DOCSLIB.ORG

Hyphenation Patterns for Ancient Greek and Latin Yannis Haralambous

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hyphenation Patterns for Ancient Greek and Latin Yannis Haralambous View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Archive Ouverte en Sciences de l'Information et de la Communication Hyphenation Patterns for Ancient Greek and Latin Yannis Haralambous To cite this version: Yannis Haralambous. Hyphenation Patterns for Ancient Greek and Latin. Tugboat, TeX Users Group, 1992, 13 (4), pp.457-469. hal-02100339 HAL Id: hal-02100339 https://hal.archives-ouvertes.fr/hal-02100339 Submitted on 23 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. TUGboat, Volume 13 (1992), No. 4 Min-nesota Min-ne-sota Ni- jmegen Nij-me-gen Philology Noethe-rim Noe-ther-ian No-ord-wi-jk-er-hout Noord-wijker-hout Novem-ber No-vem-ber Poincare Poin-care Hyphenation patterns for ancient Greek Po-ten-tial-gle-ichung Po-ten-tial-glei-chung and Latin rathskeller rat hs- kel-ler Rie-man-nian Rie-mann-ian Yannis Haralambous Ry-d-berg Ryd-berg schot-tis-che schot-tische The amount of compound words in ancient Greek Schrodinger Schro-ding-er makes its hyphenation by computer a quite difficult Schwabacher Schwa-ba-cher task; it is impossible to predict all combinations of Schwarzschild Schwarz-schild words. To be efficient, a set of patterns must be Septem-ber Sep-tem-ber Stokess-che Stokes-sche accessible to the final user; a scholar must be able Susque-hanna Sus-que-han-na to add patterns, according to new words he/she en- tech-nis-che tech-ni-sche counters. Use of w's\hyphenation primitive is Ten-nessee Ten-nes-see not appropriate since most Greek words are declin- ve-r-all-ge-mein-erte ver-all-ge-mein-erte able: for each word one would have to add a dozen Verteilun-gen Ver-tei-lun-gen Wahrschein-lichkeit-s-the-o-rie hyphenation exceptions. Wahr-schein-lich-keits-the-o-rie After a short introduction to the concept of hy- Werthe-rian Wer-ther-ian phenation by TEX the author presents a method for Winch-ester Win-ches-ter hyphenation of ancient Greek. Using this method. Yingy-ong Shuxue Jisuan Ying-yong Shu-xue Ji-suan he compiled a list of patterns out of a dictio- Zeitschrift Zeit-schrift nary [Bail of 50,000 words. These patterns are pre- sented in a comprehensible format, in a way that scholars can easily determine the patterns that have to be added, to solve specific hyphenation problems. The same approach is applied to Latin. A list of patterns has been compiled out of a dictio- nary [B-C]. The size of this list is very small com- 1 Literate Programming 1 pared to the one of ancient Greek patterns. although Latin also uses compound words. Finally examples of hyphenated classical texts Errata: Literate Programming, are given. A Practitioner's View TUGboat 13, no. 3, pp. 261-268 Bart Childs 1 What do I have to know about hyphenation? The address lyman .pppl .princeton. edu should When creates a format like Plain or LaTeX it have read lyman.pppl .gov (a careless error on also reads information from a file called hyphen. tex my part). The address csseq. cs. tam. edu no (or Ushyphen. tex, or FRhyphen. tex and so forth) longer permits anonymous ftp. Due to some which contains the hyphenation patterns for a spe- network breakins from different places, extensive cific language. These are clusters consisting of let- local network changes are being done and relevant ters separated by digits, like xly2z. The idea is the sources will be placed on f tp. cs .tamu. edu no later following: than January 1993. The author will e-mail any desired sources in the meantime. 0 if your set of patterns is empty. there is no hy- o Bart Childs phenation at all. Texas A&M University a if you have a pattern xiy then on every occur- Department of Computer Science rence of the cluster "xy", hyphenation "x-y" College Station, TX 77843-3112 will be possible. If the pattern is xlyzw, then bartQcs.tamu.edu the pair of letters "xy" will be hyphenated only when followed by "zw" . TUGboat. Volume 13 (1992), No. 4 if there is a pattern xly and a pattern x2yabc. comprehension of a word. they rather obstruct the then the pair "xy" will be hyphenated, except work of the computer. Because for the computer when it is followed by "abc". So the digit 2 a. &. ?i.a, it, &, etc., are dzstznct entities. So indicates an exception to the