#calligraphy ph

[notwhelmedyet]

A Fire Shall Be Woken, by Ealcynn. A pair of bindings using the K118 structure, one as a gift for the author and one to keep.

Chapter page illustrations are by Alphonse Mucha, all other illustrations are hand-drawn.

I hope to make a long post later explaining the process in more depth & another to document all my mistakes, but here's the basics.

New techniques learned: Paper marbling, edge marbling, uncial calligraphy, making paste papers, drawing on bookcloth, making paste-filled cloth, fold-out maps

I began work on this project in early September and am completing the finishing touches this week.

Structures:

Binding: K118 tightback

Endpapers: Simple cloth-joined endpapers

Map fold: Turkish map fold

Materials:

Sewing supports: linen tapes

Thread: 30/3 linen thread

Spine lining: Medium weight kozo tissue bonded to linen fabric

Interior paper: Hammermill Ivory, 11x17, hand-cut to 8.5x11

Endpapers: Blick sulphite paper hand-marbled, with masked stenciled silhouettes created with freezer paper

Adhesives: Jade PVA, wheat starch paste, wheat flour paste

Covers: Davey board, laminated full thickness to half thickness

Cover fabric: Studio E shot cottons in Jungle and Emerald; filled with wheat starch paste

Cover decorations: Speedball india ink and Dr. Ph. Martin's calligraphy ink in Copperplate Gold

Inks for maps and illustrations: Speedball black india ink and a selection of watercolors thickened with gum arabic

Dip pens used for calligraphy: Combination of Brause calligraphy nibs and Leonardt tape nibs

Dip pens used for illustration: Nikko G pointed pen nib

Typesetting:

Typesetting program: Scribus 1.5.5

Body font: Coelacanth in 10 pt caption weight

Headings, titles, chapter titles, drop caps: Hand lettered uncial calligraphy, scanned

Illustrations and References:

Frames on colophon, copyright, author's notes and title page: Hand drawn, with inspiration taken from the vellucent bindings of Cedric Chivers

Frames that illustrate each chapter start: Alphonse Mucha from Cloches de Noël et de Pâques

Cover illustrations: Referenced from a photograph of an European beech tree found on iNaturalist.org

Maps of Imladris: Hand drafted with inspiration from the maps of Barbara Strachey, and Daniel Reeve

Map of Eriador: Traced from a map by Karen Wynn Fonstad, with edits made to coordinate with the geography of the fic

Frames on maps: Referenced from a drawing by Alphonse Mucha that @zhalfirin found for me

Special Thank Yous:

To the tightback council of problem-solvers in the Renegade server: Zhalfirin, Eka, @spockandawe who helped figure out many issues with the structure and technique

To the marbling experts in the Renegade server: Marissa, Aether, AGlance, Jenny, Catz, Badgertide, Rhi, and everyone else who helped me figure out beginnner marbling

To Spock for finding the K118 structure and introducing it to the server!

And to Bruce Levy, who discovered the method and shared his discoveries freely with the bookbinding and conservation world.

[ifearzombies]

The Little ‘I Love Yous’ Part 2

Simeon:

- He gives you little blessings without thinking. Your tea is the perfect temperature. You find the perfect chair to sit in when your feet are tired. Little things to make you smile and you wonder why you’re so blessed; only to remember you are loved by an angel. - He wrote a little short story about your adventures in the Devildom. It’s a children’s book series about a little sheep living with seven black rams and how the sheep helped the seven angry rams be better brothers. There’s little side adventures of the sheep meeting with some doves. You have the signed first edition from ‘Christopher Peugeot’. Levi is still trying to figure out how you got it. - He noticed when you visit PH you have a favorite seat. He’s made a little pillow with your name on it and put it there showing it’s reserved for you.

