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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. -
Sig Process Book
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. -
Package Mathfont V. 1.6 User Guide Conrad Kosowsky December 2019 [email protected]
Package mathfont v. 1.6 User Guide Conrad Kosowsky December 2019 [email protected] For easy, off-the-shelf use, type the following in your docu- ment preamble and compile using X LE ATEX or LuaLATEX: \usepackage[hfont namei]{mathfont} Abstract The mathfont package provides a flexible interface for changing the font of math- mode characters. The package allows the user to specify a default unicode font for each of six basic classes of Latin and Greek characters, and it provides additional support for unicode math and alphanumeric symbols, including punctuation. Crucially, mathfont is compatible with both X LE ATEX and LuaLATEX, and it provides several font-loading commands that allow the user to change fonts locally or for individual characters within math mode. Handling fonts in TEX and LATEX is a notoriously difficult task. Donald Knuth origi- nally designed TEX to support fonts created with Metafont, and while subsequent versions of TEX extended this functionality to postscript fonts, Plain TEX's font-loading capabilities remain limited. Many, if not most, LATEX users are unfamiliar with the fd files that must be used in font declaration, and the minutiae of TEX's \font primitive can be esoteric and confusing. LATEX 2"'s New Font Selection System (nfss) implemented a straightforward syn- tax for loading and managing fonts, but LATEX macros overlaying a TEX core face the same versatility issues as Plain TEX itself. Fonts in math mode present a double challenge: after loading a font either in Plain TEX or through the nfss, defining math symbols can be unin- tuitive for users who are unfamiliar with TEX's \mathcode primitive. -
The Unicode Cookbook for Linguists: Managing Writing Systems Using Orthography Profiles
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2017 The Unicode Cookbook for Linguists: Managing writing systems using orthography profiles Moran, Steven ; Cysouw, Michael DOI: https://doi.org/10.5281/zenodo.290662 Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-135400 Monograph The following work is licensed under a Creative Commons: Attribution 4.0 International (CC BY 4.0) License. Originally published at: Moran, Steven; Cysouw, Michael (2017). The Unicode Cookbook for Linguists: Managing writing systems using orthography profiles. CERN Data Centre: Zenodo. DOI: https://doi.org/10.5281/zenodo.290662 The Unicode Cookbook for Linguists Managing writing systems using orthography profiles Steven Moran & Michael Cysouw Change dedication in localmetadata.tex Preface This text is meant as a practical guide for linguists, and programmers, whowork with data in multilingual computational environments. We introduce the basic concepts needed to understand how writing systems and character encodings function, and how they work together. The intersection of the Unicode Standard and the International Phonetic Al- phabet is often not met without frustration by users. Nevertheless, thetwo standards have provided language researchers with a consistent computational architecture needed to process, publish and analyze data from many different languages. We bring to light common, but not always transparent, pitfalls that researchers face when working with Unicode and IPA. Our research uses quantitative methods to compare languages and uncover and clarify their phylogenetic relations. However, the majority of lexical data available from the world’s languages is in author- or document-specific orthogra- phies. -
Invisible-Punctuation.Pdf
