A Short History of Typography
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A Study of Kufic Script in Islamic Calligraphy and Its Relevance To
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1999 A study of Kufic script in Islamic calligraphy and its relevance to Turkish graphic art using Latin fonts in the late twentieth century Enis Timuçin Tan University of Wollongong Recommended Citation Tan, Enis Timuçin, A study of Kufic crs ipt in Islamic calligraphy and its relevance to Turkish graphic art using Latin fonts in the late twentieth century, Doctor of Philosophy thesis, Faculty of Creative Arts, University of Wollongong, 1999. http://ro.uow.edu.au/ theses/1749 Research Online is the open access institutional repository for the University of Wollongong. For further information contact Manager Repository Services: [email protected]. A Study ofKufic script in Islamic calligraphy and its relevance to Turkish graphic art using Latin fonts in the late twentieth century. DOCTORATE OF PHILOSOPHY from UNIVERSITY OF WOLLONGONG by ENiS TIMUgiN TAN, GRAD DIP, MCA FACULTY OF CREATIVE ARTS 1999 CERTIFICATION I certify that this work has not been submitted for a degree to any university or institution and, to the best of my knowledge and belief, contains no material previously published or written by any other person, expect where due reference has been made in the text. Enis Timucin Tan December 1999 ACKNOWLEDGEMENTS I acknowledge with appreciation Dr. Diana Wood Conroy, who acted not only as my supervisor, but was also a good friend to me. I acknowledge all staff of the Faculty of Creative Arts, specially Olena Cullen, Liz Jeneid and Associate Professor Stephen Ingham for the variety of help they have given to me. -
Sinitic Language and Script in East Asia: Past and Present
SINO-PLATONIC PAPERS Number 264 December, 2016 Sinitic Language and Script in East Asia: Past and Present edited by Victor H. Mair Victor H. Mair, Editor Sino-Platonic Papers Department of East Asian Languages and Civilizations University of Pennsylvania Philadelphia, PA 19104-6305 USA [email protected] www.sino-platonic.org SINO-PLATONIC PAPERS FOUNDED 1986 Editor-in-Chief VICTOR H. MAIR Associate Editors PAULA ROBERTS MARK SWOFFORD ISSN 2157-9679 (print) 2157-9687 (online) SINO-PLATONIC PAPERS is an occasional series dedicated to making available to specialists and the interested public the results of research that, because of its unconventional or controversial nature, might otherwise go unpublished. The editor-in-chief actively encourages younger, not yet well established, scholars and independent authors to submit manuscripts for consideration. Contributions in any of the major scholarly languages of the world, including romanized modern standard Mandarin (MSM) and Japanese, are acceptable. In special circumstances, papers written in one of the Sinitic topolects (fangyan) may be considered for publication. Although the chief focus of Sino-Platonic Papers is on the intercultural relations of China with other peoples, challenging and creative studies on a wide variety of philological subjects will be entertained. This series is not the place for safe, sober, and stodgy presentations. Sino- Platonic Papers prefers lively work that, while taking reasonable risks to advance the field, capitalizes on brilliant new insights into the development of civilization. Submissions are regularly sent out to be refereed, and extensive editorial suggestions for revision may be offered. Sino-Platonic Papers emphasizes substance over form. -
Old Cyrillic in Unicode*
Old Cyrillic in Unicode* Ivan A Derzhanski Institute for Mathematics and Computer Science, Bulgarian Academy of Sciences [email protected] The current version of the Unicode Standard acknowledges the existence of a pre- modern version of the Cyrillic script, but its support thereof is limited to assigning code points to several obsolete letters. Meanwhile mediæval Cyrillic manuscripts and some early printed books feature a plethora of letter shapes, ligatures, diacritic and punctuation marks that want proper representation. (In addition, contemporary editions of mediæval texts employ a variety of annotation signs.) As generally with scripts that predate printing, an obvious problem is the abundance of functional, chronological, regional and decorative variant