Digital Character Design of Diacritical Dcroat Mark

1986

Contlnua on ravaraa alda II nacaaaary and Identity by block numbar) We present in this study an examination of the characteristics of computer symbol manipulation systems, including the conventions governing conversion of input symbols to internal code and back to output symbols. Methods to achieve flexibility in the manipulation of large, non-standard, and non-Roman-character symbol sets are discussed, primarily by examination of word processing systems designed to operate on non-Roman fonts. The intent of this discussion is to highlight the desirability of moving toward a computer design approach that incorporates generalized symbol management capabilities. Leading-edge computer , DD ,: FORM AN 73 1473 EDITION OF 1 NOV «S IS OBSOLETE S N 0102-LF-014-660) UNCLASSIFIED SECURITY CLASSIFICATION OF THIS FAOE fWnan Data Kniatad) S N 0102-LF-0)4-660) UNCLASSIFIED • ICUNITY CLASSIFICATION 0» THIS PAttlfMMM Oala taftmd)

The purpose of the study was to analyse findings in the field of the pattern recognition, visual word recognition and legibility ofgraphemes. The paper focuses on the most significant findings for comprehending the function of the graphemic characteristic during word and letter recognition. The aim of the study, as it is presented in the discussion part, was to analyse the factors which have induced inconsistencies between the findings acquired by confusion matrix, as well as to compare findings which continually lead type scholars to progression.

Course: ART623, 2012

Throughout history, the design of letterforms has followed a path toward ever-greater speed and reproducibility as well as beauty and legibility. Every element in the design of a letterform has a story to tell. The angle of a letter’s axis reflects the desire of the designer to evoke or reject handwriting. The design of a descender can be traced to a religious quest for knowledge and power. The modulated stroke of a letter, created through the shape of a pen point, speaks of conquest, democracy, and human rationale. Although the letter cannot exist without its companion – the page (or screen or wall or any other multitudes of surfaces imaginable upon which it has been scratched, carved, painted, drawn, stamped, printed or projected), this investigation explores Latin letterform design alone: those aspects of design one perceives as they examine every nuance of an individual letterform, with an understanding of how these aspects came to be.

Abstract This paper presents the current status of Decapod's English font reconstruction. The Potrace algorithm and its parameters that affect glyph shape are examined. The visual fidelity of Decapod's font reconstruction is shown and compared to Adobe ClearScanTM. The font reconstruction details of the two methods are presented. The experiment demonstrates the capabilities of the two methods in reconstructing the font for a synthetic book typeset each time with one of six English fonts, three serif and three sans-serif.

Design field, being interdisciplinary in nature, has some roots in 'art practices'. Study of the medieval Indian art and crafts through the design perspective may open lot more opportunities to relocate the design practice in Indian context. This work can be described as cross-pollination between Indian image making tradition and Typeface design, where the first is providing a structural tool for the experimentation in the other. This paper is divided in two parts. The first part presents a need for new approach in Devanagari type face design. Second part is the experimentation in font design based on Image making process in Indian tradition. The experiment generated a new font in which a spine for each letterform is designed based on a combination of regular horizontal grid and newly introduced angular grid.

Lecture Notes in Computer Science, 1998

The Ω project aims to offer open and flexible means for typesetting different scripts. By working at several different levels, it is possible to offer natural support for different languages and scripts, and strictly respect typographical traditions for each of them. This is illustrated with a large PostScript Type 1 font for the commonly used left-to-right non-cursive alphabets, called omlgc (Ω Latin-Greek-Cyrillic). This font, which more than covers the Unicode sections pertaining to those alphabets, as well as those of IPA, Armenian, Georgian and Tifinagh (Berber), is built-virtually-out of smaller glyph banks. The Ω typesetting engine, based on that of T E X, is used to print documents using this font. The characters can be accessed either directly, or through the use of filters, called Ω Typesetting Processes (ΩTPs), which are applied to the input stream.

Auricle Global Society of Education and Research, 2024

This study explores the absence of italics in Hangeul (Korean) fonts, a feature present in the Latin alphabet but lacking in Korean fonts. While italics provide emphasis in Latin text, Hangeul achieves similar effects using various font types, thicknesses, underlining, and emphasis points. However, these font variations and punctuation marks may disrupt reading flow. Existing methods, such as slanting options in editing software ("fake italic" when using Hangeul), may compromise visual aesthetics. To remedy this, like italics, Korean fonts need slanting and cursive elements. The study proposes a 6-step design method for slanted cursive Hangeul fonts, covering (1) skeleton extraction, (2) combining skeletons, (3) stroke weight, (4) slanted format, (5) cursive elements, and (6) visual flow adjustments. Applying this method to the design of Hangeul slanted cursive fonts, the study underscores the importance of determining optimal slant and cursive font degrees while considering subjective designer aesthetics.

Technical Challenges and Design Issues in Bangla Language Processing

Typeface and font design are fundamental to textual communication, and therefore, such communication, whether for use in print or on screen, is greatly enhanced and facilitated by the development and application of high-quality designs. The chapter discusses the key issues that underpin best practice in Bengali digital type design—from a design’s conception to its implementation, that is, the design concept and brief, the character set, the design dimensions, character fitting, and also the considerations for harmonious multi-script setting. The design methodology described is founded on research-based practice in non-Latin type design and font development. It considers how past practices in type-making and typesetting affected current Bengali typeforms and how an evaluation of these practices, in conjunction with the use of the existing and emerging font technologies, can inform the practitioner in the design of high-quality cross-platform OpenType Bengali fonts.