Solomon:

- He hears about magic spells you’ve seen in games or movies and finds a way to make that a spell you can actually learn. Or tries to. He’s only succeeded on one spell, but the little token he gave you that lets you cast ‘featherfall’ lets you give into a few of your more risky intrusive thoughts. Or it lets you escape the brothers’ arguing if you’re not on the first floor and a window is nearby. - He explained that humans require sunlight to Diavolo so that every other weekend you two can go to the human world and enjoy the sunshine and visit your family up there. - You’re the first to see a new spell or potion or rune he makes. Normally it’d be several of the demons he’s pacted with- but since you’re learning magic too he makes a point to show you the spectacle once it’s perfected.

Barbatos:

- He’s requested a day off of work with Diavolo to spend the day with you. It’s a rare occurrence, and you can’t help but be touched he’d leave Diavolo’s side to be with yours for even a minute let alone a day. - Your favorite meals are on the menu when you and the brothers visit for dinner. And there’s an extra little heart shaped chocolate on your plate that Barbatos will tell everyone he doesn’t know how it got there as he winks at you. - Sometimes you find random notes in your things at RAD. They’re all in the most exquisite calligraphy you’ve ever seen and it’s detailing something nice about you today. Your outfit, the way you did your hair, a kind act he saw. You know who puts these in your things and you treasure each one.

Diavolo-

- He tries every hobby you try with you so that you’re not alone. Plus it teaches him about the human world and how to have the Devildom be more welcoming for when his dream hopefully comes true. - He asks you a lot about the human world and what you like and dislike about it. it. He assures you it’s for his passion project, but when you mention things you like about the human world they somehow end up part of the Devildom (though you are not about to object now that the Devildom has started selling Kinder Eggs) - Kabedons you when only Barbatos is there. And when you blush he playfully asks if he did it right this time. You tell him no just so he’ll do it again later and he knows you’re lying.

----------------------------------------------------------

MC:

- You help Simeon use his computer any time he needs to use it and is too scared he’ll break it. Lots of things are harder to find without use of the internet and he needs to be able to do research for writing and you’re always willing to help. He does credit you with a pen name, but you tell him he doesn’t have to.

- You try Solomon’s cooking. The RARE occasions Luke and Simeon can’t stop him from using the kitchen he always tries to make something for you and you always try it. Even when you’re honest and tell him it’s bad after, he still tries to make things for you and you try it because he smiles wide just because you were willing to try it.

- You occasionally spend a day helping Barbatos with his duties. The first time you decided to do it you went in not knowing how much the butler does but now you wonder how he ever manages to make it one day without falling asleep before noon. The days you offer to help him are his favorite days and you can tell by the smile on his face when you show up in a butler/maid uniform to help.

- Being the heir to the throne is not easy. And for as busy as Lucifer and Barbatos are, you realize Diavolo works the hardest. You ask for a day or two here or there to spend the night with him- not even just for sex. No. You hold him and run a hand through his hair and tell him that it’s OK to rest. You give him a massage and let him rest. There’s been times he’s cried that you never speak of. Times he tells you he worries that his dream will fall apart if Michael and the other angels don’t support this. That you and Solomon and Simeon and Luke will be taken from him if he fails. You tell him it’ll be OK. That you’ll find a way back to him and the others if that happens. You won’t let anyone take him and the others away from you because you love him and the others.

[notnulli]

Conscript with natural dyes

So a while ago I was home and wanted to work on two scripts for one of my conlangs. But they were supposed to be based on ink calligraphy one with a brush other with a stylus(I think that's the correct word but idk). Only problem? I didn't have any art supplies, so to do it I improvised a brush and a stylus (a broken box cutter blade :3) and my favourite part: I made watercolor paints from flowers: poppies, dandelions, elderberry flowers and also poppy stems. (Since elderberry flower color come from anthocyanins I also added some citric acid and baking soda to small parts to get different colors) Here are the process photos and slightly bad results:

The flower

And the stem

The elderberry and dandelions

And the two colors I got from changing the pH

And some of the script WIPs

[disnimeartzy]

Art Tools for an Artzy Girl ♡

These are most of the art tools I use for my artwork –·––·–––·✩·–––·––·–

✩ Copic Markers - uses to blend and to make gradient effects. I also use them with watercolor paint.