shapes, the precise details of whose distribution are often unknown. The present contents of the block will need to be interpreted with Old Cyrillic in mind, and decisions to be made as to which remaining characters should be implemented via Unicode’s mechanism of variation selection, as ligatures in the typeface, or as code points in the Private space or the standard Cyrillic block. I discuss the initial stage of this work. The Unicode Standard (Unicode 4.0.1) makes a controversial statement: The historical form of the Cyrillic alphabet is treated as a font style variation of modern Cyrillic because the historical forms are relatively close to the modern appearance, and because some of them are still in modern use in languages other than Russian (for example, U+0406 “I” CYRILLIC CAPITAL LETTER I is used in modern Ukrainian and Byelorussian). Some of the letters in this range were used in modern typefaces in Russian and Bulgarian. -
Carolingian Uncial: a Context for the Lothar Psalter
CAROLINGIAN UNCIAL: A CONTEXT FOR THE LOTHAR PSALTER ROSAMOND McKITTERICK IN his famous identification and dating ofthe Morgan Golden Gospels published in the Festschrift for Belle da Costa Greene, E. A. Lowe was quite explicit in his categorizing of Carolingian uncial as the 'invention of a display artist'.^ He went on to define it as an artificial script beginning to be found in manuscripts of the ninth century and even of the late eighth century. These uncials were reserved for special display purposes, for headings, titles, colophons, opening lines and, exceptionally, as in the case ofthe Morgan Gospels Lowe was discussing, for an entire codex. Lowe acknowledged that uncial had been used in these ways before the end of the eighth century, but then it was * natural' not 'artificial' uncial. One of the problems I wish to address is the degree to which Frankish uncial in the late eighth and the ninth centuries is indeed 'artificial' rather than 'natural'. Can it be regarded as a deliberate recreation of a script type, or is it a refinement and elevation in status of an existing book script? Secondly, to what degree is a particular script type used for a particular text type in the early Middle Ages? The third problem, related at least to the first, if not to the second, is whether Frankish uncial, be it natural or artificial, is sufficiently distinctive when used by a particular scriptorium to enable us to locate a manuscript or fragment to one atelier rather than another. This problem needs, of course, to be set within the context of later Carolingian book production, the notions of 'house' style as opposed to 'regional' style and the criteria for locating manuscript production to particular scriptoria in the Frankish kingdoms under the Carolingians that I have discussed elsewhere." It is also of particular importance when considering the Hofschule atehers ofthe mid-ninth century associated with the Emperor Lothar and with King Charles the Bald. -
Learning Cyrillic
LEARNING CYRILLIC Question: If there is no equivalent letter in the Cyrillic alphabet for the Roman "J" or "H" how do you transcribe good German names like Johannes, Heinrich, Wilhelm, etc. I heard one suggestion that Johann was written as Ivan and that the "h" was replaced with a "g". Can you give me a little insight into what you have found? In researching would I be looking for the name Ivan rather than Johann? One must always think phonetic, that is, think how a name is pronounced in German, and how does the Russian Cyrillic script produce that sound? JOHANNES. The Cyrillic spelling begins with the letter “I – eye”, but pronounced “eee”, so we have phonetically “eee-o-hann” which sounds like “Yo-hann”. You can see it better in typeface – Иоганн , which letter for letter reads as “I-o-h-a-n-n”. The modern Typeface script is radically different than the old hand-written Cyrillic script. Use the guide which I sent to you. Ivan is the Russian equivalent of Johann, and it pops up occasionally in Church records. JOSEPH / JOSEF. Listen to the way the name is pronounced in German – “yo-sef”, also “yo-sif”. That “yo” sound is produced by the Cyrillic script letters “I” and “o”. Again you can see it in the typeface. Иосеф and also Иосиф. And sometimes Joseph appears as , transliterated as O-s-i-p. Similar to all languages and scripts, Cyrillic spellings are not consistent. The “a” ending indicates a male name. JAKOB. There is no “Jay” sound in the German language. -
