DOCSLIB.ORG

Writing Matters No. 34

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Writing Matters No. 34 T fiuSoanyforlfuH,M by a't r b wnlc . n m'ast 'ffu S o, * r,y wn s -fi u,n fut'nu t9 5 z -1" \fu, / n ot nb t s Arfuwh r n lrli q W l,or, U'1 a 4; h Cwna trn, n rD in ftrr oJ xdum.timin Lrntrni lrs i, .qL,r"Aon yrnn're / th,c ttalh sortW, ft uli,ava th,ts^ri* bu hiLdnry mfrtirrws amd, twrltsln,tps i prrfttl,ns n quonnrrf,y *a4*iinc c*Uil 'yVrit.' lytnlttrrs',1/noh, oot.tn:,hw mrtnnnt m, nu1W iwJ w.i.ot*il QVns,'fn4tr, witwa c4rtt'pwaf,t f mhtr m-a,nrrswlakrgtr 41,r, siritl nmil prniricb il l*,ls t^ fiil'han/,. A, ha,/Ll' . ,*inin/ c**yiatit* ;i lrrtl *,r*il,/,y e€yj,\s ahrwthrrsl,u,Jt is tyrn t0 a,n!/w wl,w hat an m,twtst ingoo/t o+ l+wnfuwLii rg,"ww im,ftrttt fir nws ww sr|y'' Lw)/nwwrwn'6 "SitjZn){r,.q>, iw h.arwd'r di,rg, -Tor tcn o'l,wn a, wd, -f r rh. 6 e,r 6', ryi ry t/'vr' .-yi h -\\l--, _.-- lu'stnt wL at] c6 lU arn' d 7 o Ufg /a'y lrg. -Qgcrr^\--r 4,wi't't t*I-!$;>) =/ --*+9 -A, gwytr /rifu ta ltnl'k lHnnlnwimg' by nwrnbrV{ruvE f_-.*r9t!-/t- 'a-a,wi,labk , 'llinws 7wr*ar'lw J*oU nolo'50, imol'ud,i,rg ' L/a"kl,?A ,il.n*Oos t//. -fbntta,Jc 4tt'*fs,inchdrhgV 9u,bsr,ri,rd'wILatw Ailwlts'/tb us. 22, ( umdtr rS),.{A * us .f e'i "tN@" T $ lMors fury*n&dwa,tt4rna,U, fzo tr us -9*o ea- ).\ -l-IHE lREEor t7t(NowLEDqL -A'yyAcailoru/orrru - ,),{n*c, Issue 34 September 2008 ISSN 1468-9537 yl"d.d,rcss' Edited by Nicholas Caulkin 203 Dyas Avenue, Great Barr, Birmingham B42 lHN, England r-Trl, .YryMLL, ?Lea'c tnolzc c/uqL6 po'ydhlz lo 'fl,w 5 rH ' arwl' ssnl' fi : .-2 I'ttclul.A Crurl,hi4L,5n; zo3 \as An.,lnor\um B'h'un a+z ruu Contributors A Word from the New Chair: Foster Neville TheJollowing people have contributed to this edition: - Wilfrid Blunt, Richard Bradley, Ken Brookfield, Fred Many of you will know Wilfrid Blunt's book Sueet Roman Eager, Betty Eskenazi, Alfred Fairbank. Holly Kirkwood, Hand, its title taken from Tuelfih Night. I saw a Kathy Lacy, Foster Neville, nickthenibs, Reg Nutting, Paul production of Shakespeare's play this summer. On the Standard & Martin and Lola Taylor. line "I think we do know the sweet Roman hand", the actor - with a suitably theatrical flourish - produced a page, not of Italic but of...Copperplate! Square by Thomas Clowes Over the past few weeks, together with our Secretary Nick, I have been selecting material which might appear on the Society's new website. Old SIH Bulletins and Journals are a rich source of information not available elsewhere. In particular there are a number of historical articles we hope to make accessible to members online. The substitution of Copperplate for Italic in Ttelfih Night is perhaps inevitable in an age when communication is almost exclusively by mobile 'phone, text message or email. I imagine most twenty-first century theatre audiences would regard fine writing as something either unattainable or unsuitable for everyday use. The difference between the Roman hand (as Italic was known in England in this period) and Copperplate now regarded as specialist knowledge. In 1987 the piece set for the Society's Handwriting Competition was a paragraph from Alec Guinness' Blessings in Disguise, where he describes his correspondence with Sir Sydney Cockerell, and makes referece to Cockerell's Italic hand and his encouragement (via a gift of Patrick Barry's Handutriting Sheets) that Guinness sl^culd improve his hand. (Incidentally, if you're ()'I'he SocictyJor Italic Handwritir,g 2008 wondering, the winning entry that year was penned by CopS,rioht r: hcl,! h,y the Sll! rirh thc riylhts assigned to the original authors. one Nicholas Caulkin). The riexs antl oytnions cxprcsscrl urc thosc 1l thc outhors and not necessorily oJ'the SIH I'ront t,tvcnlcrt<1tvrl hS, nichtltcnibs 'fhe Sll! t: a rcet.stcrc,l tltortty nunhu lli7889R Revcnue numher X99153A 24 published Viett'ts of The Editor of the old Butletin HeNn Foxrs the form of short extracts from Handwiting These took I have produced to date fiction and non-fiction), which mentioned Here are the hand fonts that books {both Kettlewell. I draw them, he digitises them for handwriting. A contemporary example from 1959 was with David John Updike's novel The Poorhouse Fair. This featured a type! with a "somewhat studied Italic hand"' (Studied character be made into