An Introduction to Graphology: Definition, Theoretical Background and Levels of Analysis
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Greek Type Design Introduction
A primer on Greek type design by Gerry Leonidas T the 1997 ATypI Conference at Reading I gave a talk Awith the title ‘Typography & the Greek language: designing typefaces in a cultural context.’ The inspiration for that talk was a discussion with Christopher Burke on designing typefaces for a script one is not linguistically familiar with. My position was that knowledge and use of a language is not a prerequisite for understanding the script to a very high, if not conclusive, degree. In other words, although a ‘typographically attuned’ native user should test a design in real circumstances, any designer could, with the right preparation and monitoring, produce competent typefaces. This position was based on my understanding of the decisions a designer must make in designing a Greek typeface. I should add that this argument had two weak points: one, it was based on a small amount of personal experience in type design and a lot of intuition, rather than research; and, two, it was quite possible that, as a Greek, I was making the ‘right’ choices by default. Since 1997, my own work proved me right on the first point, and that of other designers – both Greeks and non- Greeks – on the second. The last few years saw multilingual typography literally explode. An obvious arena was the broader European region: the Amsterdam Treaty of 1997 which, at the same time as bringing the European Union closer to integration on a number of fields, marked a heightening of awareness in cultural characteristics, down to an explicit statement of support for dialects and local script variations. -
Emojis: a Grapholinguistic Approach
Emojis: A Grapholinguistic Approach Christa Dürscheid & Dimitrios Meletis Abstract. The present article stands at the interface of CMC research and grapholinguistics. After outlining which features are typical of the writing of pri vate text messages, the focus of the first part of the paper (Sections 2 and 3) lies on the use of emojis. Notably, emoji use is not—as is commonly done—analyzed under a pragmatic perspective, but grapholinguistically, at the graphetic and graphematic levels: emojis are conceptualized as visual shapes that may assume graphematic functions within a given writing system. In the second part (Sec tion 4), it is underlined that all variants of written digital communication (such as the use of emojis, but also all other characters) are made possible only due to the Unicode Consortium’s decisions; this, finally, is argued to have farreaching consequences for the future of writing. 1. Preliminary Remarks In this paper, the use of emojis will be considered within a frame work known in the Germanlanguage research area as “Schriftlinguis tik” (grapholinguistics). As will be demonstrated, this term is not equiv alent to the terms graphemics or graphematics. In a much broader sense, grapholinguistics entails different aspects of writing (among them re search on scripts and writing systems, the history of writing, orthogra phy, graphematics, the acquisition of reading and writing, text design and textimagerelations, and differences between the written and spo ken modalities of language) (cf. Dürscheid 2016).1 This paper’s main Christa Dürscheid Department of German Studies, University of Zurich Schönberggasse 9, 8001 Zürich, Switzerland [email protected] Dimitrios Meletis Department of Linguistics, University of Graz Merangasse 70/III, 8010 Graz, Austria [email protected] 1. -
Image Making of the Letterforms Inspiration from Indian Image Making for Font Design
RPS Research into Design — Supporting Sustainable Product Development “icord2011-lineup” 2010/12/24 826 IMAGE MAKING OF THE LETTERFORMS INSPIRATION FROM INDIAN IMAGE MAKING FOR FONT DESIGN Prasad Bokila and Shilpa Ranadeb Industrial Design Centre, IIT Bombay, Powai, Mumbai 400076. Email: [email protected], [email protected] Design field, being interdisciplinary in nature, has some roots in ‘art practices’. Study of the medieval Indian art and crafts through the design perspective may open lot more opportunities to relocate the design practice in Indian context. This work can be described as cross-pollination between Indian image making tradition and Typeface design, where the first is providing a structural tool for the experimentation in the other. This paper is divided in two parts. The first part presents a need for new approach in Devanagari type face design. Second part is the experimentation in font design based on Image making process in Indian tradition. The experiment generated a new font in which a spine for each letterform is designed based on a combination of regular horizontal grid and newly introduced angular grid. Keywords: Indian aesthetics, Typeface design, Image making, Art and design. 1. INTRODUCTION Contemporary design arrived in India in the later half of the twentieth century. It has been heavily influenced and benefited by European design theory and practice. As a result, it has inherited relation to the modern art, following the trends of modernism and post modernism. But on the broader scenario of design needs of India, this well equipped modern design was not emergence but the replacement of traditional indigenous design practices mainly covered under art and craft. -
