An Overview of Smart Quill
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Boxes, Inkwells, Speech and Formulas DRAFT
Boxes, Inkwells, Speech and Formulas DRAFT Richard J. Fateman March 10, 2006 1 Introduction This paper sets out some designs for entering mathematical formulas into a computer system. An initial approach to this task suggests that the previous model, namely writing mathematics on paper or chalkboard, should lead to a natural computer system using a stylus for writing on a tablet. For feedback and for presentation such as in this paper, we use the typesetting capabilities of Knuth’s TEX system to show how “properly typeset” expressions might appear. We use TEX here to show our design for an interactive input scheme, under implementation. For this to work, an interactive system must make expressions appear approximately in the same sequences as illustrated, on a computer display. The solid color boxes that appear in the incomplete forms are intended as invitations for the user to continue writing out a formula, continuing from within one of those boxes. Think of them as “virtual inkwells.” For example, an attempt to write a superscript must begin by dipping the stylus (or mouse) in the superscript inkwell. An attempt to write an operand adjacent to an existing must begin in that inkwell. Initiating writing elsewhere on the screen will have no proper ink and will not contribute to the formula entry. We also point out that speaking the terms, rather than writing them, may provide more accurate communication. At this point we suggest you look ahead a page or two to see some pictures of inkwells. 1.1 Why Inkwells? This ink-well-based constrained input provides an obvious basis for cooperation between the human entering a formula and the supporting computer program. -
A Study of Kufic Script in Islamic Calligraphy and Its Relevance To
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1999 A study of Kufic script in Islamic calligraphy and its relevance to Turkish graphic art using Latin fonts in the late twentieth century Enis Timuçin Tan University of Wollongong Recommended Citation Tan, Enis Timuçin, A study of Kufic crs ipt in Islamic calligraphy and its relevance to Turkish graphic art using Latin fonts in the late twentieth century, Doctor of Philosophy thesis, Faculty of Creative Arts, University of Wollongong, 1999. http://ro.uow.edu.au/ theses/1749 Research Online is the open access institutional repository for the University of Wollongong. For further information contact Manager Repository Services: [email protected]. A Study ofKufic script in Islamic calligraphy and its relevance to Turkish graphic art using Latin fonts in the late twentieth century. DOCTORATE OF PHILOSOPHY from UNIVERSITY OF WOLLONGONG by ENiS TIMUgiN TAN, GRAD DIP, MCA FACULTY OF CREATIVE ARTS 1999 CERTIFICATION I certify that this work has not been submitted for a degree to any university or institution and, to the best of my knowledge and belief, contains no material previously published or written by any other person, expect where due reference has been made in the text. Enis Timucin Tan December 1999 ACKNOWLEDGEMENTS I acknowledge with appreciation Dr. Diana Wood Conroy, who acted not only as my supervisor, but was also a good friend to me. I acknowledge all staff of the Faculty of Creative Arts, specially Olena Cullen, Liz Jeneid and Associate Professor Stephen Ingham for the variety of help they have given to me. -
Detecting Forgery: Forensic Investigation of Documents
University of Kentucky UKnowledge Legal Studies Social and Behavioral Studies 1996 Detecting Forgery: Forensic Investigation of Documents Joe Nickell University of Kentucky Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Nickell, Joe, "Detecting Forgery: Forensic Investigation of Documents" (1996). Legal Studies. 1. https://uknowledge.uky.edu/upk_legal_studies/1 Detecting Forgery Forensic Investigation of DOCUlllen ts .~. JOE NICKELL THE UNIVERSITY PRESS OF KENTUCKY Publication of this volume was made possible in part by a grant from the National Endowment for the Humanities. Copyright © 1996 byThe Universiry Press of Kentucky Paperback edition 2005 The Universiry Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine Universiry, Berea College, Centre College of Kentucky, Eastern Kentucky Universiry, The Filson Historical Sociery, Georgetown College, Kentucky Historical Sociery, Kentucky State University, Morehead State Universiry, Transylvania Universiry, University of Kentucky, Universiry of Louisville, and Western Kentucky Universiry. All rights reserved. Editorial and Sales qtJices:The Universiry Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com The Library of Congress has cataloged the hardcover edition as follows: Nickell,Joe. Detecting forgery : forensic investigation of documents I Joe Nickell. p. cm. ISBN 0-8131-1953-7 (alk. paper) 1. Writing-Identification. 2. Signatures (Writing). 3. -
Quill Pen and Nut Ink