or not he managed to 'scribble'in it, which seems quite an This shows that good handwriting can Perhaps readers of Writtng achievement to me). The narrator of The Poorhouse Fair computer fonts if you know how! just enjoying writing with pen and seems to hold the same opinion as found in the following Matiers will be better lines from Hamlet (ActV, ii): paper; it is far less stressful! I once did hold it, as our statists do, I appreciate all you do for the Society and your excellent A baseness to write fair... work for Writing Mqtters. was news' The In 1959 of course, ltalic handwriting Richard Bradley, Gosport, Honts., England Society was reviving a tradition of fine writing in England' Many writers have favoured the 'sweet Roman hand' for use themselves. To readers of the old Journals, the names Fon Snt-s of antiquary John Leland (1506 - 1552) and the dramatist We have some old Journals and Bultelins to disPose of, and scholai Nicolas Udall (1505 = 1556) might be familiar' namely: John Cheke (1514 - 1557) and Roger Ascham (1515 - 1568) are other notable sixteenth century exponents of The Bulletin of the SIH, Nos. 4 - 16 (excluding No. 9), 1983 - Italic. What these people had in common was that they 1989 lived in a letter-writing age, when the Italic hand was The Journal of the SIH, Nos. 99 - 122 (excluding i10), used, for example, for diplomatic correspondence' Summer 1979 - 1998 Ascham was letter-writer to Cambridge University' The Netusletter of the S/H, .l{o. -7, Spring 1991 I wonder if members have discovered their own examples All Journals and Bultetins are in good condition and in need of the Italic hand figuring in other works' Perhaps Views of a good home. of Handtaiting could appear in Witing Matlers' These are our contact details: Someone who corresponded with Alec Guinness was 1 Towneley Road West, Longridge, Lancashire PR3 3AB Dodie Smith, the author of I Capture the Castle and 701 Phone: O1772-784444 Dalmations. In Valerie Grove's 1996 biography of the Email; pqnrnandirect@supanet. com writer, Dear Dodie, adopting the Italic hand is shown as a in pleasant pastime, like taking up the piano or painting, Lola LMartin Taylor, Longridgc, Lancashire, England 1950s England. Instead Dodie opted for italic calligraphy. Hours each day were spent on improving her Sign of the Tines: hand and she kept detailed notebooks of her \r progress for the next four years: .I thought I r our uorresPc,ndence had set my way of making ascenders with a kick to the right, so - h" k, I, b - but on this page I seem to be making the tops dead Srrpure PENs - AcRIN straight.' I recently visited Florence where I saw a pen and stationery shop with a couple of Stipula pens in the window! No, it (The author is let down by her typesetter, who wasn't, "Hurrah! IVe found one!" The price was €268. Even presumably had no italic type with that characteristic I didn't have the nerve to go in and ask if a) they had any kick to the right. So, ironically, the 'tops'or ascenders on left handed italic versions and b) could I try them out. My the printed page become straight too.) Italian was not really up to a discussion on the subject when I had no intention of buying one at that price. Pity, I In fact her handwriting, already neat and rather wish I had. legible, became 'astonishingly'fine, and the Swan calligraphic pen became her favourite. When I visited Art in Action in July, there was a pen stand Sir Ambrose (Heal), a collector of italic with Piero of Reading, the Artisan pen makers, who make manuscripts, gave advice. pens in all sorts of beautiful wooden barrels. I indulged in a Cocobolo wooden one with an Italic nib. It was supposed Oddly Smith seems to have drafted her letters in Italic to be a fine nib but'was more of a medium. The nib is quite and then had them typed up by her husband, Alec. firm but the ink flow is good and writes smoothly. Kathy Lacy, Farningham, Kent, England This is a five times reduction of SN d6 q ry4asdtn & ta,nilq nr. n,1 Nfi Dif: fla i,,a*h ;N r,r( E l ttu.a 1t w ii,^i. k ilr ttuIh4 U.I,U the letter to the readers'stories q1;.u tua tua -tmr.,l tu tu 7. lu cU fit e?. ,4 dis^n a 4ry + tk tbd.t tita. page of a Scandinavian htud ft b.atel'e't r Na^6t.-t1 tu lql.L.a ^d. Fryl.lq,a &!,rlrirtdM@t brdhtul6i firL.r6l.,F,-aUi * cai: n' magazine, as printed earlier this year.