Department of Linguistics Non-Thesis Group of Students Should Select Two More Courses for Study from the Course Basket Offered by the University of Dhaka Department
MA Curriculum MA Curriculum Department of Linguistics non-thesis group of students should select two more courses for study from the course basket offered by the University of Dhaka department. The thesis group students should complete MA Curriculum their MA thesis paper in lieu of taking two elective courses. Session: 2015-16, 2016-17, 2017-18. 2018-19 The minimum number of students of each elective course should be 10 1. Title of the program 4.6 Comprehensive examination: The course Ling M 5201 Masters of Arts in Linguistics which counts 100 marks (4 credits) will be regarded as comprehensive examination. There will be no formal class 2. Eligibility for admission for comprehensive examination. The question will be set 2.1 Bachelor of Arts in Linguistics or equivalent from all the obligatory courses those will be taught in the whole MA programme. 2.2 Other criteria for admission may be determined by both the Faculty of Arts and the Academic Committee of the 5. Teaching Department of Linguistics, University of Dhaka. 5.1 Please see the instruction provided by the office of Dean, 3. Requirements for the degree Faculty of Arts, DU (Sl. 5) 3.1 Successful completion of pre-specified credits hours in 2 5.2. Please see the instruction provided by the office of Dean, semesters in 1 (one) year. Faculty of Arts, DU (Sl. 6) 3.2 Obtaining of minimum cumulative grade point average of 6. Examination and Evaluation 2.0 on a scale from 4 (without any F grade). 6.1 Evaluation and grading for a full unit course shall be determined on the basis of - 4. -
Calligraphy-Magic.Pdf
Calligraphy Magic How to Create Lettering, Knotwork, Coloring and More Cari Buziak Table of Contents Table of Contents Introduction Glossary of Terms CHAPTER 1 Calligraphy Tools and Supplies CHAPTER 2 How to Make Calligraphy Strokes CHAPTER 3 15 Alphabets From Basic to Fancy CHAPTER 4 Ornamentation, Gilding & Coloring CHAPTER 5 12 Calligraphy Projects Step by Step STATIONERY AND EVENT ANNOUNCEMENTS Bookplates Greeting Cards Bookmarks Logos Business Cards and Letterhead Wedding Announcements Invitations Place Cards and Thank-You’s DISPLAY PIECES Monograms Quotations Certifi cates Lettering with Celtic Decoration Illustrated Poems Lettering with Dragon Artwork CHAPTER 6 Creating Your Own Computer Fonts Pre-printed Celtic Knotwork Grid Paper Pre-ruled Calligraphy Practice Pages Index About the Author Dedication Acknowledgments Introduction Introduction Calligraphy is a fun craft to learn, as well as a useful one. Far from being an obsolete skill, more and more people today are picking up the pen and creating their own greeting cards, wedding invitations, fine art projects, and even creating their own computer fonts! In the old days, calligraphy tools were unique and specically crafted to their task. Today, a calligrapher has a wide variety of tools from which to choose, from traditional to completely modern, even digital! Calligraphers can now experiment with their artistic expression, freely mixing creative ideas and elements together to explore new artforms with their projects. In this book we’ll examine the basic techniques of calligraphy, covering calligraphy hands suitable for a wide variety of projects and easy for a beginner or intermediate calligrapher to practice and learn. We’ll also cover easy decorative techniques such as watercolor painting, Celtic knotwork, gold leang and illustration ideas to create a “toolkit” of creative techniques. -
Open Journal for Studies in Linguistics, 2020, 3(1), 1-46
Open Journal for Studies in Linguistics, 2020, 3(1), 1-46. ISSN (Online) 2620-0678 __________________________________________________________________ AIMS AND SCOPE The OJSL, as an international multi-disciplinary peer-reviewed open access online academic journal, publishes academic articles deal with different problems and topics in various areas of linguistics or which relates to linguistics (cognitive linguistics, sociolinguistics, generative linguistics, structural linguistics, historical linguistics, evolutionary linguistics, anthropological linguistics, contrastive linguistics, comparative linguistics, forensic linguistics, computational linguistics, history of linguistics, neurolinguistics, psycholinguistics, functional theories of grammar, quantitative linguistics, constraint-based linguistics, etymology, phonology, morphology, morphophonology, syntax, lexis, semantics, phonetics, pragmatics, graphemics, graphetics, orthography, semiothics, cherology, origin of language, origin of speech, language acquisition, language assessment, language education, philosophy of language, sociology of language, psychology of language, etc.). The OJSL provides a platform for the manuscripts from different areas of research, which may rest on the full spectrum of established methodologies, including theoretical discussions and empirical investigations. The manuscripts may represent a variety of theoretical perspectives and different methodological approaches. The OJSL is already indexed in Crossref (DOI), DOAJ (Directory of Open Access Journals), -
Arabic Type Classification System