Children of Early Appalachia Quill Pen and Nut Ink Grades 3 and up Early writing tools were made from materials people could find or easily make themselves. Children used a slate with chalk and stone to write lessons at schools. They also practiced drawing and writing with a stick in dirt. Penny pencils for slates were available at general stores. Paper was purchased at stores too. Before the invention of pencils and pens, children used carved twigs or goose-quill pens made by the teacher. Ink was made at home from various ingredients (berries, nuts, roots, and soot) and brought to school. Good penmanship was highly valued but difficult to attain. Objective: Students will make pen and ink from natural materials and try writing with these old- fashioned tools. Materials: Pen: feathers, sharp scissors or a pen knife (Peacock or pheasant feathers make wonderful pens, but any large feather from a goose or turkey works well too.) Ink: 10 walnut shells, water, vinegar, salt, hammer, old cloth, saucepan, small jar with lid, strainer. (After using the homemade ink, students make like to continue practicing writing with the quill, so you may want to provide a bottle of manufactured ink for further quill writings.) Plan: Pen: Cut off the end of the feather at a slant. Then cut a narrow slit at the point of the pen. Ink: 1. Crush the shells in cloth with a hammer. 2. Put shells in saucepan with 1 cup of water. Bring to a boil, and then simmer for 45 minutes or until dark brown. -
Artists' Books Bookbinding Papercraft Calligraphy
Volume 6, Numb er 3 $8.50 ARTISTS’ BOOKSBOOKBINDINGPAPERCRAFTCALLIGRAPHY Volume 6, Number 3 2 Mary’s Star Book. Mary Conley FRONT COVER 4 We Love Your Books: ABC Exhibition 2007. Emma Powell with Melanie Bush Clockwise, from top left: Miniature Metal Book. Gennady Safronov. 8 Works on Paper. John Cutrone and Seth Thompson His miniature metal books are solely 10 Ruling Pen Basics. Matthew Coffin handcrafted; a skill that requires incredible patitence and attention to detail. 12 On Your Own Terms. Photo by Evgeny Abramenko. 14 Mobile Books. Florence Miller “Small Books, Large Talent: Miniature Metal Books,”page 30. 16 Hidden Bookbinding Cloths. Catherine Burkhard 17 Calligraphy and Handmade Paper: Equally Beautiful When Sea Laps Land. Ann Alaia Woods. Charcoal/graphite pencil on handmade 20 American Fine Bindings: Book of Origins paper. Suminagashi on Asian brush 24 Eugenie Torgerson: Thinking Outside the Box. Eugenie Torgerson calligraphy paper embedded in handmade abaca paper. 2007. 8" x 10". 26 Exchange of Ideas. Julie Gray “Calligraphy and Handmade Paper: 30 Small Books, Large Talent: Miniature Metal Books. Yana Safronova Equally Beautiful,”page 17. 32 Quilted Books? John Cutrone Tool Room Box and Journal. 33 Pocket Full of Surprises. Pat Pleacher Eugenie Torgerson. Lidded box holds artist’s journal. Binder’s board, cloth, paper, glass, 34 WWC Painted Books. Annie Cicale hardware, original digital illustrations. 38 First Class Mail. Debra Glanz 13" x 10" x 4". Photo by Bukva Imaging Group. 39 Teeny Tiny Cards. Jane LaFerla. BOOK REVIEW by Rona Chumbook “Eugenue Torgerson: 40 The Monument to Ephemeral Facts. Douglas Holleley Thinking Outside the Box,”page 24. -
The Inky Story of the Dinky Oak Gall
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln USGS Staff -- ubP lished Research US Geological Survey 2014 The nkyI Story of the Dinky Oak Gall Ken Sulak research biologist with the U.S. Geological Survey (Biological Resources), [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/usgsstaffpub Part of the Geology Commons, Oceanography and Atmospheric Sciences and Meteorology Commons, Other Earth Sciences Commons, and the Other Environmental Sciences Commons Sulak, Ken, "The nkI y Story of the Dinky Oak Gall" (2014). USGS Staff -- Published Research. 1066. http://digitalcommons.unl.edu/usgsstaffpub/1066 This Article is brought to you for free and open access by the US Geological Survey at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in USGS Staff -- ubP lished Research by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Volume 31: Number 1 > 2014 The Quarterly Journal of the Florida Native Plant Society Palmetto The Inky Story of the Dinky Oak Gall ● A Native Celebration ● The Rebirth of Cape Florida Pea galls on live oak leaves (Quercus virginiana) induced by Belonocnema treatae, a gall wasp. The Inky Story of the Dinky Oak Gall Article and photos by Ken Sulak Spring in North Florida – and all those magnificent live oaks are sporting a bright new flush of green leaves. Last year’s old clothes, those worn out leaves now lie dry and brown on the forest floor. But look closely and you will soon notice that many of those leaves are decorated with rows or clusters of little round woody galls on their underside, like little brown pearls. -
Monoline Quill
