DOCSLIB.ORG

THE ROMAN LETTERFORM I / Xxxiv

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE ROMAN LETTERFORM I / Xxxiv GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM I / XXXIV The Roman Letterform 1 Roman Scripts 1 2 Monumental Capitals 8 3 Trajan’s Column 16 4 Lineage 20 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM II / XXXIV © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM III / XXXIV © Kevin Woodland, 2020 The Latin Alphabet, 23 characters, circa 100 BCE GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM 1 / 34 CIRCA 250 BCE – 100 CE Roman Scripts After situating the Latin alphabet, the Romans put their letters to work in the form of several hand-written scripts. © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / Roman ScrIpts 2 / 34 250 BCE 0 CE 100 CE Monumental Capitals Square Capitals Rustic Capitals Capitalis Monumentalis Capitalis Quadrata Capitalis Rustica © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / Roman ScrIpts 3 / 34 © Kevin Woodland, 2020 (left) Roman square capitals inside the Vergilius Augusteus, circa 300 CE. (right) Roman rustic capitals inside the Vergilius Romanus, circa 400 CE. GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / Roman ScrIpts 4 / 34 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / Roman ScrIpts 5 / 34 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / Roman ScrIpts 6 / 34 100 CE Rustic Capitals • Began in 1st century, gained popularity in 4th century • The popular script • Lacked mechanical precision of the monumental capitals • Influenced by pen and ink writing on papyrus or parchment • Thinner and more compressed • Descenders extending below the baseline © Kevin Woodland, 2020 Roman rustic capitals GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / Roman ScrIpts 7 / 34 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM 8 / 34 250 BCE Monumental Capitals Roman Monumental Capitals are used in public inscriptions and signage. They were the drawn by sign-painters and chiseled by stone carvers. © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / MonUmental CapItals 9 / 34 © Kevin Woodland, 2020 “Roman inscriptions were designed to have great beauty and permanence...” GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / MonUmental CapItals 10 / 34 © Kevin Woodland, 2020 “...The simple geometric lines of the capitalis monumentalis were drawn in thick and thin strokes, with organically unified straight and curved lines...” GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / MonUmental CapItals 11 / 34 © Kevin Woodland, 2020 “...Each letterform was designed to become one form rather than merely the sum of its parts...” GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / MonUmental CapItals 12 / 34 © Kevin Woodland, 2020 “...Careful attention was given to the shapes of spaces inside the letters and in between the letters...” GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / MonUmental CapItals 13 / 34 © Kevin Woodland, 2020 “...A Roman inscription became a sequence of linear geometric forms adapted from the square, triangle, and circle...” GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / MonUmental CapItals 14 / 34 © Kevin Woodland, 2020 “...Combined into an inscription these letterforms molded the negative shapes around and between them into a measured graphic melody of spatial forms, achieving an eternal wholeness.” – Phillip Meggs GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / MonUmental CapItals 15 / 34 100 CE Roman Letterform Proportions The height-to-width relationship of each letterform, known as the letter’s set, was standardized by the Romans in their monumental inscriptions. Square set A C D G H N O Q U V X Y Z Narrow Set B E F K L P R S T Wide Set W M Thin Set I J © Kevin Woodland, 2020 Studio Tips for Artists & Graphic Designers, Bill Gray, 1976. GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM 16 / 34 113 CE Trajan’s Column A prime example of Roman monumental capitals appears in an inscription at the base of Trajan’s Column. An inscription that has captivated typography enthusiasts for centuries. © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / Trajan’S ColUmn 17 / 34 113 CE Trajan’s Column A prime example of the Roman letterform appears in an inscription at the base of Trajan’s Column. © Kevin Woodland, 2020 Trajan’s Forum, Rome, 113 CE GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / Trajan’S ColUmn 18 / 34 113 CE Trajan’s Column INSCRIPTION The Senate and the People of Rome to the Emperor, Caesar Nerva, son of the deified Nerva, Trajanus