rule .'separate z tmi and insi are to be treated as entirely dis- and y". tinct words. In most languages declension affects the same holds for greater numbers: 3 will be only endings of words: ~A~HEI~,3~aw~sr. ~A~HMK). an exception of patterns with number 2, and so ~J~HZP.3~a~~elr. 3,qa~mn and so forth. In Greek, on. You can now read [DEK], pp. 449-451. for the root of the word remains mostly the same (ex- more details on W'shyphenation algorithm. cept in cases such as 6 bvip, TOG bv6pb~)but the a dot in front of (or behind) a pattern specifies accent migrates: 6 &vOponog, to6 kvOp6nou. It fol- that the latter is valid only at the beginning (or lows that when creating patterns, one must consider the end) of a word. In this way, for example. all possible diacritics and their positions. xy2z. will be applied only to the word .xyz'. To illustrate this, here is an example of two Despite the existence of some fundamental words which look very similar but are hyphenated rules, hyphenation of a particular language can be in two different ways: very complicated, especially when it depends on ety- &+-oppoc (from B+ and Bpvvp) mological criteria. There are two ways to handle this and complexity: one can investigate the hidden mecha- &+6-ppoog (or b+6ppou<. from B+ and ,bdw). nisms of hyphenation and make patterns correspond We will decline them and try to extract the neces- to the analytical steps of manual hyphenation; or sary patterns so that can correctly hyphenate one can use a "pattern generator" like PATGEN on a them. in all cases1: sufficiently representative set of already hyphenated words. The choice of the method depends on the na- B &+oppo< B &+6ppoog toi, h+6ppou toi, &+opp6ou ture of the language and on the size of the available set of hyphenated words: theoretically one could cre- + &+6ppy 74 h+opp6y zbv &+6ppoov ate a file containing all words of a particular lan- zbv &+oppov ij &+6ppos guage in hyphenated form; the pattern generator 6 &+oppe would then give an exhaustwe set of patterns. Since ol &+oppoi oi &+6ppoot it is more probable to have partial sets of words, the rijv h+6ppwv TGV &+opp6ov "pattern generator" will only produce more or less zois &+6ppot< zoiq &+opp6oi< good approximations. For ancient Greek and Latin, tab< &+6ppou< zob< &+opp60u< the author has chosen the first method. 6 &,boppot 6 h+6ppoot For the word h+oppog it would be enough to intro- duce patterns &+-opp and h+-6pp. In this case, the 2 Why is hyphenation of ancient Greek so word &+6ppoo<would be wrongly hyphenated. To difficult for a computer? distinguish this word we must include an o at the As mentioned in TUGboat 11, no. 1, since 1990 pat- end of the pattern. and hence introduce the pattern terns have existed for modern Greek (made by the h+6ppo. This would again change the hyphenation author). What then makes hyphenation of ancient of the genitive case of bi+oppo<,namely b+6ppou. For Greek so different? Why is it so difficult? this reason we will rather use the pattern h+6-ppoo. First of all. because of compound words. The This has the advantage of not interfering with the difficulty lies in the fact that components are often hyphenation of &+oppoq, but cannot be applied to altered when composed: id and aivij gives tmtvij the vocative case of h+6ppoog. For this, we need a (not intatvij) while tni composed with pjlhlw pro- second pattern h+d-ppoe, which is actually the whole duces ii~$&hhw.Could we hence hyphenate always word. In the remaining cases of &+6ppoo<,the accent in-a and 8x1-? well, actually not. because there is is on the penultimate syllable ppo. But the word also the case of id + ikhhw = i.nth'~howhich is hy- &+oppo<is never accented on that syllable. so that phenated tx-t&lXw. Then perhaps we could produce an unaccented pattern like &+o-ppwould apply only patterns for roots, like -a~v,to insure hyphenation of The reader should excuse the unusual order In-atvoq, xaz-aivsoiq, +eu6-atvij and so forth? No, because this would produce wrong hyphenation of of cases: nominative, genitive, dative, accusative, b-aOpi-vw, oq-pi-vw, 6-cpa:1-VW.. vocative. This order is used in education and schol- arly literature. in Greece. A second problem is declension and diacrit- ics. While the latter are provided to facilitate TUGboat, Volume 13 (1992), No. 4 to the genitive, dative and plural accusative cases of (p.v) .