Turkmen Language: Alphabet, Structure and Writing
International Journal of Multidisciplinary Research and Growth Evaluation www.allmultidisciplinaryjournal.com International Journal of Multidisciplinary Research and Growth Evaluation ISSN: 2582-7138 Received: 03-07-2021; Accepted: 19-07-2021 www.allmultidisciplinaryjournal.com Volume 2; Issue 4; July-August 2021; Page No. 663-664 Turkmen Language: Alphabet, structure and writing Homayoun Mahmoodi Lecture, Department of Turkmani, Education Faculty, Jawzjan University, Sheberghan, Afghanistan Corresponding Author: Homayoun Mahmoodi Abstract The Turkmen Language is classified as one of the Turkic people worldwide, with approximately 1 million more languages which are all in the Ural-Altaic language family. speaking it as a second language. The majority of Turkmen Like all Turkic languages, the Turkmen Language is an speakers are located in Eurasia and Central Asia, with the agglutinative language that has productive inflectional and highest concentrations located in Turkmenistan, Iran, and derivational suffixes which are affixed to a word like “beads Afghanistan. on a string”. Turkmen is spoken natively by about 7 million Keywords: Turkmen, Afghanistan, Alphabet, structure 1. Introduction Turkmen are part of the ethno-linguistic Turkic continuum that stretches from western China to western Turkey. They share a claim to western-Turkic (Oguz) heritage along with Azerbaijanis and Turks in Turkey (Golden 1972) [4]. Despite a distinct twenty-first century identity, Turkmen culture and traditions historically overlapped with that of other Turks. The term “Turkic” refers to this cultural and linguistic heritage that all Turkic-language speaking groups share. Nevertheless, a separate Turkmen sense of identity was born out of their particular historical experience. A nomadic heritage, distinctively Oguz dialects, and tribal traditions contribute greatly to the identity that sets Turkmen apart from other Turkic groups and shape a specifically Turkmen sense of ethnic identity. -
Web Typography │ 2 Table of Content
Imprint Published in January 2011 Smashing Media GmbH, Freiburg, Germany Cover Design: Ricardo Gimenes Editing: Manuela Müller Proofreading: Brian Goessling Concept: Sven Lennartz, Vitaly Friedman Founded in September 2006, Smashing Magazine delivers useful and innovative information to Web designers and developers. Smashing Magazine is a well-respected international online publication for professional Web designers and developers. Our main goal is to support the Web design community with useful and valuable articles and resources, written and created by experienced designers and developers. ISBN: 978-3-943075-07-6 Version: March 29, 2011 Smashing eBook #6│Getting the Hang of Web Typography │ 2 Table of Content Preface The Ails Of Typographic Anti-Aliasing 10 Principles For Readable Web Typography 5 Principles and Ideas of Setting Type on the Web Lessons From Swiss Style Graphic Design 8 Simple Ways to Improve Typography in Your Designs Typographic Design Patterns and Best Practices The Typography Dress Code: Principles of Choosing and Using Typefaces Best Practices of Combining Typefaces Guide to CSS Font Stacks: Techniques and Resources New Typographic Possibilities with CSS 3 Good Old @Font-Face Rule Revisted The Current Web Font Formats Review of Popular Web Font Embedding Services How to Embed Web Fonts from your Server Web Typography – Work-arounds, Tips and Tricks 10 Useful Typography Tools Glossary The Authors Smashing eBook #6│Getting the Hang of Web Typography │ 3 Preface Script is one of the oldest cultural assets. The first attempts at written expressions date back more than 5,000 years ago. From the Sumerians cuneiform writing to the invention of the Gutenberg printing press in Medieval Germany up to today՚s modern desktop publishing it՚s been a long way that has left its impact on the current use and practice of typography. -
Script Recognition by Statistical Analysis of the Image Texture
