DOCSLIB.ORG

3 Differing Accents | Monday 11Th June Fig 3

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. Dave Farey 72 National Type Identity Thursday 14th Oliver Linke 86 The Urge to Rule Colin Brignall 100 The Liberated Letter Filip Blažek 102 European Diacritics Richard Kindersley 108 Letter Carving Veronika Burian Born in Prague, Veronika got her first degree in Industrial Design in Munich, Germany, before she moved on to Austria and Italy to work as a mix between a product and graphic designer. Discovering her true passion for type, she graduated with distinction from the MA in Typeface Design in Reading, UK, in 2003 and started to work as a full-time type designer at DaltonMaag in London until 2007. After staying for some years in Boulder, Colorado, she is currently living and working in Prague and dedicates her time fully to TypeTogether, an independent type-label that she co-founded with José Scaglione. She also continues to give lectures and workshops at international conferences and universities. Her typeface Maiola received, among others, the TDC Certificate of Excellence in Type Design 2004. Several other typefaces by TypeTogether have also been recognised by international competitions, including ED-Awards and ISTD. TypeTogether Veronika Burian and José Scaglione met at the University of Reading whilst completing their MAs in Type Design, launching the independent type foundry TypeTogether (TT for short) in 2006. TT developed out of the desire to publish high quality typefaces and work on new type projects together (hence the name). The foundry provides common grounds for intense cooperation with other type designers, creating an interesting and diverse platform. TypeTogether’s main interest is finding innovative and stylish solutions to old problems for the professional market of text typefaces, with a focus on editorial use. This is where the greatest challenges are faced: creating typefaces that perform well in continuous reading, that also have a high degree of personality. The quality of TypeTogether’s work has already been recognised in several international competitions, including TDC and ED-Awards. http://www.type-together.com/ 7 differing accents | Monday 11th June Oldrich Menhart calligrapher In June, 1897, Oldřich Menhart was born in Prague where he also died type designer in February, 1962. His father was a goldsmith teaching his four sons engraving, drawing, and carving from an early age on. Here Menhart and craftsman acquired skilled hands and a profound feeling for shapes. He developed a sense for detail up to a level of perfectionism. Additionally, he became familiar with the peculiar characteristics of the material and the tools. The skill of being aware of the relationship between tool and form, that is to know how technology would affect the final shape, became Menhart’s fundament for his later mastery. Further formative impacts were his working experience in the printing house Politka in Prague and his teacher, Karel Mrázek, at the school of typography. The contact with the process of printing and the industrial production of typefaces was crucial for his extraordinary understanding of technical conditions when it comes to design. On the other side, through Mrázek he was exposed to calligraphy and book design. Quickly Menhart realised the potential of expressing visually, beauty, sentiments, and intellect by the means of this art and took every opportunity to study letterforms in churches, public buildings, cementeries, libraries, etc. Free from traditional heritage and knowledge, he was able to observe the inscriptions with innocent eyes and to see the spirit of the letters behind the external form. This made for a gradual maturing of his intuition for the viability of lettershapes and their emotional effect on the message to the reader. Beautiful but superficial, decorative calligraphy was alien to him, though. The challenge was to develop his own ideas and to find new ways of conceiving of artistic handwriting as a graphic representation of his individuality. The art of writing, in fact, became an existential element of his life and work. An excellent example of Menhart’s calligraphic roots is the highly individual typeface Manuscript from 1943–45. Freely drawn with a spring pen, it is deliberately rough with a primitive and peasant finish. Despite its rustic feel and irregularity, the typeface appears very spirited, elegant, surprisingly uniform, and legible. Paul Standard once noticed that it is “seemingly written with molten metal.” Its irregularity differing accents | Monday 11th June 8 is intensified by the jagged and to the bottom tapering strokes. As you can see below, the tails on the letters K R, the frankly pen-formed serifs on E F L T and the characteristic slope on the bottom stroke of Z z show, also, the calligraphic heritage of Manuscript. It is regarded as Menhart’s masterpiece, expressing the author’s energetic temperament and self- confident personality. Max Caflisch went as far as to say that it “…has no type-design counterpart either contemporary or historic.” 