Calligraphy-Doc
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Basic Styles of Lettering for Monuments and Markers.Indd
BASIC STYLES OF LETTERING FOR MONUMENTS AND MARKERS Monument Builders of North America, Inc. AA GuideGuide ToTo TheThe SelectionSelection ofof LETTERINGLETTERING From primitive times, man has sought to crude or garish or awkward letters, but in communicate with his fellow men through letters of harmonized alphabets which have symbols and graphics which conveyed dignity, balance and legibility. At the same meaning. Slowly he evolved signs and time, they are letters which are designed to hieroglyphics which became the visual engrave or incise cleanly and clearly into expression of his language. monumental stone, and to resist change or obliteration through year after year of Ultimately, this process evolved into the exposure. writing and the alphabets of the various tongues and civilizations. The early scribes The purpose of this book is to illustrate the and artists refi ned these alphabets, and the basic styles or types of alphabets which have development of printing led to the design been proved in memorial art, and which are of alphabets of related character and ready both appropriate and practical in the lettering readability. of monuments and markers. Memorial art--one of the oldest of the arts- Lettering or engraving of family memorials -was among the fi rst to use symbols and or individual markers is done today with “letters” to inscribe lasting records and history superb fi delity through the use of lasers or the into stone. The sculptors and carvers of each sandblast process, which employs a powerful generation infl uenced the form of letters and stream or jet of abrasive “sand” to cut into the numerals and used them to add both meaning granite or marble. -
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. -
19Th Century Writing Activity: Pen &
Lesson Plan: #NoyesArtatHome 19th Century Writing Activity: Pen & Ink Activity based on letters on display in the Noyes Museum’s Estell Empire Exhibition For ages 12 & up Experience with cursive* writing not necessary Assistance from an adult would be helpful. Overview: Round Hand Script: This was the dominant cursive* writing style among 19th century writing “masters,” whose An account book from John Estell’s general store models were engraved on metal. Letters Circa 1836 – 1837 sloped to the right, and thick lines were © Collection of Stockton University produced on the downstrokes using a flexible, straight-edged (not pointed) pen nib (tip). Thin lines were made by using the corner of the nib. Round hand included decorative swirls referred to as “command of hand.” Copperplate: This type of writing was made with a flexible, pointed metal pen. Copperplate script differs from round hand in the gradual swelling of the broad strokes on curved forms and the narrowness of the backstrokes of b, e, and o. Definitions from Britannica.com: https://www.britannica.com/topic/black-letter Project Description: This lesson provides a brief overview of handwriting in the 19th century and a hands-on writing activity. First, paint with a teabag to make “old” looking paper. To write, use a quill** pen with black ink or watered-down paint, or a marker. Try to read and copy the example of 19th century writing. Can you write your own name, or a whole letter to a friend? Supplies: 8.5 x 11” piece of paper A tea bag; preferably a darker tea such as black tea (Lipton, Red Rose) A watercolor brush Your choice of: a quill** pen and black ink, watered-down black paint with a fine-tipped brush, or a black marker (for example: Crayola – “broad line” or Sharpie – “fine point,” the newer, the better) *Cursive writing is a style of writing in which all of the letters in a word are connected. -
Optical Character Recognition - a Combined ANN/HMM Approach
Optical Character Recognition - A Combined ANN/HMM Approach Dissertation submitted to the Department of Computer Science Technical University of Kaiserslautern for the fulfillment of the requirements for the doctoral degree Doctor of Engineering (Dr.-Ing.) by Sheikh Faisal Rashid Dean: Prof. Dr. Klaus Schneider Thesis supervisors: Prof. Dr. Thomas Breuel, TU Kaiserslautern Prof. Dr. Andreas Dengel, TU Kaiserslautern Chair of supervisory committee: Prof. Dr. Karsten Berns, TU Kaiserslautern Kaiserslautern, 11 July, 2014 D 386 Abstract Optical character recognition (OCR) of machine printed text is ubiquitously considered as a solved problem. However, error free OCR of degraded (broken and merged) and noisy text is still challenging for modern OCR systems. OCR of degraded text with high accuracy is very important due to many applications in business, industry and large scale document digitization projects. This thesis presents a new OCR method for degraded text recognition by introducing a combined ANN/HMM OCR approach. The approach provides significantly better performance in comparison with state-of-the-art HMM based OCR methods and existing open source OCR systems. In addition, the thesis introduces novel applications of ANNs and HMMs for document image preprocessing and recognition of low resolution text. Furthermore, the thesis provides psychophysical experiments to determine the effect of letter permutation in visual word recognition of Latin and Cursive script languages. HMMs and ANNs are widely employed pattern recognition paradigms and have been used in numerous pattern classification problems. This work presents a simple and novel method for combining the HMMs and ANNs in application to segmentation free OCR of degraded text. HMMs and ANNs are powerful pattern recognition strategies and their combination is interesting to improve current state-of-the-art research in OCR. -
