īoccaccio was a great admirer of Petrarch from Boccaccio's immediate circle this post-Petrarchan "semi-gothic" revised hand spread to literati in Florence, Lombardy and the Veneto. For Petrarch the gothic hand violated three principles: writing, he said, should be simple ( castigata), clear ( clara) and orthographically correct. Florentine poet Petrarch was one of the few medieval authors to have touched on the handwriting of his time in two letters he criticized the current scholastic hand, with its protracted strokes ( artificiosis litterarum tractibus) and exuberant ( luxurians) letter-forms amusing the eye from a distance, but fatiguing on closer exposure, as if written for other purpose than to be read. The letterforms were based on a synthesis of Roman inscriptional capitals and Carolingian writing. )Īntiqua typefaces are typefaces designed between 14 AD, specifically those by Nicolas Jenson and the Aldine roman commissioned by Aldus Manutius and cut by Francesco Griffo. (In German, the term "Antiqua" refers to serif typefaces. After the mid-20th century, Fraktur fell out of favor and Antiqua-based typefaces became the official standard in Germany. The two typefaces were used alongside each other in the germanophone world, with the Antiqua–Fraktur dispute often dividing along ideological or political lines. Letters are designed to flow and strokes connect together in a continuous fashion in this way it is often contrasted with Fraktur-style typefaces where the individual strokes are broken apart. Typefaces that mimic 15C and 16C handwriting Calligraphic writing of the word "Antiqua" in the Antiqua style.Īntiqua ( / ˈ æ n t ɪ k w ə/) is a style of typeface used to mimic styles of handwriting or calligraphy common during the 15th and 16th centuries.
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