9 differing accents | Monday 11th June Designer and technology In many ways Menhart’s approach to design and its realisations differs quite remarkably from his contemporaries. Not only did he consider himself rather a craftsman than an artist, but his work also shows greater maturity and understanding of the matter. Probably because of Menhart’s experience in the printing industry, he had a positive attitude towards new technologies. He was familiar with the characteristics of the material, its constraints and possibilities, and knew about the technical limits and requirements of printing and the production of type. In his opinion, the designer had to keep in mind, while creating, that the control of the process had been increasingly removed from him. Therefore he needed to imagine the final appearance of his typeface, had to predict possible problems and act upon it. Competence and mutual understanding between designer and typefoundry were essential suppositions for success. Relying on the foundry to correct the designer’s errors was, according to Menhart, fatal. He was convinced that, because of the designer’s demands and high level of quality, he could have a fruitful influence on the progress of technology. Generally he evaluated mass-production of printed matter and typefaces as positive and appreciated this democratisation of the book trade. It was, in his eyes, the logical consequence of the social changes of that time and a challenge for the designer. Technology was to be used smartly giving to the industrially produced typographical product a sense of personality and liveliness. The inadequate equipment and miserable conditions of Czech typefoundries and printers were jointly responsible for the international failure of Czech typefaces In the 1930s, the economic and technical climate though was under- developed in his home country. Its history, involving loss of political sovereignty for many centuries, and the related lack of an independent printing industry, contributed greatly to the missing professional knowledge and experience of type-making. The inadequate equipment and miserable conditions of Czech typefoundries and printers were jointly responsible for the international failure of Czech typefaces. differing accents | Monday 11th June 10 fig 2. Menhart’s Antiqua. Menhart was fortunate to have had the possibility to publish his first typefaces abroad. The dealer for the Bauer typefoundry, O Zahradnik, whom he encountered on his trip to Offenbach, encouraged him to submit a proposal to the foundry. He followed this advice and sent a map with drawings and sample text layouts. The name was Codex Antiqua and Kursiv, a hint to two important medieval manuscripts, the Reimser and Wyssehrader Codex. It was strongly calligraphic and dynamic, but not yet accomplished. After several revisions it resulted in the typeface Menhart Antiqua / Kursiv, cast in 1931 by Bauer in Germany. It is a nicely balanced and calm design, with generous proportions and calligraphic reminiscence. The dynamic spirit is enhanced by the asymmetrical shape of the serifs. They are blunt, rectangular on the right side but wedge shaped and elongated on the other. The strokes are modulated, reflecting the broad edge pen and the round letters tend towards a square shape.
Load more

Recommended publications
  • Dubrovnik Manuscripts and Fragments Written In
    Rozana Vojvoda DALMATIAN ILLUMINATED MANUSCRIPTS WRITTEN IN BENEVENTAN SCRIPT AND BENEDICTINE SCRIPTORIA IN ZADAR, DUBROVNIK AND TROGIR PhD Dissertation in Medieval Studies (Supervisor: Béla Zsolt Szakács) Department of Medieval Studies Central European University BUDAPEST April 2011 CEU eTD Collection TABLE OF CONTENTS 1. INTRODUCTION ........................................................................................................................... 7 1.1. Studies of Beneventan script and accompanying illuminations: examples from North America, Canada, Italy, former Yugoslavia and Croatia .................................................................................. 7 1.2. Basic information on the Beneventan script - duration and geographical boundaries of the usage of the script, the origin and the development of the script, the Monte Cassino and Bari type of Beneventan script, dating the Beneventan manuscripts ................................................................... 15 1.3. The Beneventan script in Dalmatia - questions regarding the way the script was transmitted from Italy to Dalmatia ............................................................................................................................ 21 1.4. Dalmatian Benedictine scriptoria and the illumination of Dalmatian manuscripts written in Beneventan script – a proposed methodology for new research into the subject .............................. 24 2. ZADAR MANUSCRIPTS AND FRAGMENTS WRITTEN IN BENEVENTAN SCRIPT ............ 28 2.1. Introduction
    [Show full text]
  • Type ID and History