✩ GraphicGear1000 Pencil & Calligraphy Pen - use to outline my artwork. Plus, i love using Calligraphy pen to make my outlines nicer and straighter.

✩ PrismaColor | FaberCastell | Caran D' Ache | ChromaFlow Color Pencils - use them to shade and blend. I also like to use them to do the light gradients and to blend with watercolor.

✩ Posca Markers - uses them to fully color the base before shading with color pencils. Also, using these markers can be very liquid but they are really good to use as a base color before adding the midtone and shadows with the shading and highlights.

✩ Dr. Ph Martin Water Color - use for also gradient and to shade, blend and to vibrant the colors in my artwork.

[unfamiliarsculptures]

Hi, I love seeing your sculptures on my dash! I saw that you used polymer clay for them, but I was wondering how you painted and sealed them? I've seen people use resin to seal sculptures, but I'm scared of using it myself because of the eventual yellowing. Thank you!

Hi! Thank you for the kind words! For the paint, I use Folk Art brand acrylic. The metallic details are actually Dr. Ph. Martin’s Iridescent Calligraphy Colors which are a little tricky to work with because this isn’t their intended purpose, but the results speak for themselves lol.

Now, the part you actually wanted to know, I use a paint on varnish. I use DecoArt DuraClear. It works great and leaves a beautiful finish that is easily dusted and cleaned! I haven’t had any issues with yellowing so far and I’ve been using it for almost two years. However, if you use this varnish please be sure to do so in a very well ventilated area, and wearing a mask is a good idea too since it is made with polyurethane. Just a reminder to everyone to always double check safety practices yourself when using new materials. I hope that helps!

[influencermagazineuk]

The Enduring Influence of Japanese Culture on the World

Japanese culture has captivated the world with its unique traditions, aesthetics, and way of life. From its rich history to its modern innovations, Japan's cultural impact has transcended borders and influenced various aspects of global society. In this article, we will explore the profound influence of Japanese culture on the world and how it has left an indelible mark in areas such as art, cuisine, technology, fashion, and popular culture. Artistic Heritage: Japanese art forms such as traditional painting, calligraphy, and woodblock prints have fascinated artists worldwide. The delicate brushwork, attention to detail, and appreciation for nature have inspired countless artists and art movements. From Impressionism to Anime, Japanese art continues to influence and shape the artistic landscape globally. Culinary Delights: Japanese cuisine, with its emphasis on fresh ingredients, precision, and aesthetic presentation, has garnered immense popularity worldwide. Sushi, ramen, tempura, and other Japanese dishes have become beloved staples in many countries, with Japanese culinary techniques and flavors influencing chefs and food enthusiasts around the globe. Technological Innovations: Japan's advancements in technology have had a profound impact on the world. From electronics and robotics to high-speed trains and video games, Japanese innovations have reshaped industries and transformed our daily lives. The meticulous craftsmanship and attention to detail that are synonymous with Japanese products have set new standards globally. Fashion and Design: Japanese fashion has made a significant impact on the global fashion scene. Designers like Yohji Yamamoto, Rei Kawakubo, and Issey Miyake have challenged conventional fashion norms with their avant-garde designs and minimalistic aesthetics. Japanese street fashion, characterized by its creativity and individuality, has also influenced global youth culture. Pop Culture Phenomena: Japan's pop culture, including anime, manga, J-pop music, and video games, has gained a massive following worldwide. Anime series like "Dragon Ball," "Naruto," and "One Piece" have captured the imagination of audiences globally, while video game franchises like Pokémon and Super Mario have become iconic symbols of Japanese pop culture. Zen Philosophy: The principles of Zen Buddhism, deeply rooted in Japanese culture, have permeated various aspects of life around the world. The emphasis on mindfulness, simplicity, and the pursuit of inner peace has influenced practices such as meditation, mindfulness techniques, and minimalist lifestyles adopted by many individuals seeking balance in a fast-paced world. Traditional Customs: Japanese customs and traditions have fascinated people globally. The tea ceremony, martial arts like karate and judo, and the beauty of cherry blossom viewing (hanami) have all become synonymous with Japan. These cultural practices have been embraced and celebrated in many countries, showcasing Japan's enduring influence. Literature and Film: Japanese literature, including works by renowned authors like Haruki Murakami and Yukio Mishima, has gained international acclaim and provided a glimpse into Japanese society and its unique perspectives. Japanese cinema, with iconic filmmakers like Akira Kurosawa and Hayao Miyazaki, has captivated audiences worldwide, contributing to the global appreciation of Japanese storytelling and visual aesthetics. Architectural Marvels: Japan's architectural achievements, from ancient temples and castles to modern skyscrapers and innovative urban planning, have inspired architects and designers globally. The blending of traditional Japanese architecture with modern elements has resulted in breathtaking structures that showcase Japan's cultural identity. The influence of Japanese culture on the world is undeniable. From its artistic heritage to its technological innovations, culinary delights to pop culture phenomena, Japan's impact can be felt across continents. As the world continues to appreciate and embrace the allure of Japanese traditions, aesthetics, and values, it is clear that the enduring influence of Japanese culture will continue to shape and enrich our global society. Read the full article