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]
  • 7332 EARLY MUSIC PRINTING TEXT PT 246X174mm
    Early Music Printing in German-Speaking Lands Edited by Andrea Lindmayr-Brandl, Elisabeth Giselbrecht and Grantley McDonald First published 2018 ISBN: 978-1-138-24105-3 (hbk) ISBN: 978-1-315-28145-2 (ebk) Chapter 8 The music editions of Christian Egenolff: a new catalogue and its implications Royston Gustavson (CC BY-NC-ND 4.0) 8 The music editions of Christian Egenolff A new catalogue and its implications1 Royston Gustavson For Grantley McDonald Introduction Christian Egenolff is one of the most important music printers in the German-speaking area in the sixteenth century, in part because he was the first German printer to use single- impression movable type to print mensural music (which is much cheaper than the previous double-impression process), and in part because of his editions of Tenorlieder. Music, however, formed a very small part of his output, both in terms of total editions (sixteen of more than 600 editions) and of the physical scale of the editions. To place this into perspective, to print one copy of each of his known music editions (excluding the lost Gesangbüchlin) would have taken 282 sheets of paper; to print one copy of his 1534 bible (VD16 B 2692) took 290 sheets of paper. Previous catalogues of Egenolff’s music editions have been incomplete, although that by Hans-Christian Müller in 1964 was an outstanding version based on the evidence known at that time.2 A third of Egenolff’s extant editions have until now remained without a known title as the title pages were missing, just over half have had a contested date of printing, and two works have been believed to exist in two editions, whereas there is only one edition, but two issues, of each.
    [Show full text]
  • Five Centurie< of German Fraktur by Walden Font
    Five Centurie< of German Fraktur by Walden Font Johanne< Gutenberg 1455 German Fraktur represents one of the most interesting families of typefaces in the history of printing. Few types have had such a turbulent history, and even fewer have been alter- nately praised and despised throughout their history. Only recently has Fraktur been rediscovered for what it is: a beau- tiful way of putting words into written form. Walden Font is proud to pres- ent, for the first time, an edition of 18 classic Fraktur and German Script fonts from five centuries for use on your home computer. This booklet describes the history of each font and provides you with samples for its use. Also included are the standard typeset- ting instructions for Fraktur ligatures and the special characters of the Gutenberg Bibelschrift. We hope you find the Gutenberg Press to be an entertaining and educational publishing tool. We certainly welcome your comments and sug- gestions. You will find information on how to contact us at the end of this booklet. Verehrter Frakturfreund! Wir hoffen mit unserer "“Gutenberg Pre%e”" zur Wiederbelebung der Fraktur= schriften - ohne jedweden politis#en Nebengedanken - beizutragen. Leider verbieten un< die hohen Produktion<kosten eine Deutsche Version diese< Be= nu@erhandbüchlein< herau<zugeben, Sie werden aber den Deutschen Text auf den Programmdisketten finden. Bitte lesen Sie die “liesmich”" Datei für weitere Informationen. Wir freuen un< auch über Ihre Kommentare und Anregungen. Kontaktinformationen sind am Ende diese< Büchlein< angegeben. A brief history of Fraktur At the end of the 15th century, most Latin books in Germany were printed in a dark, barely legible gothic type style known asTextura .
