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The text face used here (as well as elsewhere) is Broadsheet. The home page letters are set in Emily Austin & Lamar Pen. All typefaces referenced on this website Abigail Adams, American Scribe, Antiquarian, Antiquarian Scribe, Attic Antique, Austin Pen, Bonhomme Richard, Bonsai, Botanical Scribe, Broadsheet, Castine, Douglass Pen, Emily Austin, Geographica, Geographica Hand, Geographica Script, Houston Pen, Lamar Pen, Military Scribe, Old Man Eloquent, Remsen Script, Schooner Script, Terra Ignota & Texas Hero (as well as all other fonts in the Handwritten History Bundle)are the intellectual property of Three Islands Press (copyright ©19942015). For site licensing contact: Three Islands Press P.O. Box 1092 Rockport ME 04856 USA (207) 596-6768 info@oldfonts.com |
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Archive for the ‘Round Hand’ Category
Monday, March 6th, 2017
Are cries of “long live longhand!” being heard? Although I don’t dare declare it so—it’s starting to seem that reports of cursive’s demise are premature.
I am remiss, meanwhile, for not having at least dashed off a little update here on The Penman over the past few months. Instead, I had my head down, working to finish our latest font, Geographica Script, a replication of 18th century roundhand. The task of type design is, for me, a matter of sustained fixation—so many tiny tasks to complete over the course of hours, days, weeks, and (in this case) months. When it comes to font work, I just dive in and go.
Perhaps it’s because elsewhere in my life I tend to procrastinate.
But the font is done, and delivered to distributors, and now’s a good time to sit back and ruminate over my odd mission to preserve and make accessible old penmanship styles. It’s a mission I question often. (Is my work in fact having the opposite effect?) But when an early licensee of Geographica Script mentioned his reason for ordering—he’s up in his 70s, has missed the days of longhand, and wants to ensure that his grandchildren can read and appreciate a cursive hand—I remembered one reason I’ve been keeping the discussion alive.
That’s when I ventured a quick scan of recent online mentions of penmanship and handwriting. Lo, there’s been a shift—and the news is encouraging.
For one thing, schools in a few U.S. states have begun requiring handwriting instruction again, instruction not required by the Common Core Standards adopted in 2010. A state rep in Ohio has recently introduced a bill to require students to be proficient in cursive by fifth grade. Arizona has similar legislation on the books already. Louisiana has also begun learn cursive from third through twelfth grade. Education officials in New York City, meantime, are distributing handbooks on handwriting instruction to schools—which have the final say on whether to teach it.
Google image search for “old letters.”
And support for a revival isn’t just coming from older folks lamenting how things used to be. A younger, online crowd is showing an interest in the “ancient” art of hand-lettering. Just google “old letters,” and you’ll get more than 300 million results, and scores of lovely images of vintage script. Ironically, it seems, easy new imaging technology is managing to preserve—perhaps even popularize—that old outdated longhand.
Current typographic trends also show a fascination with loopy cursives. Just check a graphic design site or two, and you’ll see what I mean. Never mind the science that describes cognitive benefits from manipulating pens and pencils—and their tendency to slow you down.
Of course, it’s never wise to underestimate the lament of a grandparent. Nor is it a bad idea to make sure new generations can still read their ancestors’ letters—or even becoming adept at writing that way.
Examples of Library Hand.
Cataloguers’ Hand
One interesting historical handwriting relic I stumbled over the other day is Library Hand, a style of lettering developed in the late 19th century expressly for card catalogs. At a four-day gathering in 1887, librarians and “cataloguers” sought to standardize what at the time were wildly varying writing styles—not all of them legible.
(“The handwriting of the old-fashioned writing master is quite as illegible as that of the most illiterate boor,” this article in Atlas Obscura quotes from a New York Library School handbook.)
Both near-typewritten and “joined-hand” styles emerged from the 1887 meeting, each painstakingly, nitpickingly standardized. Eventually, of course, typewritten cards took hold—and more recently card catalogs have more or less completely vanished. Lucky for us, reproductions of Library Hand were saved.
Miscellanea
» Praise of the good ol’ handwritten letter (a powerful gesture).
» Another feature of handwriting (as I’ve mentioned here): it can help diagnose illness.
» Of course it can also shed light on the personality of, let’s say, the POTUS.
» Robots are even trying their mechanical hand at, well, handwriting (good luck with that).
» With longhand making something of a comeback, how will you do in this cursive quiz?