Idil Journal of Art and Language, 2017

Okunabilirlik kavramı, tipografinin birincil işlevidir. Grafik tasarımcı için tasarımda yer alan tipografik karakterlerin seçimi okurun gereksinimine bağlıdır. İletişim için gerekli olan mesaj iletimi, yazıların okunur olmasıyla sağlanmaktadır. Yazıyı okunur kılan nitelikler bir araya getirilerek okurun bilgiyi en az çaba ve zorlukla algılayabilmesi ön görülmektedir. 21. yüzyılda yapılan font tasarımlarında okunurluk ilkesinin ön planda olduğu gözlemlenmiştir. Yeni yüzyılda, hem basılı üründe hem de ekran üzerinde okunurluğu sağlamak için fontlar elverişli hale getirilmeye çalışılmıştır. Okunurluk konusu bağlamında 20. yüzyıl öncesinde tasarlanan fontlar, yeniden ele alınarak geliştirilmiştir. Söz konusu fontlar yorumlanıp, dijitalleştirilerek fontların okunurluk kalitesi artırılmıştır. Bu güncelleme hareketiyle ekran ve basılı ürün üzerinde hem küçük ölçek hem de büyük ölçek okumalarda iyileşme görülmüştür. Yapılan bu çalışmada yeniden yorumlanan fontların okunur olma bağlamında gelişimleri incelenecektir. Tasarımcıların okunur font tasarımı sürecinde yazı karakteri üzerinde değişen yapılar irdelenecektir.

1997

The examination of any current type specimen book invariably discloses a large number of faces designed to imitate some form of handwriting. Strictly speaking, such designs are known as script types. It is a matter of opinion which typefaces should be classified as scripts, especially since all early type designs were derived from written forms. Today, we typically label a typeface as a script if it retains the look of having been written with a pen or other writing implement. Type specimen catalogues of the nineteenth century list numerous examples of such written forms, though these are mostly restricted to styles developed by the seventeenthand eighteenthcentury writing masters. Modern scripts differ from those of the last century because of a bewil dering variety of structures derived from forms created by different writing instruments, includ ing the broad-edged pen, the steel pen, and the brush. In addition to such traditional sources, more recent scripts have been inspired by the felt-tipped marker, pencil, ruling pen, ball point pen and even the spray paint can. For this thesis project, the author prepared a historical introduction and then attempted to clas sify as many historic and contemporary script faces as possible in order to determine how type designers are breaking new ground in the structure of these fascinating letterforms. Many recent script faces are radically different from traditional models, while some explore the very limits of style, legibility, and technical fit. Such experimentation would have been much more difficult in the days when types were cast from metal or even when types were made for photocomposition devices. Today, the number and variety of script faces are increasing at a rapid rate due to improve ments in computer type design software. Therefore, this thesis project also reviews some of the powerful type design software and digital technology now available which allow designers to create types of great originality. Also included are the results of a questionnaire sent to selected contem porary designers of script faces. Vll History of Script faces Script types, because they derive from a profusion of handwriting styles, are difficult to organize into a tidy classification scheme. Even the word "script" is hard to define since it means different things to different people; thus the simplest definition might be to declare that they are typefaces made in imitation of handwriting. However, since all typefaces can be traced back to handwrit ten origins, a more precise definition is required. To begin with, there are four general stylistic classes of types that predominate in the western hemisphere: roman, italic, decorative, and script. i.) Roman types are based on the inscriptional capitals used in Roman monuments and on the Carolingian minuscule. In general, roman types came to be preferred over blackletter forms in Europe and America, though both were derived from a common origin. For that reason, this study will not include any script faces based on blackletter structures. A separate study of blackletter scripts, however, would be well worthwhile. 2.) Italic types were first developed by Francesco Griffo da Bologna in 1501 for the Venetian printer Aldus Manutius and were used for printing pocket books of the classics for the use of humanist scholars. This early cursive or italic, as it was called almost everywhere, was an imitation of the Cancellaresca corsiva used in Italy at that time. Italic types soon were used as companions to roman types; their shapes are calm alongside the clear, serious and upright roman.2 3.) Decorative types are much freer in design, sometimes so much so as to be barely recognizable. The good printer uses them sparingly to add interest to a title page or to grab the attention of a reader. 4.) Script types derived from those handwritten letterforms and styles that persisted and evolved long after the designs of roman and italic forms had been fixed. It is important to bear in mind that were only types of the early sixteenth century to be con sidered, it would be difficult to distinguish between italic and script faces. The Chancery hand for example first developed in Italy during the fifteenth century, and characterized by the calli graphic styles of Axrighi, Celebrino, Amphiareo, Tagliente, and Palatino was a cursive, some times highly flourished variation of the humanistic hand which has inspired some notable italics. Because of its beauty, it was adopted by the Vatican as the official hand for its documents. A some what less cursive version formed the basis of a typeface cut around the years 1500-1501 for the publisher Aldus Manutius of Venice. This new type of Aldus served as the model for many subsequent italic faces.3 For the purposes of this thesis then, it is important to emphasize that though italic and script faces share a common origin, the latter are predominantly designs that developed along with changes in writing instruments, techniques and tastes. Precursors All script typefaces grew out of pre-Gutenberg inscriptional lettering and manuscript bookhands and it may be useful to briefly review them here. Table i below provides a brief chronological sum mary of the basic stylistic developments in the latin alphabet since the first century a.d. Square Capitals ca. 1-500 Rustic Capitals ca. 1-500 Uncials ca. 300-900 Half-Uncials ca. 400-900