MONOLINE Monoline pen is a high quality gel pen. It is the more affordable of the two options; however, we do not recommend it on shimmer paper or dark envelopes as it does not show true to color. It can also appear streaky on those paper finishes. Monoline ink cannot be mixed to match specific colors. I have attached a photo to show you what monoline pen would look like. As you can see from the photo, there is no variation in line weight. QUILL Quill is the traditional calligrapher's pen. It uses a metal nib that is dipped in an ink bottle before each stroke. It is the more luxurious of the options. On certain paper, you can feel the texture of the ink once it dries. Quill ink can also be mixed to match certain colors. As you can see from the photo, there is variation in line weight. Disclaimer: The majority of our pieces are individually handmade and handwritten (unless it is a printed mass production) therefore, the artwork in each piece will look different from each other. ORIGINAL Original has the standard amount of flourishes. CLEAN Clean has the least amount of flourishes. Disclaimer: The majority of our pieces are individually handmade and handwritten (unless it is a printed mass production) therefore, the artwork in each piece will look different from each other. FLOURISHED Extra flourishes are added. Fonts that can be flourished: **Royale, Eloise, Francisca, Luisa, and Theresa Classic UPRIGHT & ITALICIZED All fonts can be written upright or italicized. Disclaimer: The majority of our pieces are individually handmade and handwritten (unless it is a printed mass production) therefore, the artwork in each piece will look different from each other. -
Teacher Requisition Form
81075 Detach and photocopy—then give everyone their own form! Teacher Requisition Form Stop looking up individual items–our best-selling school supplies are all right here! Just fill in the quantity you want and total price! Here’s how to use this Teacher Requisition Form: 1. Distribute copies of this form to everyone making an order 2. For each item, fill in the quantity needed and the extended price 3. Attach completed Teacher Requisition Forms to your purchase order and account information, and return to Quill Important note: First column pricing 4. Attention School Office: We can hold your order for up to is shown on this form. 120 days and automatically release it and bill you on the day Depending on the total you specify. Just write Future Delivery on your purchase quantity ordered, your order, the week you want your order to ship, your receiving price may be even lower! hours and any special shipping instructions. Attach the Requisition Forms to your purchase order and account information Teacher Name:________________ School:__________________________ Account #: _________________ Email Address: Qty. Item Unit Total Qty. Item Unit Total Ord. Unit Number Description Price Price Ord. Unit Number Description Price Price ® PENCILS DZ 60139 uni-ball Vision, Fine, Red 18.99 DZ 60382 uni-ball® Vision, Fine, Purple 18.99 DZ T8122 Quill® Finest Quality Pencils, #2 1.89 DZ 60386 uni-ball® Vision, Fine, Green 18.99 DZ T812212 Quill® Finest Quality Pencils, #2.5 1.89 DZ 60387 uni-ball® Vision, Fine, Asst’d. Colors 18.99 DZ T8123 Quill® Finest Quality Pencils, #3 1.89 DZ 732158 Quill® Visible Ink Rollerball, Blue 9.99 DZ T7112 Quill® Standard-Grade Pencils, #2 1.09 DZ 732127 Quill® Visible Ink Rollerball, Black 9.99 DZ 13882 Ticonderoga® Pencils, #2 2.09 DZ 732185 Quill® Visible Ink Rollerball, Red 9.99 DZ 13885 Ticonderoga® Pencils, #2.5 2.09 DZ 84101 Flair Pens, Blue 13.99 DZ 13913 Ticonderoga® Pencils, #2, Black Fin. -
The German Patent Classification, Class 70 Page 1 2011-09-23
The German Patent Classification, Class 70 Page 1 2011-09-23 70 Writing and drawing implements 70a Writing and drawing pencils, pencil holders, combined pencils and penholders, devices ensuring the proper writing position of the fingers 70b Pens, fountain pens, penholders, stylographic pens, stylographic penholders, pen extractors, pen cleaners 70c Inkwells, ink bottles, inkstands 70d Office equipment not covered by special classes; polygraphic devices, writing devices for the blind 70e Drawing implements, slates for children, writing surfaces for wall blackboards, dispensers and cutters for paper sheets and rolled drawing or wrapping paper 70a Writing and drawing pencils, pencil holders, combined pencils and penholders, devices ensuring the proper writing position of the fingers 70a-1/01 Machines and devices for the production of pencils with fixed leads 70a-1/02 Pencils and coloured pencils with fixed leads, styluses (slate pencils 80d-3), mechanical production of leads (materials for lead and colour pencils or styluses, chemical part 22g-2/01) 70a-1/03 Pencils with paper wrapping 70a-1/04 Duplicating pencils, metal pencils, ballpoint pens (with ink 70b-5) Refill pencils with positive lead shift 70a-2/01 Screw pencils with feed screw 70a-2/02 with wire feed screw 70a-2/10 with lead being pushed forward 70a-2/11 with longitudinal slot and clamp ring 70a-2/12 with rack feed 70a-2/13 in which the lead is fed by pressing the pencil point 70a-2/20 Artists' pencils 70a-2/30 with lead ejectors 70a-2/40 with disengagement devices and safeguards -