X International Symposium on Industrial Electronics INDEL 2014, Banja Luka, November 0608, 2014 Script Recognition by Statistical Analysis of the Image Texture Invited Paper Darko Brodić Technical Faculty in Bor University of Belgrade Bor, Serbia [email protected] Abstract—The paper proposed an algorithm for the script The proposed approach incorporates the statistical analysis identification using the statistical analysis of the texture obtained of the texture. Texture is suitable for extracting similarities and by script mapping. First, the algorithm models the script sign by dissimilarities between images. However, the novelty of the the equivalent script type. The script type is determined by the proposed approach [8] is given by specific text modeling and position of the letter in the baseline area. Furthermore, the 1-D texture analysis. During text modeling the number of extraction of the features is performed. This step of the algorithm variables is substantially reduced. Furthermore, the image is is based on the script type occurrence and co-occurrence pattern replaced with text. Hence, the image which represents a 2-D analysis. Then, the resultant features are compared. Their image is replaced with the text given by 1-D "image". All differences simplify the script feature classification. The aforementioned contributes to the algorithm's speed. algorithm is tested on the German and Slavic printed documents incorporating different scripts. The experiment gives the results The paper is organized as follows. Section 2 describes the that are promising. proposed algorithm. Section 3 explains the experiment. Section 4 presents the results and gives the discussion. Section 5 makes Keywords - Coding, Cultural heritage, Historical documents, conclusions. -
Proposal for Generation Panel for Latin Script Label Generation Ruleset for the Root Zone
Generation Panel for Latin Script Label Generation Ruleset for the Root Zone Proposal for Generation Panel for Latin Script Label Generation Ruleset for the Root Zone Table of Contents 1. General Information 2 1.1 Use of Latin Script characters in domain names 3 1.2 Target Script for the Proposed Generation Panel 4 1.2.1 Diacritics 5 1.3 Countries with significant user communities using Latin script 6 2. Proposed Initial Composition of the Panel and Relationship with Past Work or Working Groups 7 3. Work Plan 13 3.1 Suggested Timeline with Significant Milestones 13 3.2 Sources for funding travel and logistics 16 3.3 Need for ICANN provided advisors 17 4. References 17 1 Generation Panel for Latin Script Label Generation Ruleset for the Root Zone 1. General Information The Latin script1 or Roman script is a major writing system of the world today, and the most widely used in terms of number of languages and number of speakers, with circa 70% of the world’s readers and writers making use of this script2 (Wikipedia). Historically, it is derived from the Greek alphabet, as is the Cyrillic script. The Greek alphabet is in turn derived from the Phoenician alphabet which dates to the mid-11th century BC and is itself based on older scripts. This explains why Latin, Cyrillic and Greek share some letters, which may become relevant to the ruleset in the form of cross-script variants. The Latin alphabet itself originated in Italy in the 7th Century BC. The original alphabet contained 21 upper case only letters: A, B, C, D, E, F, Z, H, I, K, L, M, N, O, P, Q, R, S, T, V and X. -
On Digitization of Romanian Cyrillic Printings of the 17Th–18Th Centuries
Computer Science Journal of Moldova, vol.25, no.2(74), 2017 On Digitization of Romanian Cyrillic Printings of the 17th–18th Centuries Svetlana Cojocaru Alexandru Colesnicov Ludmila Malahov Tudor Bumbu Ștefan Ungur Abstract The paper describes in details recognition of Romanian texts of the 17th–18th centuries printed in the Cyrillic script, and their conversion to the modern Latin script. The challenges are dis- cussed, and solutions of problems are proposed. The elaborated technology and a tool pack include historical alphabets, sets of recognition patterns, and spelling dictionaries in the corresponding orthographies for ABBYY Finereader. In addition, virtual keyboards, fonts, a transliteration utility, and the user manual were developed. This permits successful recognition of old Romanian texts in the Cyrillic script. Transliteration to the Latin script grants no- barrier access to historical documents. 