    [Show full text]
  • Spring 2011 Supplying Calligraphers, Lettering Artists, Illuminators
    spring 2011 Supplying calligraphers, lettering artists, illuminators, bookbinders and papercraft enthusiasts worldwide with books, tools, and materials since 1981. 61 5 64 50 61 61 ORDER NOW! toll free: 800-369-9598 v web: www.JohnNealBooks.com Julie Eastman. B&L 8.2 “...an informative, engaging, Bill Waddington. B&L 8.2 and valued resource.” Need something new to inspire you? –Ed Hutchins Subscribe to Bound & Lettered and have each issue – filled with practical information on artists’ books, bookbinding, calligraphy and papercraft – delivered to your mailbox. Bound & Lettered features: how-to articles with helpful step-by-step instructions and illustrations, artist galleries featuring the works of accomplished calligraphers & book artists, useful articles on tools & materials, and book & exhibit reviews. You will find each issue filled with wonderful ideas and projects. Subscribe today! Annie Cicale. B&L 8.3 Every issue of Bound & Lettered has articles full of practical information for calligraphers, bookbinders and book artists. Fran Watson. B&L 8.3 Founded by Shereen LaPlantz, Bound & Lettered is a quarterly magazine of calligraphy, bookbinding and papercraft. Published by John Neal, Bookseller. Now with 18 color pages! Subscription prices: USA Canada Others Four issues (1 year) $26 $34 USD $40 USD Eight issues (2 years) $47 $63 USD $75 USD 12 issues (3 years) $63 $87 USD $105 USD mail to: Bound & Lettered, 1833 Spring Garden St., First Floor, Sue Bleiwess. B&L 8.2 Greensboro, NC 27403 b SUBSCRIBE ONLINE AT WWW .JOHNNEALBOOKS .COM B3310. Alphabeasties and Other Amazing Types by Sharon Werner and Sarah Forss. 2009. 56pp. 9"x11.5".
    [Show full text]
  • Typographya Quick Lesson In
    TYPOGRAPHYA QUICK LESSON IN Definition:The design and use of typefaces as a means of visual communication from calligraphy to the ever-developing use of digital type is the broad use of the term typography. However, the art and practice of typography began with the invention of moveable type and the printing press.Typography is sometimes seen as encompassing many separate fields from the type designer who creates letterforms to the graphic designer who selects typefaces and arranges them on the page. LETTERFORMS AND FONTS AT-A-GLANCE WHAT IS THE BEST WAY TO CHOOSE OR MIX AND MATCH FONTS? There are no absolutely right or wrong ways to choose fonts or mix different fonts. However, there are a few accepted standards that can speed up the font selection process and generally result in typographically attractive and readable compositions.These guidelines won't always work for you, but nine times out of ten they'll give you the results you want with the least amount of trial and error. • When in doubt, pair a serif font for body text and a sans serif font for headlines. • Avoid mixing two very similar typefaces, such as two scripts or two sans serifs.There is not enough contrast and the small differences will cause a visual clash. • Limit the number of different typefaces used in a single document to no more than three or four. • Avoid monospaced typefaces for body copy. They draw too much attention to the individual letters distracting the reader from the message. A well designed page contains no more than two different typefaces or four different type variations such as type size and bold or italic style.
    [Show full text]
  • The Rapid Rise of Fraktur Fragmentary and Nearly Impossible to Contextualise Without an Analysis of the Books Themselves
    Abstract zur Konferenz Digital Humanities im deutschsprachigen Raum 2020 such as invoices, letters and type specimens, is at best The rapid rise of Fraktur fragmentary and nearly impossible to contextualise without an analysis of the books themselves. On the other hand, Weichselbaumer, Nikolaus researchers are simply overwhelmed by the amount of material available. For the 16th century alone, the German [email protected] national bibliography VD16 (www.vd16.de) lists over JGU Mainz, Deutschland 100,000 titles. This makes it impractical to look at every book individually and determine its fonts or even only its Seuret, Mathias main text font. [email protected] Recent research presents a solution to this problem. With FAU Erlangen, Deutschland the help of a newly developed pattern recognition tool, large amounts of digitised book pages can be categorised into font groups. This tool was developed in the context of a Limbach, Saskia project on font-specific OCR (Weichselbaumer et al. 2019, [email protected] Seuret et al. 2019) and was then used for a large dataset of JGU Mainz, Deutschland digitised books from BSB Munich. This paper will present the results and provide new insights into the rapid rise of Hinrichsen, Lena Fraktur. [email protected] JGU Mainz, Deutschland Methodology Maier, Andreas Our methodology is based on automatic document image [email protected] labeling which is done by a deep convolutional neural FAU Erlangen, Deutschland network (CNN) trained for font classification. As artificial intelligence typically requires a great amount of data, Christlein, Vincent we manually prepared a training dataset of more than 35’000 document images, each labeled with the used fonts.