Making a Quill Pen This Activity May Need a Little Bit of Support However the End Project Will Be Great for Future Historic Events and Other Crafting Activities
Making A Quill Pen This activity may need a little bit of support however the end project will be great for future historic events and other crafting activities. Ask your maintenance person to get involved by providing the pliers and supporting with the production of the Quill Pen. What to do 1. Use needle-nose pliers to cut about 1" off of the pointed end of the turkey feather. 2. Use the pliers to pluck feathers from the quill as shown in the first photo on the next page. Leave about 6" of feathers at the top of the quill. 3. Sand the exposed quill with an emery board to remove flaky fibres and unwanted texture. Smoothing the quill will make it more pleasant to hold while writing. 4. If the clipped end of the quill is jagged and/or split, carefully even it out using nail scissors as shown in the middle photo. 5. Use standard scissors to make a slanted 1/2" cut on the tip of the quill as shown in the last photo below. You Will Need 10" –12" faux turkey feather Water -based ink 6. Use tweezers to clean out any debris left in the hollow of the quill. Needle -nose pliers 7. Cut a 1/2" vertical slit on the long side of the quill tip. When the Emery board pen is pressed down, the “prongs” should spread apart slightly as Nail scissors shown in the centre photo below. Tweezers Scissors Keeping it Easy Attach a ball point pen to the feather using electrical tape. -
Pen and Ink 3 Required Materials
Course: Pen and Ink 3 Required materials: 1. Basic drawing materials for preparatory drawing: • A few pencils (2H, H, B), eraser, pencil sharpener 2. Ink: • Winsor & Newton black Indian ink (with a spider man graphic on the package) This ink is shiny, truly black, and waterproof. Do not buy ‘calligraphy ink’. 3. Pen nibs & Pen holders : Pen nibs are extremely confusing to order online, and packages at stores have other nibs which are not used in class. Therefore, instructor will bring two of each nib and 1nib holders for each number, so students can buy them in the first class. Registrants need to inform the instructor if they wish to buy it in the class. • Hunt (Speedball) #512 Standard point dip pen and pen holder • Hunt (Speedball) # 102 Crow quill dip pen • Hunt (Speedball) # 107 Stiff Hawk Crow quill nib 4. Paper: • Strathmore Bristol Board, Plate, 140Lb (2-ply), (Make sure it is Plate surface- No vellum surface!) Pad seen this website is convenient: http://www.dickblick.com/products/strathmore-500-series-bristol-pads/ One or two sheets will be needed for each class. • Bienfang 360 Graphic Marker for preparatory drawing and tracing. Similar size with Bristol Board recommended http://www.dickblick.com/products/bienfang-graphics-360-marker-paper/ 5. Others: • Drawing board: Any board that can firmly hold drawing paper (A tip: two identical light weight foam boards serve perfectly as a drawing board, and keep paper safely in between while traveling.) * Specimen holder (frog pin holder, a small jar, etc.), a small water jar for washing pen nib) • Divider, ruler, a role of paper towel For questions, email Heeyoung at [email protected] or call 847-903-7348. -
Inkwell Stand
Inkwell Stand By Inga Milbauer This antique Victorian inkwell stand with two covered inkwells belonged to Reverend George S. Dodge who was the pastor of the Congregational Church in Boylston from 1902 to 1917. The decorative inkwell stand is made of cast iron, as are the covers of the two glass inkwells. The back of the stand has a Western horseshoe design decorated with a horse head and a spot to rest your writing instrument. It measures about 6x3x5 inches. It was made by the Peck Stow & Wilcox Company. The Peck Stow & Wilcox Company dates back to 1797. Seth Peck of Southington, Connecticut started to manufacture tools and machines to replace the hand tools used by tinsmiths. Several firms succeeded the business and by 1870 the S. Stow Mfg. Co. of Plantsville, Connecticut and the Roys & Wilcox Co. of East Berlin, Connecticut were competitors. In December 1870 these two firms and the Peck, Smith Co. united and established a joint stock company named the Peck, Stow & Wilcox Company. In 1881 the Wilcox, Treadway & Co. of Cleveland, Ohio was acquired by the company. Tinsmiths’ tools and machines were the main products, but other items such as tools for carpenters, machinists and blacksmiths, and a variety of housekeeping products were also made. The company was bought out by Billings & Spencer in 1950. Inkwells made out of stone with round hollows date back to Ancient Egypt. Different materials such as glass, porcelain, animal horns, pewter, silver and other metals would later be used. From the seventeenth century onwards, inkwells became more elaborate and decorative as more people around the world began to use them.