4Th Century Roman Square Capitals This Type Is the Basis of the Modern

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Illuminated Manuscripts & Calligraphy From the Latin word “manu” meaning hand and “script” meaning writing, throughout the Middle Ages all documents were handwritten. This form of writing was used by the upper middle class and the church. Power and wealth were displayed in the type of manuscripts produced along with the decorative type of calligraphy used by a scribe. 1. 1st – 4th century 8th - 12th c. Roman Square Capitals Carolingian This type is the basis of the modern In a desire to re-unify the Roman alphabet. Developed as carved lettering for Empire, this was created as a single use in Roman monuments, from a distance unified lettering style for all of they are easy to read. To use these letters in Europe. Later, carolingian perfectly fit a document symbolized power and authority the needs of Spanish manuscripts with within the Roman Empire. Moorish geometric motifs. 1st – 14th c. 12th - 15th c. Old Roman Cursive Black Letter This calligraphy style is considered to be Evolved from carolingian, the letters document hand writing and was widely used were compressed, elongated and angularized. The result is similar of in written business and legal documents. the dramatic gothic architecture 3rd – 7th c. 12th - 15th c. New Roman Cursive An evolved version of Old Roman Cursive Rotunda Developed parallel with black letter, calligraphy, it was developed when the need rotunda was southern European while for informally written business documents black letter was mostly northern. had increased. This version showed a Rotunda letters were more variety of the individual letters. compressed than carolingian while 4th - 5th c. retaining generous rounded arches. Rustics 15th c. Originally brush made letters, this style was Humanist what ancient Roman graffiti artists used. Named after the humanistic scholars Later rustic script were used for titles only in 1400 Florence, this was a backlash in medieval manuscripts. against the tight& less-readable black letter. Humanist was a rediscovery and 5th - 12th c. interpretation of carolingian. Uncial and Half Uncial 15th - 16th c. First developed as Roman styles, these Irish letters are the first truly medieval styles. Italic The typical decorative themes used with Developed alongside with humanist, these styles were intricate knotwork patterns italic was used by the Papal Chancery with interlaced vines or animals. Uncial for briefs and Papal Bulls. Having lettering was sometimes done as gold many cursive characteristics, italic lettering. was designed to be written quickly. 7th – 19th c. 15th - 16th c Insular Script/Minuscule Black Letter Cursive/Batarde This lettering was described as a horrible These lettering styles are variations of old script which showed various difficulties a merging of the cursive in classification and was adversely hard to characteristics of italic and the read. Other pre-Carolingian scripts included angular, compressed characteristics of late English document hand, Merovingian black letter. Usually called batarde, minuscule and insular half uncial. this is a polite way of calling them "bastard" lettering styles. .

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A Æ B C D E F G H I J Ĳ K L M N O Ø Œ P Þ Q R S T U V W X Ethan Cohen Type & Media 2018–19 SigY Z А Б В Г Ґ Д Е Ж З И К Л М Н О П Р С Т У Ф Х Ч Ц Ш Щ Џ Ь Ъ Ы Љ Њ Ѕ Є Э І Ј Ћ Ю Я Ђ Α Β Γ Δ SIG: A Revival of Rudolf Koch’s Wallau Type & Media 2018–19 ЯREthan Cohen ‡ Submitted as part of Paul van der Laan’s Revival class for the Master of Arts in Type & Media course at Koninklijke Academie von Beeldende Kunsten (Royal Academy of Art, The Hague) INTRODUCTION “I feel such a closeness to William Project Overview Morris that I always have the feeling Sig is a revival of Rudolf Koch’s Wallau Halbfette. My primary source that he cannot be an Englishman, material was the Klingspor Kalender für das Jahr 1933 (Klingspor Calen- dar for the Year 1933), a 17.5 × 9.6 cm book set in various cuts of Wallau. he must be a German.” The Klingspor Kalender was an annual promotional keepsake printed by the Klingspor Type Foundry in Offenbach am Main that featured different Klingspor typefaces every year. This edition has a daily cal- endar set in Magere Wallau (Wallau Light) and an 18-page collection RUDOLF KOCH of fables set in 9 pt Wallau Halbfette (Wallau Semibold) with woodcut illustrations by Willi Harwerth, who worked as a draftsman at the Klingspor Type Foundry.
JAF Herb Specimen © Just Another Foundry, 2010 Page 1 of 9