ARABIC TYPE CLASSIFICATION SYSTEM QUALITATIVE CLASSIFICATION OF HISTORIC ARABIC WRITING SCRIPTS IN THE CONTEMPORARY TYPOGRAPHIC CONTEXT BY DARIN ABU-SHAQRA | INCLUSIVE DESIGN | 2020 SUBMITTED TO OCAD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF DESIGN IN INCLUSIVE DESIGN TORONTO, ONTARIO, CANADA, 2020 i ACKNOWLEDGEMENTS I wish to express my sincere appreciation to both my primary advisor Richard Hunt, and secondary advisor Peter Coppin, your unlimited positivity, guidance and support was crucial to the comple- tion of this work. It was an absolute honour to have two geniuses in their fields as my advisors. Enriching my knowledge of typography and graphic design and looking through the lens of inclusive design and cognitive science of representation shaped a new respect for the cultural and experiential power of typography in me. My sincere gratitude goes to the talented calligraphers and graphic designers whom I have interviewed back in Jordan. Thank you, for your valuable time, and for allowing me to watch the world from different angles, and experiences. This project owes a lot to your motivation. My heartfelt thanks goes to my family - my late father Khalid, who, although is no longer with me, continues to inspire every step I have to take, my mother Nadia for being the symbol of strength and persistence, my siblings Yasmin, Omar, Ali and Abdullah for always believing in my dreams and doing whatever it takes to make them come true. A special thanks goes to the one who made those two years possible, Ra’ad thank you for being the definition of a life companion and a husband. -
Introduction
Introduction 1 . The present volume in the context of preceding experiences The first volume of the series LautSchriftSprache – ScriptandSound deals with some of the topics presented during the third international LSS conference in Verona (www.linguistic- slab.org/lss_3), as well as with some new ones. In chronological terms, the papers in the present volume refer to writing systems ranging from the cuneiform systems of the II. millen- nium B.C. to present-day alphabets; in relation to the geographical coordinates, they extend from the Middle East, and the Caucasus to continental Europe and the Mediterranean Area . The first LSS conference in Zurich 2008 gave an overall introduction to the broad field of historical graphemics, summing up the results of many research programs on runes and other writing system of the Middle Ages. The second one, in Munich in 2010, focused on the (dis-)ambiguity of the grapheme and the depiction of sounds by characters in terms of a ‘perfect fit’, giving an overview on different writing systems. The third conference followed these traces in attempting to broaden the range of phenomena studied . A detailed list of topics is offered below. 1 . Metalanguage . A scrutiny of metalinguistic thinking based on the history of the underlying concepts (e g. grapheme, graph, character, letter, syllabogramm, phonogramm, logogramm, graphemics, graphetics, allograph, glyph, alloglyph etc .) and on their critical analysis . 2. Functions. The concept of a ‘perfect fit’ is further studied especially in the light of stud- ies on literacy, semiotics and the theory of communication. We tried to raise the following questions: How far can we speak of (im)perfection, once we consider the roles of senders, recipients and goals in their own context and in the context of our research? Can writing systems only be classified in relation to a glotto-phonemic – grapho-phonemic ‘perfect fit’ or also in relation to the concept of ‘key’ in communication? How relevant are considerations of specialized vs. -
Middle East-I 9 Modern and Liturgical Scripts
The Unicode® Standard Version 13.0 – Core Specification To learn about the latest version of the Unicode Standard, see http://www.unicode.org/versions/latest/. Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and the publisher was aware of a trade- mark claim, the designations have been printed with initial capital letters or in all capitals. Unicode and the Unicode Logo are registered trademarks of Unicode, Inc., in the United States and other countries. The authors and publisher have taken care in the preparation of this specification, but make no expressed or implied warranty of any kind and assume no responsibility for errors or omissions. No liability is assumed for incidental or consequential damages in connection with or arising out of the use of the information or programs contained herein. The Unicode Character Database and other files are provided as-is by Unicode, Inc. No claims are made as to fitness for any particular purpose. No warranties of any kind are expressed or implied. The recipient agrees to determine applicability of information provided. © 2020 Unicode, Inc. All rights reserved. This publication is protected by copyright, and permission must be obtained from the publisher prior to any prohibited reproduction. For information regarding permissions, inquire at http://www.unicode.org/reporting.html. For information about the Unicode terms of use, please see http://www.unicode.org/copyright.html. The Unicode Standard / the Unicode Consortium; edited by the Unicode Consortium. — Version 13.0. Includes index. ISBN 978-1-936213-26-9 (http://www.unicode.org/versions/Unicode13.0.0/) 1. -
Volume I Preliminaries Graphemics Phonology