... ' I •e •e •4 I •e •e •4 •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • ••••• • • •• • • • • • I •e •e •4 In/visible Punctuation • • • • •• • • • •• • • • •• • • • • • •• • • • • • •• • • • • • • •• • • • • • •• • • • • • ' •• • • • • • John Lennard •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • •• • • • • • I •e •e •4 I •e •e •4 I •e •e •4 I •e •e •4 I •e •e •4 I ••• • • 4 I.e• • • 4 I ••• • • 4 I ••• • • 4 I ••• • • 4 I ••• • • 4 • • •' .•. • . • .•. •. • ' .. ' • • •' .•. • . • .•. • . • ' . ' . UNIVERSITY OF THE WEST INDIES- LENNARD, 121-138- VISIBLE LANGUAGE 45.1/ 2 I •e •e' • • • • © VISIBLE LANGUAGE, 2011 -RHODE ISLAND SCHOOL OF DESIGN- PROVIDENCE, RHODE ISLAND 02903 .. ' ABSTRACT The article offers two approaches to the question of 'invisible punctuation,' theoretical and critical. The first is a taxonomy of modes of punctuational invisibility, · identifying denial, repression, habituation, error and absence. Each is briefly discussed and some relations with technologies of reading are considered. The second considers the paragraphing, or lack of it, in Sir Philip Sidney's Apology for Poetry: one of the two early printed editions and at least one of the two MSS are mono paragraphic, a feature always silently eliminated by editors as a supposed carelessness. It is argued that this is improbable -
Iso/Iec Jtc1/Sc2/Wg2 N4907 L2/17-359
ISO/IEC JTC1/SC2/WG2 N4907 L2/17-359 2017-10-20 Universal Multiple-Octet Coded Character Set International Organization for Standardization Organisation Internationale de Normalisation Международная организация по стандартизации Doc Type: Working Group Document Title: Proposal to add six Latin Tironian letters to the UCS Source: Michael Everson and Andrew West Status: Individual Contribution Date: 2017-10-20 Replaces: N4841 (L2/17-300) 0. Summary. This proposal requests the encoding of three new casing letters used in medieval European texts. If this proposal is accepted, the following characters will exist: A7F0 LATIN CAPITAL LETTER TIRONIAN ET A7F1 LATIN SMALL LETTER TIRONIAN ET • Old and Middle English, … → 204A tironian sign et ꟲ A7F2 LATIN CAPITAL LETTER TIRONIAN ET WITH HOOK ꟳ A7F3 LATIN SMALL LETTER TIRONIAN ET WITH HOOK • Middle English, Latin, … ꟴ A7F4 LATIN CAPITAL LETTER TIRONIAN ET WITH HOOK AND STROKE Ꟶ A7F5 LATIN SMALL LETTER TIRONIAN ET WITH HOOK AND STROKE • Middle English, Latin, French, … 1. Background. A punctuation character chiefly for Irish use was added in Unicode 3.0 in 1999. Its current entry in the standard reads: ⁊ 204A TIRONIAN SIGN ET • Irish Gaelic, Old English, … → 0026 & ampersand → 1F670 script ligature et ornament A variety of medieval English manuscripts across a number of centuries treat the the Tironian sign as an actual letter of the alphabet, and case it when in sentence-initial position. Modern transcribers of documents containing these letters have distinguished them as casing, sometimes using the digit 7 as a font workaround. The original simple two-stroke shape of the character ⁊ as used in the Insular tradition (for Irish and Old English) was replaced by Carolingian character with a hooked base ꟳ, which had a range of glyph variants including a long extension of the top-bar descending to the left Page 1 and sometimes even encircling the glyph. -
Carolingian Uncial: a Context for the Lothar Psalter
CAROLINGIAN UNCIAL: A CONTEXT FOR THE LOTHAR PSALTER ROSAMOND McKITTERICK IN his famous identification and dating ofthe Morgan Golden Gospels published in the Festschrift for Belle da Costa Greene, E. A. Lowe was quite explicit in his categorizing of Carolingian uncial as the 'invention of a display artist'.^ He went on to define it as an artificial script beginning to be found in manuscripts of the ninth century and even of the late eighth century. These uncials were reserved for special display purposes, for headings, titles, colophons, opening lines and, exceptionally, as in the case ofthe Morgan Gospels Lowe was discussing, for an entire codex. Lowe acknowledged that uncial had been used in these ways before the end of the eighth century, but then it was * natural' not 'artificial' uncial. One of the problems I wish to address is the degree to which Frankish uncial in the late eighth and the ninth centuries is indeed 'artificial' rather than 'natural'. Can it be regarded as a deliberate recreation of a script type, or is it a refinement and elevation in status of an existing book script? Secondly, to what degree is a particular script type used for a particular text type in the early Middle Ages? The third problem, related at least to the first, if not to the second, is whether Frankish uncial, be it natural