Augustus, Germanicus, Dacicus, Pontifex Maximus, invested with the power of the tribune seventeen times, hailed imperator six times, elected consul six times, father of the fatherland, to demonstrate how lofty a hill and (what area of) ground was carried away for these mighty works. © Kevin Woodland, 2020 Conrad Cichorius, Trajan’s Column, Rome, 1896 GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / Trajan’S ColUmn 19 / 34 © Kevin Woodland, 2020 Trajan’s Forum, Rome, 113 CE GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM 20 / 34 250 BCE – PRESENT Lineage Roman monumental capitals defined the standard of letterform proportions seen throughout the next millenium. © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / LIneage 21 / 34 OLD STYLE TRANSITIONAL MODERN Minion Baskerville Bodoni Jenson Mrs. Eaves Didot Dante Georgia Times New Roman © Kevin Woodland, 2020 Lineage of serif type classifications GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / LIneage 22 / 34 © Kevin Woodland, 2020 Carol Twombly, Adobe Systems, circa 1990. GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / LIneage 23 / 34 ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 0123456789 © Kevin Woodland, 2020 Carol Twombly, Trajan, 1989. GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / LIneage 24 / 34 © Kevin Woodland, 2020 Typographic book covers by Phil Baines. Photo by Catherine Dixon, New North Press. GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / LIneage 25 / 34 © Kevin Woodland, 2020 Father Edward Catich and helpers in at Trajan’s Column, Rome, 1970. GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / LIneage 26 / 34 © Kevin Woodland, 2020 Stone Rubbings by Father Edward Catich, Rome, 1970 GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / LIneage 27 / 34 © Kevin Woodland, 2020 Stone Rubbings by Father Edward Catich, Rome, 1970 GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / LIneage 28 / 34 © Kevin Woodland, 2020 Stone Rubbings by Father Edward Catich, Rome, 1970 GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / LIneage 29 / 34 © Kevin Woodland, 2020 Stone Rubbings by Father Edward Catich, Rome, 1970 GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / LIneage 30 / 34 © Kevin Woodland, 2020 Father Edward Catich, circa 1970 GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / LIneage 31 / 34 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / LIneage 32 / 34 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / LIneage 33 / 34 © Kevin Woodland, 2020 Photograph taken c. 1920 shows graffiti from Pompeii with painted Roman square capitals. Most of the graffiti was destroyed during World War II. GRAPHIC DESIGN HISTORY / THE ROMAN LETTERFORM / LIneage 34 / 34 © Kevin Woodland, 2020 .
Load more

Recommended publications
  • First Line of Title
    HEAVENLY HANDWRITING, TEUTONIC TYPE: FAITH AND SCRIPT IN GERMAN PENNSYLVANIA, CA. 1683 – 1855 by Alexander Lawrence Ames A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Master of Arts in American Material Culture Spring 2014 © 2014 Alexander Lawrence Ames All Rights Reserved HEAVENLY HANDWRITING, TEUTONIC TYPE: FAITH AND SCRIPT IN GERMAN PENNSYLVANIA, CA. 1683 – 1855 by Alexander Lawrence Ames Approved: __________________________________________________________ Consuela Metzger, M.L.I.S. Professor in charge of thesis on behalf of the Advisory Committee Approved: __________________________________________________________ J. Ritchie Garrison, Ph.D. Director of the Winterthur Program in American Material Culture Approved: __________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ James G. Richards, Ph.D. Vice Provost for Graduate and Professional Education ACKNOWLEDGMENTS Whom does one thank first for assistance toward completion of an academic project only brought to fruition by the support of dozens of scholars, professionals, colleagues, family members, and friends? I must first express gratitude to my relations, especially my mother Dr. Candice M. Ames and my brother Andrew J. Ames and his family, without whose support I surely never could have undertaken the journey from Minnesota to the Winterthur Program in American Material Culture nearly two years ago. At Winterthur, I found mentors who extended every effort to encourage my academic growth. Rosemary Krill, Brock Jobe, J. Ritchie Garrison, and Greg Landrey did much to help me explore new fields. I owe a particular debt to Winterthur’s art conservators. In one, Consuela Metzger, I found a thesis advisor willing to devote countless hours to guiding my intellectual exploration.
