but to use Arial as their default font, limiting designers and various digital needs. Despite the great potential, this reality has left designers many While in Europe and the USA web-fonts have been in development for years, the variety in Hebrew remains very limited. All this is almost completely neglected when designing web-fonts in the Hebrew language. Producing a clear and legible text for the screen is a result of multiple parameters, including the design of the characters themselves, their structure, various sequences, and most importantly, their appearance in small sizes for digital display. There is no doubt that globalization and the dominance of English online inevitably takes a dominant part of our internet experience, however, there are other aspects to this issue that we are able to address and perhaps even have an influence on. Many Israeli websites are designed in English and don't even bother including a Hebrew version, not to mention apps and mobile devices where Hebrew is scarcely seen.

Over the past few years, English has become the preferred online language, even by Hebrew speakers.

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