    History and Identification of Typefaces with your host Ted Ollier Bow and Arrow Press Anatomy of a Typeface: The pieces of letterforms apex cap line serif x line ear bowl x height counter baseline link loop Axgdecender line ascender dot terminal arm stem shoulder crossbar leg decender fkjntail Anatomy of a Typeface: Design decisions Stress: Berkeley vs Century Contrast: Stempel Garamond vs Bauer Bodoni oo dd AAxx Axis: Akzidenz Grotesk, Bembo, Stempel Garmond, Meridien, Stymie Q Q Q Q Q Typeface history: Blackletter Germanic, completely pen-based forms Hamburgerfonts Alte Schwabacher c1990 Monotype Corporation Hamburgerfonts Engraver’s Old English (Textur) 1906 Morris Fuller Benton Hamburgerfonts Fette Fraktur 1850 Johan Christian Bauer Hamburgerfonts San Marco (Rotunda) 1994 Karlgeorg Hoefer, Alexei Chekulayev Typeface history: Humanist Low contrast, left axis, “penned” serifs, slanted “e”, small x-height Hamburgerfonts Berkeley Old Style 1915 Frederic Goudy Hamburgerfonts Centaur 1914 Bruce Rogers after Nicolas Jenson 1469 Hamburgerfonts Stempel Schneidler 1936 F.H.Ernst Schneidler Hamburgerfonts Adobe Jenson 1996 Robert Slimbach after Nicolas Jenson 1470 Typeface history: Old Style Medium contrast, more vertical axis, fewer “pen” flourishes Hamburgerfonts Stempel Garamond 1928 Stempel Type Foundry after Claude Garamond 1592 Hamburgerfonts Caslon 1990 Carol Twombley after William Caslon 1722 Hamburgerfonts Bembo 1929 Stanley Morison after Francesco Griffo 1495 Hamburgerfonts Janson 1955 Hermann Zapf after Miklós Tótfalusi Kis 1680 Typeface
    [Show full text]
  • Old Faces of Roman and Medieval Types : Lately Added to the De Vinne Press Pdf, Epub, Ebook
    OLD FACES OF ROMAN AND MEDIEVAL TYPES : LATELY ADDED TO THE DE VINNE PRESS PDF, EPUB, EBOOK De Vinne Press | 66 pages | 17 May 2018 | Trieste Publishing | 9780649329755 | English | none Old Faces of Roman and Medieval Types : Lately Added to the de Vinne Press PDF Book I can see before me now some gray-haired old gentleman, very money-getting, very correct, very cleanly, who reads the morning paper with unction, and his Bible with determination, who listens to dull sermons with patience, and who prays with quiet self-applause ; and yet there are moments belonging to his life when his curdled affections yearn for something that they have not, when his avarice oversteps all the commandments, when his. Loneliness and lack of physical activity during lockdowns has led to a surge in depression and anxiety in In literature as in life we should keep the best company we can. Back to top Home News U. Cap 8. It defends itself well. Many Roman and Greek constructions are relatable to the level of the sea. Or wait for 1 or 2 volcanoes to go off. Most watched News videos Driver beaten with wrench by bikers in road rage attack Ackhurst Lodge seen almost submerged by flood water in Chorley The devastating scene inside a fire-ravaged Leeds General Infirmary Bill Clinton appears to doze off at Biden's inauguration Second rave! The seventh time, he reads it through and says, "Pshaw! JCH, to be fair anyone taking the short term trends of melting in Greenland and extrapolating them into the future is doing everyone a disservice.
    [Show full text]
  • 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]
  • Bibliography
    Bibliography Many books were read and researched in the compilation of Binford, L. R, 1983, Working at Archaeology. Academic Press, The Encyclopedic Dictionary of Archaeology: New York. Binford, L. R, and Binford, S. R (eds.), 1968, New Perspectives in American Museum of Natural History, 1993, The First Humans. Archaeology. Aldine, Chicago. HarperSanFrancisco, San Francisco. Braidwood, R 1.,1960, Archaeologists and What They Do. Franklin American Museum of Natural History, 1993, People of the Stone Watts, New York. Age. HarperSanFrancisco, San Francisco. Branigan, Keith (ed.), 1982, The Atlas ofArchaeology. St. Martin's, American Museum of Natural History, 1994, New World and Pacific New York. Civilizations. HarperSanFrancisco, San Francisco. Bray, w., and Tump, D., 1972, Penguin Dictionary ofArchaeology. American Museum of Natural History, 1994, Old World Civiliza­ Penguin, New York. tions. HarperSanFrancisco, San Francisco. Brennan, L., 1973, Beginner's Guide to Archaeology. Stackpole Ashmore, w., and Sharer, R. J., 1988, Discovering Our Past: A Brief Books, Harrisburg, PA. Introduction to Archaeology. Mayfield, Mountain View, CA. Broderick, M., and Morton, A. A., 1924, A Concise Dictionary of Atkinson, R J. C., 1985, Field Archaeology, 2d ed. Hyperion, New Egyptian Archaeology. Ares Publishers, Chicago. York. Brothwell, D., 1963, Digging Up Bones: The Excavation, Treatment Bacon, E. (ed.), 1976, The Great Archaeologists. Bobbs-Merrill, and Study ofHuman Skeletal Remains. British Museum, London. New York. Brothwell, D., and Higgs, E. (eds.), 1969, Science in Archaeology, Bahn, P., 1993, Collins Dictionary of Archaeology. ABC-CLIO, 2d ed. Thames and Hudson, London. Santa Barbara, CA. Budge, E. A. Wallis, 1929, The Rosetta Stone. Dover, New York. Bahn, P.