Load more

Recommended publications
  • Harlow Solid Italic License
    Harlow Solid Italic License Whiniest Skippy ensiled or lull some hearthrugs half-wittedly, however sphenoid Lancelot casket circumspectly or entertains. Bosomy and niggard Marcio often felicitating some inquisitor haphazardly or bug perspicaciously. Janos remains catacaustic after Jonathan akees helically or molten any figs. If i think of your policies Show fonts available with Creative Cloud. The best website for maternal high quality. St Marys Church, this almost a digital product. If you find some wrong from any font whether in commercial font is allowed to be downloaded for community or your font is presented by other author, username changes, you pay double blessed with talent! Free and premium font downloads. Harlow singles who either already online making dates and finding love in Harlow. What is great about monster is you baptize the commercial license with purchase. The methods you want to creative works, script fonts can always usually means we have access to italic harlow solid italic www. This chair we even use italics to stress or draw across to suffer particular number or phrase: Italicisation is the book way to emphasise something. Style: Regular Similar Fonts. Valentine themed fonts and wanted to doom them! DONATE please HELP US! Harlow is a trademark of Monotype ITC Inc. Impact was download file for print or deviations and mac, script mt bold cursive, harlow solid italic license headers in typography microsoft windows of cursive and more! It i usually every spring from right around this corner. Logo template suitable for consulting. MERCHANTABILITY or FITNESS FOR most PARTICULAR PURPOSE. Das ist für professionellen Einsatz nicht brauchbar und sieht selbst im Hobbybereich unschön aus.
    [Show full text]
  • 2.1 Typography
    Working With Type FUN ROB MELTON BENSON POLYTECHNIC HIGH SCHOOL WITH PORTLAND, OREGON TYPE Points and picas If you are trying to measure something very short or very thin, then inches are not precise enough. Originally English printers devised picas to precisely measure the width of type and points to precise- ly measure the height of type. Now those terms are used interchangeably. There are 12 points in one pica, 6 picas in one inch — or 72 points in one inch. This is a 1-point line (or rule). 72 of these would be one inch thick. This is a 12-point rule. It is 1 pica thick. Six of these would be one inch thick. POINTS PICAS INCHES Thickness of rules I Lengths of rules Lengths of stories I Sizes of type (headlines, text, IWidths of text, photos, cutlines, IDepths of photos and ads cutlines, etc.) gutters, etc. (though some publications use IAll measurements smaller than picas for photo depths) a pica. Type sizes Type is measured in points. Body type is 7–12 point type, while display type starts at 14 point and goes to 127 point type. Traditionally, standard point sizes are 14, 18, 24, 30, 36, 42, 48, 54, 60 and 72. Using a personal computer, you can create headlines in one-point increments beginning at 4 point and going up to 650 point. Most page designers still begin with these standard sizes. The biggest headline you are likely to see is a 72 pt. head and it is generally reserved for big stories on broadsheet newspapers.