    [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]
  • Ein Makropaket Für Die Gebrochenen Schriften
    Ein Makropaket fur¨ die gebrochenen Schriften Walter Schmidt [email protected] Version: v1.4 { 2019/04/04 Inhaltsverzeichnis 1 Gebrochene Schriften und LATEX 1 2 Das Makropaket yfonts 2 2.1 Unterstutzte¨ Fonts . 2 2.2 Schriftauswahl . 3 2.3 Sonderzeichen . 4 2.3.1 Umlaute . 4 2.3.2 Scharfes s . 4 2.3.3 Langes und rundes s . 4 2.3.4 Anfuhrungszeichen¨ . 4 2.3.5 Sonstige Sonderzeichen . 5 2.4 Zeilenabstand . 5 2.5 Verwendung der Initialen . 5 2.6 Bekannte Fehler und M¨angel . 6 3 Implementierung 7 3.1 Das Interface zu den Schriften . 7 3.2 Die Makros . 8 1 Gebrochene Schriften und LATEX Im deutschen Sprachraum waren vom Mittelalter an bis ins 20. Jahrhun- dert die sogenannten gebrochenen Schriften weit verbreitet. Innerhalb der Gruppe der gebrochenen Schriften unterscheidet man drei Untergruppen, n¨amlich Gotisch, Schwabacher und Fraktur; manchmal werden aber auch 1 alle drei pauschal als Frakturschriften bezeichnet. Zur korrekten Verwen- dung der gebrochenen Schriften und zu ihrer Geschichte sei auf die am Schluß aufgefuhrte¨ Literatur verwiesen. Fur¨ die Benutzung mit TEX und LATEX hat Yannis Haralambous derartige Schriften in allen drei Stilen unter Anlehnung an historische Vorbilder entworfen, dazu einen Satz an barocken Initialen. Eine ausfuhrliche¨ Beschreibung dieser Fonts findet man in [1] und [2]. Eine Eigenheit der gebrochenen Schriften sind ihre zahlreichen Liga- turen und einige Sonderzeichen, die in der Antiqua nicht vorkommen, w¨ahrend andere Sonderzeichen oder Akzente fehlen. Die Codierung ent- sprechender Fonts unterscheidet sich also zwangsl¨aufig von ublichen¨ TEX- Schriften. Deshalb war die Benutzung gebrochener Schriften in LATEX fruher¨ nicht einfach.
    [Show full text]
  • MEDIEVAL SCRIPTS I / Xxxix
    GRAPHIC DESIGN HISTORY / MEDIEVAL SCRIPTS I / XXXIX Medieval Scripts 1 Overview 3 2 Gothic Architecture 19 3 Late Medieval Manuscripts 25 4 Blackletter 29 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / MEDIEVAL SCRIPTS II / XXXIX © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / MEDIEVAL SCRIPTS / OvervIEW 3 / 39 1,000 CE – PRESENT Overview Blackletter—a collection of medieval scripts— has existed in numerous forms for over a thousand years and still remains in use today. © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / MEDIEVAL SCRIPTS / OvervIEW 4 / 39 Blackletter © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / MEDIEVAL SCRIPTS / OvervIEW 5 / 39 Blackletter © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / MEDIEVAL SCRIPTS / OvervIEW 6 / 39 Blackletter © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / MEDIEVAL SCRIPTS / OvervIEW 7 / 39 Blackletter © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / MEDIEVAL SCRIPTS / OvervIEW 8 / 39 Blackletter © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / MEDIEVAL SCRIPTS / OvervIEW 9 / 39 Blackletter © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / MEDIEVAL SCRIPTS / OvervIEW 10 / 39 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / MEDIEVAL SCRIPTS / OvervIEW 11 / 39 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / MEDIEVAL SCRIPTS / OvervIEW 12 / 39 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / MEDIEVAL SCRIPTS / OvervIEW 13 / 39 1990 CE Old English Font • Designed by Monotype Corporation • A mash-up of historic styles • Modern interpretation of blackletter script • Includes anachronistic glyphs: Arabic numerals,
    [Show full text]
  • 2 Classification of Type