    [Show full text]
  • 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.
    [Show full text]
  • Fonts for Latin Paleography 
    FONTS FOR LATIN PALEOGRAPHY Capitalis elegans, capitalis rustica, uncialis, semiuncialis, antiqua cursiva romana, merovingia, insularis majuscula, insularis minuscula, visigothica, beneventana, carolina minuscula, gothica rotunda, gothica textura prescissa, gothica textura quadrata, gothica cursiva, gothica bastarda, humanistica. User's manual 5th edition 2 January 2017 Juan-José Marcos [email protected] Professor of Classics. Plasencia. (Cáceres). Spain. Designer of fonts for ancient scripts and linguistics ALPHABETUM Unicode font http://guindo.pntic.mec.es/jmag0042/alphabet.html PALEOGRAPHIC fonts http://guindo.pntic.mec.es/jmag0042/palefont.html TABLE OF CONTENTS CHAPTER Page Table of contents 2 Introduction 3 Epigraphy and Paleography 3 The Roman majuscule book-hand 4 Square Capitals ( capitalis elegans ) 5 Rustic Capitals ( capitalis rustica ) 8 Uncial script ( uncialis ) 10 Old Roman cursive ( antiqua cursiva romana ) 13 New Roman cursive ( nova cursiva romana ) 16 Half-uncial or Semi-uncial (semiuncialis ) 19 Post-Roman scripts or national hands 22 Germanic script ( scriptura germanica ) 23 Merovingian minuscule ( merovingia , luxoviensis minuscula ) 24 Visigothic minuscule ( visigothica ) 27 Lombardic and Beneventan scripts ( beneventana ) 30 Insular scripts 33 Insular Half-uncial or Insular majuscule ( insularis majuscula ) 33 Insular minuscule or pointed hand ( insularis minuscula ) 38 Caroline minuscule ( carolingia minuscula ) 45 Gothic script ( gothica prescissa , quadrata , rotunda , cursiva , bastarda ) 51 Humanist writing ( humanistica antiqua ) 77 Epilogue 80 Bibliography and resources in the internet 81 Price of the paleographic set of fonts 82 Paleographic fonts for Latin script 2 Juan-José Marcos: [email protected] INTRODUCTION The following pages will give you short descriptions and visual examples of Latin lettering which can be imitated through my package of "Paleographic fonts", closely based on historical models, and specifically designed to reproduce digitally the main Latin handwritings used from the 3 rd to the 15 th century.
    [Show full text]
  • Download This PDF File
    By C. U. FAYE Landmarks in the Development of the Western Book Mr. Faye is a language specialist in the vowels, and was transmitted to the Catalog Department of the University of Romans through the Greek colonies in Illinois Library. In this article he out- South Italy. lines the landmarks in the development of Let us turn from the origins of our the Western book stressing the importance alphabet to the chief materials (papyrus, of the Latin alphabet. etc.) that have been used in making the Western book, and to the two main forms HE OBJECT of this sketch is to deal (roll and codex) that it has assumed. Tbriefly with the elements that make up the Western book. The following will Papyrus, Parchment, Roll, Codex, Paper be touched upon: the codex form of the A passage in a Greek inscription2 of the book, the material of the book (paper, year 305 A.D. is evidence that, at that etc.), printing with movable type, and the time, papyrus and parchment were the development of the Latin alphabet, which chief materials of which books were is the alphabet of Western books as dis- made.3 tinguished from Oriental books. This al- At first both papyrus and parchment phabet appears today in our printed books books were rolls; later both appeared in (in capitals and lower-case letters), in 12:54-56, 1936. Published by St. Louis University. three main styles: Roman, Gothic, and The Greek alphabet is an important element in the history of Christendom and of European civilization. Italic. It is the alphabet of native Greek literature and of Hellenistic literature, which, it is scarcely necessary to point out, includes both the Septuagint and the Greek New Testament.