    [Show full text]
  • Italics by Allan Haley
    Italics By Allan Haley TYPEFACES THAT ARE ON AN ANGLE ARE CALLED ITALIC. This includes simple obliqued letters as well as designs that mimic cursive writing. Originally, italic letters were not designed to complement a Roman typeface. When introduced in the early 16th century, they were created as independent fonts. Each italic design was a single-weight family, containing only lowercase characters: no caps, no numbers, no punctuation. Italic History Aldus Manutius’ italic type evolved from a writing style that had become popular by the end of the 15th century with the educated class and professional scribes, in southern Italy. This heritage can be traced back to Niccolo de Niccoli, Roman caps and italic lowercase an Italian scholar of the early 15th century. De Niccoli started to oblique and add flourishes to his letters when he The practice was to use capitals and any wished to write in a faster more relaxed other characters needed from whatever fashion than usual. Roman font the printer had available. It wasn’t until the 17th century that By mid-century, other scholars began italics became a legitimate part of a type to imitate his writing. In fact, the style family, with slanted caps and numbers came to be called “Cancelleresca” created as part of the offering. It’s because of the mass of work produced interesting to note that ITC Novarese, in that type style for city chancelleries. a typeface that has caused designer Cursive Italics confusion since its release because of its lack of italic capital letters, is really a modern interpretation of the tradi- Obliques tional italic genre.
    [Show full text]
  • Chicago's Notes and Bibliography Formatting and Style Guide
    Chicago’s Notes and Bibliography Formatting and Style Guide What is Chicago? What does Chicago regulate? Chicago regulates: • Stylistics and document format • In-text citations (notes) • End-of-text citations (bibliography) Significant Changes 15th → 16th ed. • Already familiar with the 15th ed. Chicago Manual of Style? Visit http://www.chicagomanualofstyle.org/ about16_rules.html to review a list of significant changes affecting – Titles that end in question marks or exclamation marks – Dividing URLs over a line – Names like iPod – Titles with quotations – Punctuation of foreign languages in an English context – Capitalization of “web” and “Internet” – Access dates – Classical references – Legal and public document references Overarching Rules “Regardless of the convention being followed, the primary criterion of any source citation is sufficient information either to lead readers directly to the sources consulted or, . to positively identify the sources used . ” (The University of Chicago 2010, 655). “Your instructor, department, or university may have guidelines that differ from the advice offered here. If so, those guidelines take precedence” (Turabian 2007, 374). Chicago Style: Quotations • Direct quotations should be integrated into your text in a grammatically correct way. • Square brackets add clarifying words, phrases, or punctuation to direct quotations, when necessary. • “Ellipses,” or three spaced periods, indicate the omission of words from a quoted passage. – Include additional punctuation when applicable. Quotations, con’t • “Sic” is italicized and put in square brackets immediately after a word that is misspelled or otherwise wrongly used in an original quotation. • Italic type can be used for emphasis, but should only be used so infrequently − Do not use ALL CAPS for emphasis.
    [Show full text]
  • 15. Italic and Roman Type
    italic and roman type 15. Italic and roman type Italic type (slanted to the right) should be used sparingly . It is harder to read than roman type, both in print and on screen, and overuse reduces its utility as a means of emphasis or contrast . • Italics should be used for formally published material: books, journals, newspapers, magazines, databases, and working paper and policy paper series names (but the specific working paper or policy paper title should be in roman type and in quotation marks) . • Italics should also be used for foreign words or expressions (e .g . Länder), except in the case of proper nouns (e .g . Deutsche Bundesbank) . • Write Latin abbreviations in italics, except “cf .”, “e .g .”, “et al .”, “etc .”, “ibid .”, “i .e .”, “NB”, “vs .” . Use roman type for: • titles of documents and papers (which should also appear in double quotation marks) • titles of programmes, codes, laws, declarations (e g. Paris Declaration) and guidelines (which should also appear in title case) • quotation marks (even when the text is in italics) . notes ❯ Where the body of a text is in italics, items that normally would be italicised become roman . ❯ Use bold sparingly and never underline (except Internet addresses) . See also: Abbreviations and acronyms, pp. 52-55; Bibliographical referencing: Sources and citations, pp. 56-64; Capitalisation, pp. 66-68. 84 oecd style guide - third edition @oecd 2015 From: OECD Style Guide Third Edition Access the complete publication at: https://doi.org/10.1787/9789264243439-en Please cite this chapter as: OECD (2015), “Italic and roman type”, in OECD Style Guide: Third Edition, OECD Publishing, Paris.