or artificial, is sufficiently distinctive when used by a particular scriptorium to enable us to locate a manuscript or fragment to one atelier rather than another. This problem needs, of course, to be set within the context of later Carolingian book production, the notions of 'house' style as opposed to 'regional' style and the criteria for locating manuscript production to particular scriptoria in the Frankish kingdoms under the Carolingians that I have discussed elsewhere." It is also of particular importance when considering the Hofschule atehers ofthe mid-ninth century associated with the Emperor Lothar and with King Charles the Bald. -
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. -
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. -
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. -
Download Eskapade
TYPETOGETHER Eskapade Creating new common ground between a nimble oldstyle serif and an experimental Fraktur DESIGNED BY YEAR Alisa Nowak 2012 ESKAPADE & ESKAPADE FRAKTUR ABOUT The Eskapade font family is the result of Alisa Nowak’s unique script practiced in Germany in the vanishingly research into Roman and German blackletter forms, short period between 1915 and 1941. The new mainly Fraktur letters. The idea was to adapt these ornaments are also hybrid Sütterlin forms to fit with broken forms into a contemporary family instead the smooth roman styles. of creating a faithful revival of a historical typeface. Although there are many Fraktur-style typefaces On one hand, the ten normal Eskapade styles are available today, they usually lack italics, and their conceived for continuous text in books and magazines italics are usually slanted uprights rather than proper with good legibility in smaller sizes. On the other italics. This motivated extensive experimentation with hand, the six angled Eskapade Fraktur styles capture the italic Fraktur shapes and resulted in Eskapade the reader’s attention in headlines with its mixture Fraktur’s unusual and interesting solutions. In of round and straight forms as seen in ‘e’, ‘g’, and addition to standard capitals, it offers a second set ‘o’. Eskapade works exceptionally well for branding, of more decorative capitals with double-stroke lines logotypes, and visual identities, for editorials like to intensify creative application and encourage magazines, fanzines, and posters, and for packaging. experimental use. Eskapade roman adopts a humanist structure, but The Thin and Black Fraktur styles are meant for is more condensed than other oldstyle serifs. -
SOPHIA BAUERIN, Child's Calligraphy Sample Book
SOPHIA BAUERIN, Child’s Calligraphy Sample Book: ANONYMOUS, Drei junge Reisende (Three Young Travellers); ANONYMOUS, Der Menschenfreunde (The Philanthropist); arithmetic table In German, decorated manuscript on paper Germany, dated 1792 8 folios on paper (4 bifolios in a single quire), complete, with watermark: 2 crossed keys with 2-line stems, within a wreath that may contain letters or words, unidentified in the Bernstein database, and countermark: a banderole with ICL in simple serif script, similar contemporary countermark reading ‘ICL’ (same size and lettering but with a slightly different frame) is found in Berlin, Singakademie zu Berlin, SA 3343, where it is paired with a watermark labeled ‘Dresden’, first folio serves as a front cover with title and date in red and green blackletter script, surrounded by a painted baroque frame with a floral wreath, ff. 2-6 ruled in pencil, text written on recto only in long line, in two calligraphic scripts (f. 2 in German Kanzleischrift with first line in blackletter, ff. 3-6 in kurrent with first lines in Kanzleischrift) in black ink with large decorative initials in green, blue, and red, variable number of lines (7-12) and justification (90-130 x 180-185 mm.), generous margins contain decorative borders of filigree lozenges and swirls, f. 7 holds only a table of sums in 4 columns (11 lines), booksellers’s marks in pencil on f. 1v (‘8 Kr’) and f. 2 (‘142|69|5’). No binding; the quire is tacketed through the center fold with silk thread of twisted yellow, pink, blue, and green, with the folded edge at the head of the text and opening edge at bottom (i.e.