    [Show full text]
  • 3 Differing Accents | Monday 11Th June Fig 3
    differing accents | Monday 11th June 3 EDITOR IN CHIEF Stefano Cavagnetto PROJECT MANAGERS AND ADMINISTRATORS Simon Gray, Marketa Musilova, Leah Adler, Lucie Evjakova, Milena Jirovcova, Masa Hilcisin PRODUCTION DEPARTMENT Gavin Bird, Silvia Weinzettelova, Ryan Cole CONFERENCE IDENTITY Marusa Racic SPECIAL THANKS To all the Prague College students, lecturers and staff who have participated in the organisational activities, production and development, research and workshops, whom with their amazing efforts and hard work have made this conference a reality. Polska 10 120 00 Prague 2 Czech Republic www.praguecollege.cz (+420) 222 101 020 © Prague College ALL RIGHTS RESERVED. No part of this publication may be reproduced, transmitted, stored or used in any form by any means without the prior written permission of the publisher. Names, logos, brands, and other trademarks featured or referred to within this publication are the property of their respective trademark holders. Printed in Prague, Czech Republic. diff Monday 11th Veronika Burian 6 Oldřich Menhart: ering Calligrapher, Type acc Designer and Craftsman Stephen Raw 16 ents Making Language Visible Differing Accents is a Tuesday 12th four-day Typographic Stefano Cavagnetto 18 and Lettering Gifts from the past Conference, bringing what we all gained together renowned from medieval manuscripts speakers from across Europe. Kate Sill 34 26 The main focus will be on traditional Iva Knobloch 42 typographic and Ladislav Sutnar: lettering practice from Typography & the past, the present, Information Flow and looking to the Mark Noad 52 future, as well as the Getting from A to Z: underlying aspects of Type, Travel and type as a craft. The Tube Map The conference will take place inside Wednesday 13th Prague College and Jo Hamill 62 is open to delegates Lost for Words from the UK and Czech Republic, Errol Donald 66 students and PRIDE Graffiti members of the public.
    [Show full text]
  • Avacal College of Scribes and Illuminators Scribal Handbook
    Avacal College of Scribes and Illuminators Scribal Handbook Revised June 2017 Page 1 of 44 Page 2 of 44 Table of Contents Introduction ..................................................................................................................................... 5 Acknowledgements ......................................................................................................................... 5 What Is A Scroll, Anyway? ............................................................................................................ 6 So what is a Charter? .................................................................................................................. 7 Scroll Commission Process............................................................................................................. 7 Notes to Scribes .......................................................................................................................... 8 The Life of a Scroll ......................................................................................................................... 9 Anatomy of a Scroll ...................................................................................................................... 10 Basic Tools List ............................................................................................................................ 12 Basic Charter Design .................................................................................................................... 15 When to use a Charter
    [Show full text]
  • Latin Paleography (Fonts for Latin Script)
    FFFONTS FOR LATIN PPPALEOGRAPHY Capitalis elegans, capitalis rustica, uncialis, semiuncialis, antiqua cursiva romana, merovingia, insularis majuscula, insularis minuscula, visigothica, beneventana, carolina minuscula, gothica rotunda, gothica textura prescissa, gothica textura quadrata, gothica cursiva, gothica bastarda, humanistica. User's manual 4th edition June 2014 Juan-José Marcos [email protected] Professor of Classics. Plasencia. (Cáceres). Spain. Designer of fonts for ancient scripts and linguistics ALPHABETUM Unicode font http://guindo.pntic.mec.es/jmag0042/alphabet.html PALEOGRAPHIC fonts http://guindo.pntic.mec.es/jmag0042/palefont.html TABLE OF CONTENTS CHAPTER Page Table of contents 2 Introduction 3 Epigraphy and Paleography 3 The Roman majuscule book-hand 4 Square Capitals (capitalis elegans) 5 Rustic Capitals (capitalis rustica) 8 Uncial script (uncialis) 10 Old Roman cursive (antiqua cursiva romana) 13 New Roman cursive (nova cursiva romana) 16 Half-uncial or Semi-uncial (semiuncialis) 19 Post-Roman scripts or national hands 22 Germanic script (scriptura germanica) 23 Merovingian minuscule (merovingia, luxoviensis minuscula) 24 Visigothic minuscule (visigothica) 27 Lombardic and Beneventan scripts (beneventana) 30 Insular scripts 33 Insular Half-uncial or Insular majuscule (insularis majuscula) 33 Insular minuscule or pointed hand (insularis minuscula) 38 Caroline minuscule (carolingia minuscula) 45 Gothic script (gothica prescissa, quadrata, rotunda, cursiva, bastarda) 51 Humanist writing (humanistica antiqua) 77 Epilogue 80 Bibliography and resources in the internet 81 Price of the paleographic set of fonts 82 Paleographic fonts for Latin script 2 Juan-José Marcos. [email protected] INTRODUCTION The following pages will give you short descriptions and visual examples of Latin lettering which can be imitated through my package of "Paleographic fonts", closely based on historical models, and specifically designed to reproduce digitally the main Latin handwritings used from the 3rd to the 15th century.