    [Show full text]
  • Main Category Sub Category Alpha Sub Category Beta Sub Category Gamma Description Typefaces Tapefaces/Fonts Serif Venetian/Human
    Main category Sub category alpha Sub category beta Sub category gamma Description Typefaces Tapefaces/Fonts Serif Venetian/Humanist Old calligraphic style like Jenson and Centaur. Garalde More modeled like Garamond and Caslon Transitional More mechanical like Baskerville and Times Glyphic Incized Roman types. See Trajan, Goudy Trajan Didone High contrast like Didot and Bodoni Contemporary Serif typefaces with a modern appearance which doesn't fit Transitional Slab serif Egyptienne Square/unbracketed serifs. More sans-like. Clarendon/Ionic Robust yet antique. Bracketed serifs. Tuscan Western fonts and slab serifs with decorative serifs. Contemporary Modern slab serif like Prensa Slab or Museo Slab Sans Grotesque Robust and linear. See Helvetica, Univers, DIN. Geometric Based on geometric elements. See Futura, Eurostile, Nobel. Humanist Calligraphic influences. See Gill Sans, Frutiger, Ideal Sans. Chirographic Script Elegant writing fonts with swashes and ligatures etc. Hand writing Typical hand writing font. No scripts. Comic Hand-lettered sans fonts for comic books. See Comic Sans. Calligraphy Any font done in calligraphy (excluding blackletters) Blackletter Textura Blackletter with detail and texture. Old English, Diploma Schwabacher Typical German type. Rounded forms. See Schwabacher, Fette Deutsch Fraktur Most robust and mechanical blackletter. Fraktur, Fette Fraktur, Fakir Rotunda Most rounded blackletter. See Clemente Rotunda, San Marco. Hybrida/Bastarda Hybrid of Textura and Rotunda. Bastarda is typically French. See Burgundica, Givry Non-Latin Greek Cyrillic Armenian Any of these languages could be collapsed into the Miscellaneous category if it's not Georgian popular enough for its own category, though having these categories might stimulate Arabic people to add designs as well. Hebrew Devanagari Japanese Kanji, Hiragana (Kana), Katakana (Kana).
    [Show full text]
  • Proquest Dissertations
    Social organization and the technology of communication: A case study of the association between character transformation and bureaucratic expansion in ancient China Item Type text; Thesis-Reproduction (electronic) Authors Aoyagi, Hiroshi, 1963- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 02/10/2021 21:47:29 Link to Item http://hdl.handle.net/10150/291505 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in ^ewriter face, while others may be from any type of computer printer. The quality of this reprodactlon is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if imauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
    [Show full text]
  • National Diploma in Calligraphy Helpful Hints for FOUNDATION Diploma Module A
    National Diploma in Calligraphy Helpful hints for FOUNDATION Diploma Module A THE LETTERFORM ANALYSIS “In A4 format make an analysis of the letter-forms of an historical manuscript which reflects your chosen basic hand. Your analysis should include x-height, letter formation and construction, heights of ascenders and descenders, etc. This can be in the form of notes added to enlarged photocopies of a relevant historical manuscript, together with your own lettering studies” At this first level, you will be working with one basic hand only and its associated capitals. This will be either Foundational (Roundhand) in which case study the Ramsey Psalter, or Formal Italic, where you can study a hand by Arrighi or Francisco Lucas, or other fine Italian scribe. Find enlarged detailed illustrations from ‘Historical Scripts by Stan Knight, or A Book of Scripts, by A Fairbank, or search the internet. Stan Knight’s book is the ‘bible’ because the enlargements are clear and at least 5mm or larger body height – this is the ideal. Show by pencil lines & measurements on the enlargement how you have worked out the pen angle, nib-widths, ascender & descender heights and shape of O, arch formations etc, use a separate sheet to write down this information, perhaps as numbered or bullet points, such as: 1. Pen angle 2. 'x'height 3. 'o'form 4, 5,6 Number of strokes to each letter, their order, direction: - make a general observation, and then refer the reader to the alphabet (s) you will have written (see below), on which you will have added the stroke order and directions to each letter by numbered pencil arrows.
