Calligraphy-Doc

Total Page:16

File Type:pdf, Size:1020Kb

Calligraphy-Doc ±he ºalligraphy-Çaper las (Í0.10) Ä. É. van »onge ¸pri 17, 2017 Abstract Drawing guidelines for calligraphy scripts is tedious and may take long. When practis- ing their scripts, some calligraphers may prefer using computer-generated and printed guideline sheets. This document provides a quick introduction to the LATEX calligraphy-paper class, which provides a simpe api for defining for user-defined guideline sheet styles and for using predefined guideline sheet styles. Contents 1 Introduction 1 2 Main Work Flow 2 3 Defining the Page Layout 3 4 Defining the Guideline Sheets 5 4.1 Low-Level Options . 5 4.2 Defining the Number of Copies . 6 4.3 High-Level High-Level Script Definitions . 6 4.4 Mitchell Nib Definitions . 9 4.5 Brause Pen Definitions . 9 4.6 Speedball Pen Definitions . 10 4.7 Automatic Pen Definitions . 10 4.8 Pilot Pen Definitions . 11 4.9 Pencil-Simulated Pen Definitions . 11 4.10 Defaults . 11 5 Examples 12 6 Class Maintenance and Bug Support 13 Indexes 14 Style and Key Index . 15 Script Index . 17 Bibliography 18 ii List of Tables 3.1 Class page layout options. 4 3.2 Remaining class layout options . 4 iii Chapter 1 Introduction This document describes the LATEX calligraphy-paper class, the sole purpose of which is to draw guidelines for calligraphy scripts for broad nibs in an easy way. The class is built on top of pgfkeys [Tantau 2010] and pgfopts [Wright 2010] so users can define their own style shorthands for their own page layouts, nib configurations, and scripts. Readers should consult the pgfkeys documentation [Tantau 2010] for more information about user – defined keys. The calligraphy-paper class draws its guidelines using the tikz package [Tantau 2010]. Using a tikz “overlay” and “remember picture” this would have been relatively easy1 but then generating the guidelines may require up to three compilations, which is a waste of time. The calligraphy-paper class only requires one LATEX compilation. The remainder of this document provides a short description on how to use the class. 1In fact, the first version of this class was implement using “overlay” and “remember picture.” 1 Chapter 2 Main Work Flow The calligraphy-paper class assumes users want to draw one or several guideline sheets for the same paper layout. To do this, users should first define the page geometry (layout) using the class options of the calligraphy-paper and then define their guideline sheets with the \CalligraphyPaper command. The class options are defined in Section 3. Section 4 explains the \CalligraphyPaper command. 2 Chapter 3 Defining the Page Layout Users define the basic paper layout using the class options that are defined in Tables 3.1 and 3.2. The options in Table 3.1 are passed to the geometry package [Umeki 2010]. If you combine options from these tables, please make sure you first use the options from Table 3.1; only then should you use the options from Table 3.2. The default class options are “two sided, 12pt, a3, margin=1.0cm,” and “landscape.” Once the page layout is defined, the user can print one or several guideline sheets with the \CalligraphyPaper command, which is described in the following section. 3 a0 a1 a2 a3 a4 a5 a6 b0 b1 b2 b3 b4 b5 b6 c0 c1 c2 c3 c4 c5 c6 b0j b1j b2j b3j b4j b5j b6j ansia ansib ansic ansid ansie letter executive legal Table 3.1: Class page layout options. Option Description top=hwidthi Set top margin size to hwidthi bottom=hwidthi Set bottom margin size to hwidthi left=hwidthi Set left margin size to hwidthi right=hwidthi Set right margin size to hwidthi horizontal=hwidthi Set left and right margin size to hwidthi vertical=hwidthi Set top and bottom margin to hwidthi portrait Use paper in portrait mode landscape Use paper in landscape mode two sided Use paper in two sided mode one sided Use paper in single sided mode 12pt Set point size to 12 pt 11pt Set point size to 11 pt 10pt Set point size to 10 pt 9pt Set point size to 9 pt Table 3.2: Remaining class layout options. The point size options only affect the comment lines that are drawn at the top of the guideline sheets. These comment lines are explained in Section 4.1. 