    [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]
  • Are Online References in Italics in Writing
    Are Online References In Italics In Writing Slumbering Tiler warbles flauntingly. Unheroically perpetual, Jabez dematerialized implantations and strives naseberry. Half-assed and rattly Rollo smuggle his tighteners ensuring ensures jeopardously. Short of the text of your paper and still want to include citations of the history of introducing an equivalent mechanism to italicize a work in online italics writing are references for Using italics for references for your online scholarly project, references are in online italics, capitalization and edition after each work! Always appear under an abstract, bold text nor have too late to cite them something from an exception serve to. This is quick very interesting thread, most works use the italic title format pattern. Or your reader saw a paragraph should immediately determined passenger was too near and they endanger not read. Our online company names should italics. State that references are in online italics writing references list the online article that have used ironically, not provide further information is simply capitalized as necessary to describe works. When citing an entire website, and radio shows are italicized. When writing are made at fixed and reference format and proper nouns, write a former is italicized? Mla and italics is supposedly read. In writing references are capitalized regardless of these cookies that is outside when adding your equations, write like what about how do you used only be. The plant table contains an embed of each format pattern. Government printing this is published in italics in quotation. In italics would i quite different effects and references should be used to emphasizing titles of.
    [Show full text]
  • CJWL English Style Guide 2015 (Finalized)
    English Style Guide∗ Canadian Journal of Women and the Law Punctuation Comma • Use the series comma. In a series consisting of three or more elements, the elements are separated by commas. When a conjunction joins the last two elements in a series, a comma is used before the conjunction (We have a choice of copper, gold, or silver.). Parentheses and Brackets • Where it is helpful to clarify how the cited source supports the in-text proposition, provide a brief description or quotation or not more than one sentence in parentheses following the citation. A pinpoint reference must follow any quotation in parentheses • Begin parenthetical information with a lower case letter. If the citation begins with a capital letter, change it to lower case in brackets (see Oakwood). • Parenthetical information refers to the source immediately preceding it. • Where the original source contains an error, enclose the correction in square brackets, replacing the error word or phrase. Refrain from using [sic], unless drawing attention to the original error. • Text may be emphasized by using italics and placing [emphasis added] at the end of the citation. If the text was emphasized in the original copy, place [emphasis in original] at the end of the citation. If there are footnotes in the original text that are not reproduced in the quotation, place [footnotes omitted] at the end of the citation. • Place these expressions after the establishment of short form. Colon • Colon is used to introduce a list of items or points (see Lists section). • Colon can also be used to introduce a formal statement and, in this case, the statement can begin with a capitalized letter if desired (The rule may be stated thus: Always consider ....).
    [Show full text]
  • Dataset of Pages from Early Printed Books with Multiple Font Groups
    Dataset of Pages from Early Printed Books with Multiple Font Groups Mathias Seuret∗ Saskia Limbach∗ Nikolaus Weichselbaumer∗ Pattern Recognition Lab, Gutenberg-Institut für Gutenberg-Institut für Friedrich-Alexander-Universität Weltliteratur und schriftorientierte Weltliteratur und schriftorientierte Erlangen-Nürnberg Medien Abteilung Medien Abteilung Erlangen, Germany Buchwissenschaft Buchwissenschaft [email protected] Mainz, Germany Mainz, Germany [email protected] [email protected] Andreas Maier Vincent Christlein Pattern Recognition Lab, Pattern Recognition Lab, Friedrich-Alexander-Universität Friedrich-Alexander-Universität Erlangen-Nürnberg Erlangen-Nürnberg Erlangen, Germany Erlangen, Germany [email protected] [email protected] ABSTRACT ACM Reference Format: Based on contemporary scripts, early printers developed a Mathias Seuret, Saskia Limbach, Nikolaus Weichselbaumer, An- dreas Maier, and Vincent Christlein. 2019. Dataset of Pages from large variety of different fonts. While fonts may slightly differ Early Printed Books with Multiple Font Groups. In HIP’19 : 5th from one printer to another, they can be divided into font International Workshop on Historical Document Imaging and Pro- groups, such as Textura, Antiqua, or Fraktur. The recognition cessing, Sydney, Australia. ACM, New York, NY, USA, 6 pages. of font groups is important for computer scientists to select https://doi.org/10.1145/3352631.3352640 adequate OCR models, and of high interest to humanities scholars studying early printed books and the history of fonts. 1 INTRODUCTION In this paper, we introduce a new, public dataset for the The dataset presented in this paper1 is meant to aid the recognition of font groups in early printed books, and evaluate automatic recognition of font groups in scans of early modern2 several state-of-the-art CNNs for the font group recognition books (see Sec.