1 Volume I Preliminaries 1. Introduction 2. Egyptian and its speakers This chapter will contain a short overview about language distribution, estimated speakers’ population, etc. and will enable readers (especially linguists, but also Egyptologists) to obtain a socio-cultural background for the description of the language. Graphemics 3. The Graphic System of Egyptian This chapter will contain an outline of the general development of the Egyptian script; special attention will be paid to the way in which the Egyptian script encoded phonetic and semantic information. It will also deal with the question of the exact place of word boundaries (Dixon & Aikhenvald 2003), i.e. the differentiation between phonetic, morphological and even phrasal words. A direct genitive as in Hm-nTr “priest” is phonetically one word [©AmnAcA®], consisting of two morpho-syntactic words (Hm “servant” and nTr “god”). This chapter will also lay the foundation for the reconstruction of the phonological system. A major effort will be made in order to show that graphemic units do not always correspond to phonemes, since the 26 basic (monoconsonantal) graphemes were used for the notation of approximately 30 phonemes. A further focus of attention will be the tension between the phonological function of the gra- phemes and their inherent iconic potential, a tension that was met with in very different ways depending on the underlying system (hieroglyphs vs. Demotic), on the textual genre (monu- mental/representational vs. cursive/pragmatic), or on the degree of graphic conventionalization (regular script vs. so-called cryptography). Phonology 4. Segmental phonological units This chapter is meant to give an overview of the evolution of the vocalic and consonantal phonemes. -
The Typographic Contribution to Language: 1987 Towards a Model of Typographic Genres and Their Underlying Structures
The typographic contribution to language: 1987 towards a model of typographic genres and their underlying structures Robert Waller A note about this edition After completing my PhD thesis in 1987, I left the research career that had led up to it, and went into practice as an information designer, although some ideas from the thesis were published (Waller 1990, 1999). For the next twenty years, my main focus was commercial survival, and I gave it little thought until Judy Delin and John Bateman got in touch. Their AHRC-funded GeM project looked at the role of layout in written text, and took a genre-based approach. I was delighted when they used my model as a starting point for their own richer and more robust version (Allen, Bateman and Delin 1999, Delin, Bateman and Allen 2002). At their suggestion I created a digital version, by converting the original WriteNow file into an early version of Word, and upwards through newer Word versions. The GeM project made this available online, and I have also placed it on my own website in recent years. However, many illustrations were missing, and others were scanned from photocopies. Recently I imported the Word file into InDesign, and I located and re-scanned most of the images. What you have here is the original text, although pages numbers have inevitably changed, and I have also corrected a number of typos. One or two exemplar documents are not the originals but make the same points. I am mindful that this thesis is over twenty-five years old and was written before the internet, and in the very early days of electronic documents and hypertext. -
PELE-658 Linguistics, Phonetics and Modern Grammar -I
1 MA (English), Sem III Paper III – (Elective VIII) PELE-658 Linguistics, Phonetics and Modern Grammar -I Instructor: Prof Susheel Kumar Sharma (SKS) Complied by: SKS Unit 1 (SKS) Linguistics: Definition, Linguistics as a Science, Scope of Linguistics, Branches of Linguistics, Leonard Bloomfield, ―Linguistics as a Science‖, Studies in Philology, Vol. 27, No. 4 (Oct., 1930), pp. 553-557, University of North Carolina Press,https://www.jstor.org/stable/4172074 Science: ―The observation, identification, description, experimental investigation, and theoretical explanation of phenomena. Such activities restricted to explaining a limited class of natural phenomena. Such activities applied to an object of inquiry or study. Knowledge, especially that gained through experience.‖ (THE AMERICAN HERITAGE® STEDMAN'S MEDICAL DICTIONARY) ―The investigation of natural phenomena through observation, theoretical explanation, and experimentation, or the knowledge produced by such investigation.♦ Science makes use of the scientific method, which includes the careful observation of natural phenomena, the formulation of a hypothesis, the conducting of one or more experiments to test the hypothesis, and the drawing of a conclusion that confirms or modifies the hypothesis. See Note at hypothesis.‖ (THE AMERICAN HERITAGE® SCIENCE DICTIONARY) ―The most common meaning of science is a body of established, verifiable and organised data secured by controlled observation, experience or experiment. The scientific method is the method followed in obtaining such data.‖ Justice R.A. Jahagirdar (Retd) (1927-2011), Scientific Temper, p.15. ―Science is a system of knowledge, a body of knowledge, held together by a group of propositions which have been tested and found to be valid in the light of evidence gathered.‖ Justice Jahagirdar, Collected Works of Justice R.A.