4 Chapter 4 Defining the Guideline Sheets Creating guideline sheets is done with the \CalligraphyPaper command, which has a user-friendly api that is defined in terms of predefined script styles. Users can define their own styles using a pgfkeys style [Tantau 2010]. To create a single guideline sheet with the default guideline parameters, the user may invoke the comment \CalligraphyPaper{}, which will result in guidelines for the Founda- tional script. The \CalligraphyPaper class has no options and requires one parameter, which is a collection of key – value options. The remainder of this section defines the options. It starts with low-level options, continues with high-level script definitions, and concludes with a number of sections providing high-level definition for nibs from nib/pen manufacturers. The reader may need a little knowledge about the pgfkeys package [Tantau 2010] to understand this. 4.1 Low-Level Options This section defines the low-level options of the calligraphy-paper class. date=hdatei Set the date to hdatei. The date will now be printed if comments are printed, which is useful for users who want to keep track of their progress. use current date Set the date to the current date. The date will now be printed if comments are printed. date Set the date to an empty box. This is useful if you want to print guide sheets in advance. You can fill in the date by hand when you actually use the sheets. comments=hbooli Turns comment printing on (default) or off. Turning comments on, results in a one-line comment at the top of the page. To turn comments off, the user may write comments=false. To turn comments on, the user may write com- ments=true. 5 pen angle aid=hbooli Turns pen angle guideline printing on (default) or off. For example, to turn pen angle guideline printing off, the user may write pen angle aid=false. nib style=hnamei Set the style of the nib to hnamei. For example, to set the style of a fancy nib, the user may write nib style=fancy. nib width=hwidthi This is short hand for nib width in millimetres=hwidthi. nib width in millimetres=hwidthi Set the width of the nib to hwidthi mm. For example, to set the width of a nib to 3 mm, the user may write nib width in millimetres=3. Nib withs are parsed using the \pgfmathparse macro, so they may be any regular \pgfmath-parsable expression, e.g. “2 + 1/2,” or “2 + cos(30)/2,” or “2 + cos(pi/6r)/2.” nib width in inches=hwidthi Set the width of the nib to hwidthi inch. For example, to set the width of a nib to 3 inch, the user may write nib width in inches=3. Nib withs are parsed using the \pgfmathparse macro, so they may be any regular \pgfmath-parsable expression, e.g. “2 + 1/2,” or “2 + cos(30)/2,” or “2 + cos(pi/6r)/2.” waist line=hnwi Set the height of the waist line to hnwi nib widths. cap line=hnwi Set the height of the cap line to hnwi nib widths. ascender line=hnwi Set the height of the ascender line to hnwi nib widths. descender line=hnwi Set the height of the descender line to hnwi nib widths. baseline separation=hnwi Set the distance of two successive base lines to hnwi nib widths. angle=hanglei This sets the pen angle to hanglei degrees. slant=hanglei This sets the letter slant to hanglei degrees. script=hnamei This sets the name of the script to hnamei. 4.2 Defining the Number of Copies copies=hcounti This defines the number of times the sheet will be printed. The value of hcounti should be a non-negative integer. The default value of hcounti is 1. 4.3 High-Level High-Level Script Definitions This section lists the predefined script styles. All scripts are defined using the following style, which takes three arguments. Usually, the arguments are put inside a pair of braces (curly brackets). define script=hnameihangleihcodei This defines a style with name hnamei. The result- ing style, hnamei, takes one argument for the pen angle, which is hanglei degrees 6 by default. When the user uses the style, the calligraphy-paper class first does some intialisation and then uses the style hcodei, which should define the script’s characteristics. It is the responsibility of the user to make sure hcodei contains the keys baseline separation=hnwi, slant=hanglei, and script=hnamei. If a script has minuscules, hcodei should also define the height of the minuscules with the key waist line=hnwi. If a script is a majuscule-only script, hcodei should also define the height of the majuscules with the key waist line=hnwi.1 If a script has ascenders, hcodei should also define the key ascender line=hnwi. If a script has descenders, hcodei should also define the key descender line=hnwi. If a script has upper and lowercase letters, hcodei should also define the key cap line=hnwi. The following example shows the code for the style italic, for a script called Italic, which comes with a default pen angle of 45. \ pgfkeys {/ calligraphy – paper /. cd , define script ={ italic } { 4 5 }% { waist line = 5 , cap line =7% , ascender line =9 , descender line =4% , baseline separation =14% , slant = 5 , script = Italic }} The following example shows how to define a style called trajan for a ten nib (brush) high majuscule script called Trajan.
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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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).
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]