    [Show full text]
  • Latin Paleography
    FFFONTS FOR LATIN PPPALEOGRAPHY Capitalis elegans, capitalis rustica, uncialis, semiuncialis, cursiva romana antiqua, merovingia, insularis majuscula, insularis minuscula, visigothica, beneventana, carolina minuscula, gothica rotunda, gothica textura prescissa, gothica textura quadrata, gothica bastarda, humanistica antiqua. User's manual 2nd edition 1 September 2008 Juan-José Marcos [email protected] Professor of Classics. Plasencia. (Cáceres). Spain. Designer of fonts for ancient scripts and linguistics ALPHABETUM Unicode font http://guindo.pntic.mec.es/jmag0042/alphabet.html PALEOGRAPHIC fonts http://guindo.pntic.mec.es/jmag0042/palefont.html TABLE OF CONTENTS CHAPTER Page Table of contents 2 Introduction 3 Epigraphy and Paleography 3 The Roman majuscule book-hand 4 Square Capitals (capitalis elegans) 5 Rustic Capitals (capitalis rustica) 8 Uncial script (uncialis) 10 Old Roman cursive (cursiva romana antiqua) 13 New Roman cursive (cursiva romana moderna) 16 Half-uncial or Semi-uncial (semiuncialis) 17 Post-Roman scripts or national hands 20 Germanic script (scriptura germanica) 21 Merovingian minuscule (merovingia, luxoviensis minuscula) 22 Visigothic minuscule (visigothica) 25 Lombardic and Beneventan scripts (beneventana) 28 Insular scripts 31 Insular Half-uncial or Insular majuscule (insularis majuscula) 31 Insular minuscule or pointed hand (insularis minuscula) 36 Caroline minuscule (carolingia minuscula) 43 Gothic script (gothica prescissa, quadrata, rotunda, cursiva, bastarda) 49 Humanist writing (humanistica antiqua) 72 Epilogue 75 Bibliography and resources in the internet 76 Price of the paleographic set of fonts 77 Paleographic fonts for Latin script 2 Juan-José Marcos. [email protected] INTRODUCTION The following pages will give you short descriptions and visual examples of Latin lettering that you will be able to imitate with my package of "Paleographic fonts" closely based on historical models and specifically designed to reproduce digitally the main Latin handwritings used from the 3th to the 15th century.
    [Show full text]
  • Copyrighted Material
    The Evolution of Typography 1 Typography is an evolution of the written word, and as such it participates in a history of visual communication extending thousands of years. That evolution is presented here in the form of a timeline that traces a development from hand, to mechanical, to digital practice, in the context of world-historical and art-historical events. The history treated in the first section of the timeline predates typography. It begins with the invention of writing over five thousand years ago and ends with the invention of movable type in Europe during the middle of the fifteenth century. The second section covers the long era of the handpress and hand-set metal types. This period, from Gutenberg’s invention of movable type to the end of the eighteenth century, lasted about 350 years. In the third section, the Industrial Revolution and nineteenth century are revealed as an era of technological innovation and an outpouring of new typographic forms. The fourth section begins with the year 1900 and covers the twentieth century,COPYRIGHTED a time when type was MATERIAL shaped by the aesthetic concerns of modernism, the need for functional communication, technological progress, and the digital revolution in typography. The final section showcases typographic design in the twenty-first century, as it expands to mobile devices and embraces the many possibilities afforded by digital production. 1 td6-Chapter1_evolution_p1-30.indd 1 9/5/14 4:15 PM From the origins of writing to 1-4 Gutenberg’s invention of movable type: 3150 BCE–1450 CE 1-8 c.