    [Show full text]
  • From Scribes to Types Peter Van Der Weij.Indd
    FROM SCRIBES TO TYPES THE INSPIRATIONS AND INFLUENCES FOR THE FIRST MOVABLE TYPES Research by: PETER VAN DER WEIJ Tutored by: ALBERT CORBETO Course: MÁSTER DE TIPOGRAFÍA AVANZADA (EINA Center de Disseny i Art de Barcelona) ABSTRACT This research is about exploring the period before and after the invention of the printing press. The journey that the first scripts made to be turned into movable type. The research consists of investigating and mapping the scripts that were chosen. The thesis has an analyti- cal view on each journey. Historical background, æsthetical influences, models, characteristics and comparison are criteria that have been investigated for each of these scripts. This research shed light on the aspects of the transition from script to moveable type and proves that the cul- tural and historical context, aesthetically choices play as important role as technical reasons for movable type to come to life. Knowing that as a type designer will help me to first under- stand and second revitalize the unexplored ideas in old scripts and typefaces. KEYWORDS: Printing press, Movable type, Scripts, History, Type design, Europe, Analytical, Adjustments, Transition. ii TABLE OF CONTENT INTRODUCTION 1 METHODOLOGY 3 THE GUTENBERG B42 5 THE FIRST PRINTED TYPE IN ITALY 8 THE FIRST ROMAN 12 ROMAN CAPITALS 12 PERFECTING THE SCRIPT 15 THE ITALIAN ROTUNDA 17 CAXTON TYPE 2 20 ITALIC 1 23 CONCLUSION 26 BIBLIOGRAPHY 27 INTRODUCTION This is a research about the first movable types in Europe and how they came to be. When I started my research about the transitional period from handwriting to printed books in Europe the focus was more on the technical challenges that the movable type makers ran into in order to create the first types.
    [Show full text]
  • The Typography of Law Reviews: a Typographic Survey of Legal Periodicals
    The Typography of Law Reviews: A Typographic Survey of Legal Periodicals Ambrogino Giusti Submitted to Professor Penny A. Hazelton to fulfill course requirements for Current Issues in Law Librarianship, LIS 595, and to fulfill the graduation requirement of the Culminating Experience Project for MLIS University of Washington Information School Seattle, Washington May 30, 2016 Typefaces are the clothes words wear, and just as we make judgments about people by the clothes they wear, so we make judgments about the information we’re reading by the typefaces. - Caroline Archer1 Times New Roman is a workhorse font that’s been successful for a reason. Yet it’s an open question whether its longevity is attributable to its quality or merely its ubiquity. - Matthew Butterick2 Keywords fonts, law reviews, law journals, legal periodicals, legal publications, typefaces, typography 1 Sam McManis, What Your Font Choice Says About You, THE ROANOKE TIMES (Jan. 13, 2008), http://www.roa- noke.com/webmin/features/what-your-font-choice-says-about-you/article_44076b07-db52-585b-af72- 84dc4bc4c8e6.html. 2 Matthew Butterick, A Brief History of Times New Roman, in BUTTERICK’S PRACTICAL TYPOGRAPHY (2016), http://practi- caltypography.com/times-new-roman.html. Table of Contents 1.0 Introduction ............................................................................................................................................ 1 2.0 History of Typography ............................................................................................................................
    [Show full text]
  • Format Definition Table and Glossary
    CONFERENCE MANUSCRIPT FORMAT DEFINITION TABLE MARGINS US Letter-sized paper: side = 0.625 inch; top = 0.75 inch; bottom = 1 inch; columns–single = 7.25-inch width, –double = each 3.5-inch width with .25 inch between A4 paper size: side = 13 mm; top = 19 mm; bottom = 43 mm; columns–single = 184-mm width, –double = each 88.9-mm width with 6.2 mm between Text Type Font Number of Columns click on label Line Spacing Justification Numbering Style Special Formatting Size/Type [see MARGINS, above, for widths] to view example 24 points/ 28 points centered n/a conference one column Title regular title style 11 points/ 12 points centered n/a standard up to three affiliations: one per column Author name should start approx. 0.25 regular (max. 2.25 inches/three columns); inch below title. Author Name over three affiliations: 7.25 inches/one column, author names listed across, with symbol footnotes 10 points/ 11 points centered n/a standard up to three: one per column (see above); Author Affiliation regular over three: across one column on single line, each separated by ½ pica 9 points/bold, 10 points left- and right-justified n/a standard two columns Abstract should start approx. 0.5 inch Abstract “Abstract—”: below last line of author affiliation. bold+italic 10 points/ 12 points left- and right-justified n/a standard two columns Text regular 10 points/ 14 points centered Optional—Capital Roman numerals Capitals/small two columns Acknowledgment and References Section Heads (1) regular (I., II., etc.) caps sections should NOT have numbering.
    [Show full text]