1 Introduction OCR of old books is a sophisticated task. The problems arose from peculiarities of historical typography, non-standardized spelling, and physical degradation of the documents due to their aging and usage. This paper describes digitization of the Romanian texts of the 17th– 18th centuries that were printed in the old Romanian Cyrillic script (RC). We need to OCR them, to present the recognized text in the fonts of the corresponding period, to transliterate then to the modern Romanian Latin script (MRL). Sometimes the reverse transliteration is also useful. We use the existing programs and develop our own pack of additional programs and data. ©2017 by S.Cojocaru, A.Colesnicov, L.Malahov, T.Bumbu, Ș.Ungur 217 S.Cojocaru et al. In the literature, we met the opinion that commercial software like ABBYY Finereader (AFR) is not fully suitable for OCR of old print- ings. -
Type & Typography
Type & Typography by Walton Mendelson 2017 One-Off Press Copyright © 2009-2017 Walton Mendelson All rights reserved. [email protected] All images in this book are copyrighted by their respective authors. PhotoShop, Illustrator, and Acrobat are registered trademarks of Adobe. CreateSpace is a registered trademark of Amazon. All trademarks, these and any others mentioned in the text are the property of their respective owners. This book and One- Off Press are independent of any product, vendor, company, or person mentioned in this book. No product, company, or person mentioned or quoted in this book has in any way, either explicitly or implicitly endorsed, authorized or sponsored this book. The opinions expressed are the author’s. Type & Typography Type is the lifeblood of books. While there is no reason that you can’t format your book without any knowledge of type, typography—the art, craft, and technique of composing and printing with type—lets you transform your manuscript into a professional looking book. As with writing, every book has its own issues that you have to discover as you design and format it. These pages cannot answer every question, but they can show you how to assess the problems and understand the tools you have to get things right. “Typography is what language looks like,” Ellen Lupton. Homage to Hermann Zapf 3 4 Type and Typography Type styles and Letter Spacing: The parts of a glyph have names, the most important distinctions are between serif/sans serif, and roman/italic. Normal letter spacing is subtly adjusted to avoid typographical problems, such as widows and rivers; open, touching, or expanded are most often used in display matter. -
Glagolitic Script in the UCS Source: Michael Everson, EGT (IE) Status: Expert Contribution Action: for Consideration by JTC1/SC2/WG2 and UTC Date: 1998-11-24
ISO/IEC JTC1/SC2/WG2 N1931 1998-11-24 Universal Multiple-Octet Coded Character Set International Organization for Standardization Organisation Internationale de Normalisation Œåæäóíàðîäíàß îðãàíèçàöèß ïî ñòàíäàðòèçàöèè Doc Type: Working Group Document Title: Revised proposal for encoding the Glagolitic script in the UCS Source: Michael Everson, EGT (IE) Status: Expert Contribution Action: For consideration by JTC1/SC2/WG2 and UTC Date: 1998-11-24 This document is based on the proposal written by Joe Becker and published in UTR#3, and the proposal written by me in N1659. It is a revision of N1659, and contains the proposal summary. A. Administrative 1. Title Revised proposal for encoding the Glagolitic script in the UCS. 2. Requester’s name Michael Everson, EGT (WG2 member for Ireland). 3. Requester type Expert contribution. 4. Submission date 1998-11-24. 5. Requester’s reference 6a. Completion This is a complete proposal. 6b. More information to be provided? No. B. Technical – General 1a. New script? Name? Yes. Glagolitic. 1b. Addition of characters to existing block? Name? No. 2. Number of characters 92. 3. Proposed category Category B.1. 4. Proposed level of implementation and rationale As an alphabetic script, Glagolitic requires Level 1. 5a. Character names included in proposal? Yes. 5b. Character names in accordance with guidelines? Yes. 5c. Character shapes reviewable? Yes (see below). 1 6a. Who will provide computerized font? Michael Everson. 6b. Font currently available? Yes. 6c. Font format? TrueType. 7a. Are references (to other character sets, dictionaries, descriptive texts, etc.) provided? Yes. ISO 6861:1996 is a coded character set for Glagolitic, as well as the bibliography below.