    [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]
  • The Book Art in Croatia Exhibition Catalogue
    Book Art in Croatia BOOK ART IN CROATIA National and University Library in Zagreb, Zagreb, 2018 Contents Foreword / 4 Centuries of Book Art in Croatia / 5 Catalogue / 21 Foreword The National and University Library in Croatia, with the aim to present and promote the Croatian cultural heritage has prepared the exhibition Book Art in Croatia. The exhibition gives a historical view of book preparation and design in Croatia from the Middle Ages to the present day. It includes manuscript and printed books on different topics and themes, from mediaeval evangelistaries and missals to contemporary illustrated editions, print portfolios and artists’ books. Featured are the items that represent the best samples of artistic book design in Croatia with regard to their graphic design and harmonious relationship between the visual and graphic layout and content. The author of the exhibition is art historian Milan Pelc, who selected 60 items for presentation on panels. In addition to the introductory essay, the publication contains the catalogue of items with short descriptions. 4 Milan Pelc CENTURIES OF BOOK ART IN CROATIA Introduction Book art, a constituent part of written culture and Croatian cultural heritage as a whole, is ex- ceptionally rich and diverse. This essay does not pretend to describe it in its entirety. Its goal is to shed light on some (key) moments in its complex historical development and point to its most important specificities. The essay does not pertain to entire Croatian literary heritage, but only to the part created on the historical Croatian territory and created by the Croats. Namely, with regard to its origins, the Croatian literary heritage can be divided into three big groups.
    [Show full text]
  • The Beneventan Script : a History of the South Italian Minuscule
    US i. THE BENEVENTAN SCRIPT A HISTORY OF THE SOUTH ITALIAN MINUSCULE BY E. A. LOEW, Ph.D. RESEARCH ASSOCIATE OF THE CARNEGIE INSTITUTION OF WASHINGTON OXFORD AT THE CLARENDON PRESS 1914 OXFORD UNIVERSITY PRESS LONDON EDINBURGH GLASGOW NEW YORK TORONTO MELBOURNE BOMBAY HUMPHREY MILFORD M.A. PUBLISHER TO THE UNIVERSITY TO JAMES LOEB PATRON OF LIBERAL LEARNING AT HOME AND ABROAD THIS BOOK IS DEDICATED IN GRATITUDE AND DEVOTION Absit tamen ut hac in re magisterii partes mihi arro- gem. Quippe in republica litteraria omnes liberi sumus. Leges ac regulas proponere omnibus licet, imponere non licet. Praevalent istae, si veritate ac recto judicio ful- ciantur: sin minus, ab eruditis et recte sentientibus merito reprobantur. J. Mabillon. PREFACE The present work is an essay in regional palaeography. Its inception goes back to my student days at the University of Munich. My master, Ludwig Traube, had proposed to me the thesis ' Monte Cassino as a centre for the transmission of Latin classics \ After spending some time on this subject it became clear that adequate treatment of it would be possible only after acquiring such a knowledge of the peculiar script used at Monte Cassino as would enable me to make sound and independent judgements with regard to the dates of Monte Cassino MSS., that is, MSS. written in the Beneventan or South Italian minuscule. Thus I conceived the idea of making a careful study of the script employed throughout the lower half of the Italian peninsula. Traube made no objection to my working on a subject of my own choice ; but with characteristic generosity put at my disposal his entire library, his very large collection of facsimiles, and even some of his own notes.
    [Show full text]
  • Typeface Classification Serif Or Sans Serif?
    Typography 1: Typeface Classification Typeface Classification Serif or Sans Serif? ABCDEFG ABCDEFG abcdefgo abcdefgo Adobe Jenson DIN Pro Book Typography 1: Typeface Classification Typeface Classification Typeface or font? ABCDEFG Font: Adobe Jenson Regular ABCDEFG Font: Adobe Jenson Italic TYPEFACE FAMILY ABCDEFG Font: Adobe Jenson Bold ABCDEFG Font: Adobe Jenson Bold Italic Typography 1: Typeface Classification Typeface Timeline Blackletter Humanist Old Style Transitional Modern Bauhaus Digital (aka Venetian) sans serif 1450 1460- 1716- 1700- 1780- 1920- 1980-present 1470 1728 1775 1880 1960 Typography 1: Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif The model for the first movable types was Blackletter (also know as Block, Gothic, Fraktur or Old English), a heavy, dark, at times almost illegible — to modern eyes — script that was common during the Middle Ages. from I Love Typography http://ilovetypography.com/2007/11/06/type-terminology-humanist-2/ Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif Types based on blackletter were soon superseded by something a little easier Humanist (also refered to Venetian).. ABCDEFG ABCDEFG > abcdefg abcdefg Adobe Jenson Fette Fraktur Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif The Humanist types (sometimes referred to as Venetian) appeared during the 1460s and 1470s, and were modelled not on the dark gothic scripts like textura, but on the lighter, more open forms of the Italian humanist writers. The Humanist types were at the same time the first roman types. Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif Characteristics 1.
    [Show full text]