    The Classification of Type “It must be admitted that the classification of printing types is a controversial subject and one upon which little amicable agreement may be expected.” ALEXANDER LAWSON THE CLASSIFICATION OF TYPE The Classification of Type CLASSIFICATION: Historical Movements Renaissance Roman Letter Renaissance Italic Letter The Mannerist Letter The Baroque Letter AaBbCc AaBbCc BEMBO: MONOTOYPE BEMBO ITALIC: MONOTOYPE AaBbCcPOETICA: ROBERT SLIMBACH AaBbCcADOBE CASLON: CAROL TWOMBLY Geometric Modernism The Neoclassical Letter The Romantic Letter The Realist Letter AaBbCc AaBbCc AaBbCc AaBbCc BODONI: GIAMBATTISTA BODONI BASKERVILLE: JOHN BASKERVILLE DIDOT: ADRIAN FRUTIGER AKZIDENZ GROTESK: BERTHOLD Geometric Modernism Lyrical Modernism Postmodern Postmodern Geometric AaBbCc AaBbCc AaBbCc FUTURA: PAUL RENNER AaBbCcPALATINO: HERMANN ZAPF ESPRIT: JOVICA VELJOVIC OFFICINA: ZUZANA LICKO THE PARSONS INSTITUTE 68 Fifth Avenue 212 229 6825 FOR INFORMATION MAPPING New York, NY 10011 piim.newschool.edu THE CLASSIFICATION OF TYPE The Classification of Type SCRIPT FAT FACE MANUAIRE FRAKTUR SCRIPTS FORME QUE/ N TEXTURA ANTI 19TH CENTURY SOMME GOTH LINEALE CLARENDO IC HUMANIST DISPLAY 25 Systems for Classifying Typography: FRACTURE SCHWABACHER GOTHIC DISPLAY BLACKLETTER BATARD ANTIQUE 18TH CENTURY / ANTIQ BLACKLETTER INCISES UA LINEAL ORNAMENTALS GROTESK MECANES SCRIPT EGYPTIAN SLAB ITALIC EGYPTIENNE ROMAN ROMANS 17TH CENTURY CONDENS VENETIAN OLD STYLE PRECLASSICAL CLASSICAL ROMAN VERNACULAR ELZEVIR ED DIDONE ITALIENNE A Study in Naming Frequency
    [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]
  • Friedrich Beck 251
    Christof Baier 1 Sonderdruck aus Die Kunst des Vernetzens Festschrift für Wolfgang Hempel Herausgegeben von Botho Brachmann, Helmut Knüppel, Joachim-Felix Leonhard und Julius H. Schoeps 2 Der „Fraenger-Salon“ in Potsdam-Babelsberg Schriftenreihe des Wilhelm-Fraenger-Instituts Potsdam Herausgegeben von Prof. e.h. Wolfgang Hempel Prof. Dr. Helmut Knüppel Prof. Dr. Julius H. Schoeps Band 9 Bibliografische Information Der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. ISBN 3-86650-344-X Die Entscheidung darüber, ob die alte oder neue deutsche Rechtschrei- bung Anwendung findet, blieb den Autoren überlassen, die auch selbst für Inhalt, Literaturangaben und Quellenzitate verantwortlich zeichnen. Umschlaggestaltung: Christine Petzak, Berlin Redaktion und Satz: Dieter Hebig, www.dieter-hebig.de Druck: Druckhaus NOMOS, Sinzheim Titelfoto: Burg Ludwigstein, Innenhof 1. Auflage 2006 © Verlag für Berlin-Brandenburg GmbH, Stresemannstraße 30, 10963 Berlin. www.verlagberlinbrandenburg.de Alle Rechte, auch die des Nachdrucks von Auszügen, der fotomecha- nischen Wiedergabe und der Übersetzung, vorbehalten. Friedrich Beck 251 „Schwabacher Judenlettern“ Schriftverruf im Dritten Reich Von Friedrich Beck Wolfgang Hempel, der am 14. Oktober 1931 geborene Jubilar, gehört wie alle Angehörigen seiner Generation zu den vom Schriftverdikt des Jahres 1941 Betroffenen. Nach vierjähriger Grundschulzeit, in der er Lesen und Schreiben erlernt hatte und ihm die von seinen Kaufmanns-Vorfahren in ihren Kontoren geschriebenen sperrigen und in den Großbuchstaben mons- trösen Buchstaben von Fraktur und deutscher „Sütterlin“-Schreibschrift vertraut geworden waren (Abb. 1), sah er sich mit neuen Schriftformen konfrontiert. Auf dem Gymnasium seiner Heimatstadt Minden galten nun die Alphabete der von Rationalität und Formenstrenge geprägten Antiqua und ihrer Schreibschrift, der Deutschen Normalschrift (Abb.
    [Show full text]