JAF Herb specimen © Just Another Foundry, 2010 Page 1 of 9 Designer: Tim Ahrens Format: Cross platform OpenType Styles & weights: Regular, Bold, Condensed & Bold Condensed Purchase options : OpenType complete family €79 Single font €29 JAF Herb Webfont subscription €19 per year Tradition ist die Weitergabe des Feuers und nicht die Anbetung der Asche. Gustav Mahler www.justanotherfoundry.com JAF Herb specimen © Just Another Foundry, 2010 Page 2 of 9 Making of Herb Herb is based on 16th century cursive broken Introducing qualities of blackletter into scripts and printing types. Originally designed roman typefaces has become popular in by Tim Ahrens in the MA Typeface Design recent years. The sources of inspiration range course at the University of Reading, it was from rotunda to textura and fraktur. In order further refined and extended in 2010. to achieve a unique style, other kinds of The idea for Herb was to develop a typeface blackletter were used as a source for Herb. that has the positive properties of blackletter One class of broken script that has never but does not evoke the same negative been implemented as printing fonts is the connotations – a type that has the complex, gothic cursive. Since fraktur type hardly ever humane character of fraktur without looking has an ‘italic’ companion like roman types few conservative, aggressive or intolerant. people even know that cursive blackletter As Rudolf Koch illustrated, roman type exists. The only type of cursive broken script appears as timeless, noble and sophisticated. that has gained a certain awareness level is Fraktur, on the other hand, has different civilité, which was a popular printing type in qualities: it is displayed as unpretentious, the 16th century, especially in the Netherlands.
Rotunda ROM Magazine Subject Index V. 1 (1968) – V. 42 (2009)

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K 03-UP-004 Insular Io02(A)

By Bernard Wailes TOP: Seventh century A.D., peoples of Ireland and Britain, with places and areas that are mentioned in the text. BOTTOM: The Ogham stone now in St. Declan’s Cathedral at Ardmore, County Waterford, Ireland. Ogham, or Ogam, was a form of cipher writing based on the Latin alphabet and preserving the earliest-known form of the Irish language. Most Ogham inscriptions are commemorative (e.g., de•fin•ing X son of Y) and occur on stone pillars (as here) or on boulders. They date probably from the fourth to seventh centuries A.D. who arrived in the fifth century, occupied the southeast. The British (p-Celtic speakers; see “Celtic Languages”) formed a (kel´tik) series of kingdoms down the western side of Britain and over- seas in Brittany. The q-Celtic speaking Irish were established not only in Ireland but also in northwest Britain, a fifth- THE CASE OF THE INSULAR CELTS century settlement that eventually expanded to become the kingdom of Scotland. (The term Scot was used interchange- ably with Irish for centuries, but was eventually used to describe only the Irish in northern Britain.) North and east of the Scots, the Picts occupied the rest of northern Britain. We know from written evidence that the Picts interacted extensively with their neighbors, but we know little of their n decades past, archaeologists several are spoken to this day. language, for they left no texts. After their incorporation into in search of clues to the ori- Moreover, since the seventh cen- the kingdom of Scotland in the ninth century, they appear to i gin of ethnic groups like the tury A.D.
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MUFI Character Recommendation V. 3.0: Code Chart Order

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Orthography Development for Creole Languages Decker, Ken

University of Groningen Orthography Development for Creole Languages Decker, Ken IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 2014 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): Decker, K. (2014). Orthography Development for Creole Languages. [S.n.]. Copyright Other than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons). The publication may also be distributed here under the terms of Article 25fa of the Dutch Copyright Act, indicated by the “Taverne” license. More information can be found on the University of Groningen website: https://www.rug.nl/library/open-access/self-archiving-pure/taverne- amendment. Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons the number of authors shown on this cover page is limited to 10 maximum. Download date: 01-10-2021 ORTHOGRAPHY DEVELOPMENT FOR CREOLE LANGUAGES KENDALL DON DECKER The work in this thesis has been carried out under the auspices of SIL International® in collaboration with the National Kriol Council of Belize.
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.
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