Tags: Arizona, cursive, cursive in schools, cursive instruction, cursive script, cursive writing, Geographica Script, handwriting, handwriting instruction, handwritten letters, historical, library hand, longhand, longhand resurgence, Louisiana, New York schools, Ohio, old handwriting, old letters, pen, pencil, penmanship, Professor font, teaching cursive Posted in 1700s, 19th Century, 20th Century, Communication, Cursive, Education, History, Literacy, Longhand, News, Old Letters, Penmanship, Round Hand, Ruminations, Science | No Comments »
Thursday, September 15th, 2016
Amerique Septentrionale (detail).
It all began with my fascination with old maps. Long before I’d even designed my first font, in fact, my parents had given me a collection of printed maps of Texas from the 1500s to the 1900s called Contours of Discovery.
I marveled at the hand-lettered legends and place names and how they differed over the centuries—and years later modeled Terra Ignota after the lettering on one of these prints, Amerique Septentrionale, by French cartographer Nicolas Sanson d’Abbeville.
Cartographic work of Emanuel Bowen (detail).
To date, I’ve released five typefaces inspired by maps and charts from the 17th through 19th centuries, most recently my first-ever serif text-type family, Geographica. My plan was to offer two kindred fonts—a script and a hand—that simulate the penmanship on Geographica’s source materials, the mid-1700s maps of English engravers Emanuel Bowen and Thomas Jefferys.
And in rounding out the character set for the first of these, Geographica Script, I stumbled on a fascinating phenomenon I’d never heard of: trade cards. In particular, British and Colonial American trade cards from the 1700s that, like cartographic prints from the period, demonstrated ornate 18th century penmanship.
Trade card for Spermacaeti Candles (click for larger view).
The precursors of modern business cards, trade cards were designed, engraved, and printed for tradesmen, service providers, and salespeople to distribute to potential customers as introductions to (or advertisements for) their particular businesses. Not only were these cards covered in fancy, graceful round hand, but they usually also featured opulent floral designs and period illustrations of products and popular symbols—like anchors, crowns, doves, and lions rampant.
As soon as I laid eyes on 18th century trade cards, Geographica Script got a lot more interesting: it’ll come with many such ornaments.
William Hogarth illustration.
A number of the images I found—in collections from such places as the British Museum, the Museum of London, and Yale’s Lewis Walpole Library—were the work of English printmaker William Hogarth, an artist and cartoonist credited with pioneering western sequential art. The prolific Hogarth was a master at reproducing the iconic symbols of the period.
And the round hand itself on these varied, intricate cards added a plethora of flourishes, swashes, and embellishments. Curls and loops, fancy ampersands. (My OpenType-features cup overfloweth.) Plus, I learned a few things, such as the meaning of the ubiquitous abbreviation “NB” (nota bene, or note well) and the fact that, as long as 250 years ago, we English speakers were fond of the phrase “all sorts of.”
Geographica Script is taking longer than I’d imagined, but I’m anxious to find out how it’s received. (There’ll even be a unicorn!) I dare not predict a release date, but keep your eyes peeled.
Geographica Script unicorn rampant.
* * *
A few trade card links:
• Trade cards at the British Museum
• Trade cards at the Museum of London
• Trade cards at the Fitzwilliam Museum
• Search the Lewis Walpole Digital Images Collection
• Trade cards on Pinterest
Miscellanea
» Do this: take five minutes to listen to this TED talk by Lakshmi Pratury on letter-writing. (Just do it.)
» Here’s a transcript of the Ted Radio Hour podcast about Laskhmi Pratury’s talk (and a link to the podcast).
» Civil War amputees helped by left-handed penmanship contests…
» …and Geneva, Ohio, students participate in a Spencerian handwriting contest.
» The power of cursive penmanship in the 21st century, in response to…
» …Anne Trubek’s opinion in the New York Times (that handwriting no longer matters).
» Japan’s prime minister wins praise for his handwriting’s “good-looking characters.”
Tags: 1700s, 18th century penmanship, antique cartography, antique penmanship, British Museum, Emanuel Bowen, Geographica Script, handwritten fonts, historical maps, historical script fonts, Lewis Walpole Library, lion rampant, Museum of London, old handwriting, round hand, Thomas Jeffreys, trade cards, unicorn rampant, vintage handwriting, William Hogarth Posted in 1700s, 18th Century, Cursive, Historical Figures, History, Penmanship, Round Hand, Specimens | No Comments »
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