Cap Height Body X-Height Crossbar Terminal Counter Bowl Stroke Loop
Cap Height Body X-height -height is the distance between the -Cap height refers to the height of a -In typography, the body height baseline of a line of type and tops capital letter above the baseline for refers to the distance between the of the main body of lower case a particular typeface top of the tallest letterform to the letters (i.e. excluding ascenders or bottom of the lowest one. descenders). Crossbar Terminal Counter -In typography, the terminal is a In typography, the enclosed or par- The (usually) horizontal stroke type of curve. Many sources con- tially enclosed circular or curved across the middle of uppercase A sider a terminal to be just the end negative space (white space) of and H. It CONNECTS the ends and (straight or curved) of any stroke some letters such as d, o, and s is not cross over them. that doesn’t include a serif the counter. Bowl Stroke Loop -In typography, it is the curved part -Stroke of a letter are the lines that of a letter that encloses the circular make up the character. Strokes may A curving or doubling of a line so or curved parts (counter) of some be straight, as k,l,v,w,x,z or curved. as to form a closed or partly open letters such as d, b, o, D, and B is Other letter parts such as bars, curve within itself through which the bowl. arms, stems, and bowls are collec- another line can be passed or into tively referred to as the strokes that which a hook may be hooked make up a letterform Ascender Baseline Descnder In typography, the upward vertical Lowercases that extends or stem on some lowercase letters, such In typography, the baseline descends below the baselines as h and b, that extends above the is the imaginary line upon is the descender x-height is the ascender. -
Faux Hands for Calligraphy Imitating Non-European Script
Faux Hands for Calligraphy Imitating Non-European Script THL Helena Sibylla – [email protected] As scribes in the SCA, we’re all familiar with a variety of European scripts from the Middle Ages. We’ve probably all dabbled at least a bit with calligraphic hands like Uncial, Carolingian Minuscule, Early Gothic, or Batarde. While many people in the SCA choose to portray European personas, there are an increasing number of people exploring non-European areas such as Islam and China. Beyond that, there are other scripts that exist around the main core of European writing that fit other personas such as Greek or Norse. If you have a scroll assignment for a person where a medieval European hand just won’t be suitable, there are a couple of options. One is to plug your text into a translation program and then writing in the original language. However, this runs the risk of someone who actually knows the language finding unintentional errors created by the translation software, which doesn’t always understand the quirks and idioms found in non-English languages. Creating a script with the look of a foreign hand that fits the culture of the recipient’s persona has the advantage of allowing the scribe to still write in English while creating a visual effect that is dramatically different from the typical SCA scroll. In addition to the examples provided here, I strongly recommend that you spend some time researching the script of the culture you’re planning to emulate. You will want to consider issues of punctuation and accent marks, as well as decorative letters, and upper and lower cases (if they are used). -
Calligraphy, Typography & Lettering Logotypes
CALLIGRAPHY, TYPOGRAPHY & LETTERING LOGOTYPES TypeJUST MY Thank you so much for downloading this mini logo guide, I hope you find inspiration and enjoyment while looking through these magnificent logos. Jonathan Rudolph Founder of LogoInspirations Email: [email protected] logoinspirations.co | Instagram | Facebook | Pinterest | YouTube | Twitter All logos are © Copyright of their respective owners. All rights reserved. Credits for each individual logo can be found on the bottom of each page. Collection curated by Jonathan Rudolph of http://logoinspirations.co This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. logoinspirations.co Lettering & Calligraphy What’s the Difference? Lettering is the art of drawing letters where each letter acts as its own mini illustration. Rather than simply writing letters in a print or cursive style with a continuous stroke, the thing that sets “lettering” apart is the individual attention paid to each letter and its role within a composition. Calligraphy is the art of writing letters and is related to the idea of penmanship. It traditionally uses specific tools like a nib and ink, and it is marked by a variation in width for the upstrokes and downstrokes of each letter (which is what separates it a bit from cursive writing.) Calligraphy is more likely than lettering to be used in longer written pieces. Via handletteringforbeginners.com 4 | Just My Type Online Logo Masterclass logoinspirations.co Contents 6. Caffio Espresso Bar by Monomyth Studio 8. Foiegwa French Diner by Coppers and Brasses 10. The Supreme Roastering Co. by Marka Network 12. Ik Mexbox by Menta Picante 14. -
