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A ukase written in the 17th-century Russian chancery cursive. The Russian (and Cyrillic in general) cursive was developed during the 18th century on the base of the earlier Cyrillic tachygraphic writing (ско́ропись, skoropis, "rapid or running script"), which in turn was the 14th–17th-century chancery hand of the earlier Cyrillic bookhand scripts (called ustav and poluustav).
A fifth form, used in the 18th century in some French italic typefaces, was a derivative either of the Schrift form of the minuscule r or of similar typefaces used elsewhere. Its form was of a backwards J set just after the same shape rotated 180 degrees. They were separated by a space smaller than their stroke width, and the whole character ...
Cursive handwriting from the 19th-century US. In both the British Empire and the United States in the 18th and 19th centuries, before the typewriter, professionals used cursive for their correspondence. This was called a "fair hand", meaning it looked good, and firms trained all their clerks to write in exactly the same script.
Later in the 17th and 18th centuries, English writing masters including George Bickham, George Shelley and Charles Snell helped to propagate Round Hand's popularity, so that by the mid-18th century the Round Hand style had spread across Europe and crossed the Atlantic to North America.
Early Greek print, from a 1566 edition of Aristotle. The sample shows the -os ligature in the middle of the second line (in the word μέθοδος), the kai ligature below it in the third line, and the -ou-ligature right below that in the fourth line, along many others. 18th-century typeface sample by William Caslon, showing a greatly reduced set of ligatures (-ου-in "τοῦ", end of first ...
A modern sans-serif and four blackletter typefaces (left to right): Textur(a), Rotunda, Schwabacher and Fraktur.. Fraktur (German: [fʁakˈtuːɐ̯] ⓘ) is a calligraphic hand of the Latin alphabet and any of several blackletter typefaces derived from this hand.
It was still in wide use until the 20th century because it was used in French school manuals to teach the bases of cursive writing, and was also commonly used by the scribes of the French Ministry of Finance until right after World War II, [2] which gave this style the name of écriture ronde financière ('round financial writing', not to be ...
Fleischmann was held in great esteem by his contemporaries, his designs exerting a decisive influence in the last quarter of the 18th century. Renowned French punchcutter Pierre Simon Fournier (1712–1768), confessed to having copied Fleischmann's design, and was first to dub "contrast" types like the Fells, Caslon and Fleischmann "modern".