    [Show full text]
  • Handbook for Translators of Spanish Historical Documents
    iililMI FOS TiilSLlTiil IF SPJIISH MI$T$if0JlL ii©^^^ » Uti* L I B RARY OF THE UNIVERSITY or ILLINOIS 808 COP.4- ILUNOIS HISTORY SURVEY LIBRARY HANDBOOK FOR TRANSLATORS O F SPANISH HISTORICAL DOCUMENTS By J. VILLASANA HAGGARD Translator of the Spanish Archives of Texas The University of Texas Assisted by MALCOLM DALLAS McLEAN Archivist, The San Jacinto Museum of History ^ ARCHrvES Collections The University of Texas 1941 Photoprinted by Semco Color Press, Oklahoma City Copyright i^^i ^V The University of Texas Austin, Texas — C_- ;?<„(__ /z^^.^ ACKNOWLEDGMENT -^Y The present study on the transcription and translation of Spanish historical documents is the result of the coop- erative effort of a numher of interested persons over a period of several years. Mr. Malcolm Dallas McLean compiled about one third of the words and phrases in sections 1 and 2, and alphabetiz- ed the abbreviations in section 3, Chapter IV. He formu- lated some of the rules for transcription now in use in the Archives Collections; and he transcribed and transla- ted the first four documents in Appendix A. In the preparation of the list of monetary terms, inval- uable advice was received from Professor E. T. Miller, The University of Texas, Professor N. S. B. Oras , Harvard Uni- versity, and Professor Allan Evans, Pasadena, California. I am indebted to Dr. H. J. Leon, The University of Texas, for the transcription of certain Latin specimens of hand- writing. Dr. E. R. Sims, of the Department of Romance Languages in The University of Texas, read the manuscript and offer- ed valxiable criticism.
    [Show full text]
  • Typographic Design : Form and Communication / Rob Carter, Ben Day, Philip Meggs, Sandra Maxa, Mark Sanders
    6TH typographic EDITION design: FORM AND COMMUNICATION Saint Barbara. Polychromed walnut sculpture, fifteenth- century German or French. The Virginia Museum of Fine Arts. 6TH typographic EDITION design: FORM AND COMMUNICATION Rob Carter Philip B. Meggs Ben Day Sandra Maxa Mark Sanders Cover design: Sandra Maxa and Mark Sanders This book is printed on acid-free paper. Copyright © 2015 by John Wiley & Sons, Inc. All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600, or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or online at www.wiley.com/go/permissions. Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representations or warranties with the respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose.
    [Show full text]
  • Typography Is the Craft of Endowing Human Language with a Durable Visual Form, and Thus with an Independent Existence.”
    Where do we start the story? Last week we discussed the difcult task of defining graphic design. This presents an equally difcult task of figuring out where one begins the discussion of its history. If we work within the first purpose of graphic design proposed by Hollis which is to identify we can start 200,000 years ago. The earliest known human markings reach back that far. The earliest known human made imagery is found in caves, starting from 35,000 BC. The most famous of the caves is found in Lascaux, (las-COH) France. Pictured here and in the previous slide. While the purpose of these images are not definitively known it can be said it is an example of humans attempting to record the world around them. We could start from when humans moved from an oral tradition towards a written one and made a monumentally important shift from simply transferring information to both transferring and storing information. Pictured here is an early Sumerian pictograph tablet c 3100 B.C. This is an example of early symbols and structures that were the seeds for the development of writing. We could start with the evolution of the greek alphabet. Pictured is a manuscript, 4th century B.C., in Greek on papyrus, a thick paper-like substrate make from the papyrus plant, This example of the greek alphabet shows the symmetrical form and even visual rhythm that helped establish it as the prototype for further developments into the roman alphabet. Pictured is the Trajan’s column, c A.D. 114.
    [Show full text]