Vaikuntha Children.) Methods from Each of These Large Categories Can Be Combined to Create Many Specific Ways to Teach
Please Read This First This book is for teachers, parents, ISKCON leaders, students, and anyone interested in conscious education. Here we are neither presenting a blueprint for a traditional gurukula nor what you probably feel a curriculum should be after reading Çréla Prabhupäda’s instructions. It is an adaptation for our present needs in Western countries. Certainly, what we suggest is not the only way but if you’re starting and don’t know what to do, we hope to be of help. For veteran educators, there are many ideas and resources which can enhance your service. Because we are now using mostly non- devotee teaching materials, the amount of Kåñëa consciousness being taught depends upon the individual teachers. Kåñëa consciousness is not intrinsic in these curriculum guidelines but we have tried to select the most efficient and least harmful methods and materials which should make the injection of spiritual principles easiest. By following the guidelines suggested here, you can be reasonably assured that you will meet all legal requirements, have a complete curriculum, and that the students will get a good education. Although this book follows a logical order from beginning to end, you can skip through and pick what is of most value to you. Additionally, a lot of important material can be found in the appendixes. New educational material is constantly being produced. Suppliers come and go. Therefore, some of this information is dated. Please update your copy of this guidebook regularly. We have included some quotes from Çréla Prabhupäda, called “drops of nectar,” at the beginning of most chapters. -
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. -
INTRODUCTORY CONCEPTS Desktop Publishing Terms Overview
INTRODUCTORY CONCEPTS Desktop Publishing Terms Overview GOAL: Produce a reference guide demonstrating desktop publishing (DTP) terms. Crosswalk Measurable Learner to Show-Me Instructional Activities Assessment Objectives Standards Define terms related to desktop CA1, 2.1 Accurately define at least 15 Use the Desktop Publishing Terms publishing. A1 alphabetized desktop publishing terms to assessment to evaluate the definitions Import text files and word CA1, 2.1 be used as a reference guide. Students provided of each term. Also evaluate processing documents into will select terms from a listing generated the ability to demonstrate the specified publications. C2 by the instructor or other provided terms; the use of appropriate desktop Set margins. B1 CA1, 2.1 source(s). The terms will be displayed publishing layout and design with text, Create columns. B2 CA1, 2.1 in an appropriate easy-to-read format graphics, columns, and gutters Set guttering. B3 CA1, 2.1 according to DTP concepts. Each effectively manipulated; the use of Create an effective focal point. CA1, 2.1 definition is to demonstrate the term appropriately selected graphics to B6 used, e.g., drop cap will begin with a represent definitions; proper font Utilize pasteboard. B7 CA1, 2.1 drop cap. Effective DTP layout and selection and sizing; and the use of the Import graphics from various CA3, 2.7 design are to be used in margins, focal number of terms and graphics specified. sources (e.g., software-specific point, columns and gutters, etc. A The ability to provide an error-free library, other applications, minimum of 5 related graphics are to be document will also be assessed. -
Scribe Attribution for Early Medieval Handwriting by Means of Letter Extraction and Classification and a Voting Procedure for La
2014 22nd International Conference on Pattern Recognition Scribe attribution for early medieval handwriting by means of letter extraction and classification and a voting procedure for larger pieces Mats Dahllof¨ Dept of Linguistics and Philology and Dept of Information Technology, Division of Visual Information and Interaction, Uppsala University, Sweden E-mail: mats.dahllof@lingfil.uu.se Abstract—The present study investigates a method for the a discipline tend to be difficult to communicate, to reproduce, attribution of scribal hands, inspired by traditional palaeography and to validate (see Stokes [10]). By contrast, a computer- in being based on comparison of letter shapes. The system aided palaeography, making use of techniques inspired by was developed for and evaluated on early medieval Caroline those developed in forensic analysis of modern handwriting, minuscule manuscripts. The generation of a prediction for a page will be better equipped to characterize historical writing in image involves writing identification, letter segmentation, and precise and quantitative terms, and to work with models which letter classification. The system then uses the letter proposals to predict the scribal hand behind a page. Letters and sequences of can be objectively validated. connected letters are identified by means of connected component This paper describes a method for attributing pieces of labeling and split into letter-size pieces. The hand (and character) handwriting to scribes by extracting plausible letter candidates prediction makes use of a dataset containing instances of the from manuscript pages. The proposal is inspired by traditional letters b, d, p, and q, cut out from manuscript pages whose scribal origin is known. -
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.