[whatiscalligraphy]

Metallic Inks for Calligraphy: Add Sparkle to Your Letters

Metallic Inks for Calligraphy: Discover How to Add Sparkle to Your Letters Instantly

Metallic inks are a great way to add a touch of luxury and sparkle to your calligraphy projects. Whether you're addressing envelopes for a special occasion or adding a shimmering accent to your artwork, metallic inks can bring an extra level of elegance to your letters. In this article, we'll explore the best metallic inks for calligraphy and provide tips on how to use them effectively. - Metallic inks can elevate the elegance of your calligraphy projects. - Finetec metallic inks and Dr. Ph. Martin's Spectralite are highly recommended options. - Consider waterproofing your metallic inks for added durability. - Metallic inks create stunning effects on dark paper. - Metallic and glitter pens offer convenience and vibrant colors for calligraphy. Read the full article

[elonomhstoryvillage]

subjects

foreign diplomacy FO-DIPL

physical science PH-SCIE

military magic MI-MAGI

combat riding CO-RIDI

horse riding HO-RIDI

leadership LE

earth science EA-SCIE

spirituality SP

raid strategy RA-STRA

military tactics MI-TACT

foreign sports FO-SPOR

healing magic HE-MAGI

magic infusion MA-INFU

stealth and survival ST-SURV

forestry FO

herbalism HE

dead language DE-LANG

dead language literature DE-LITE

dead language culture DE-CULT

weaponry WE

foreign resource management FO-RESO

logic LO

foreign speech FO-SPEA

foreign crafting FO-CRAF

apparition AP

linguistics LI

political science PO-SCIE

small forces strategy SM-STRA

music MU

fight: hand to hand FI-HAND

animal sciences AN-SCIE

disaster management DI-MANA

handcrafts HA

foreign calligraphy FO-CALL

foreign arts FO-ARTS

fight: monsters FI-MONS

miliary law MI-LAW

nutrition recognition NU-RECO

heritage

planetary terraforming

foreign martial arts

transformation

mount care

mathematics

mathamancy

endurance training

anthropology

social skills

foreign dialects

foreign civilization studies

[dpr-lahore-division]

CM MOHSIN NAQVI WITNESSES CALLIGRAPHY EXHIBITION AT ALHAMRA ART GALLERY IN CONNECTION WITH 12TH RABI-UL-AWAL

With compliments from, The Directorate General Public Relations, Government of the Punjab, Lahore Ph: 99201390. No. 1058/Zafar/Mujahid HANDOUT (A) Lahore, September 28:Caretaker Chief Minister Punjab Mohsin Naqvi witnessed calligraphy exhibition at Alhamra Art Gallery of Lahore Arts Council Alhamra in connection with 12th Rabi-ul-Awal today. CM Mohsin Naqvi expressed his deep interest in…

[geminusrufus]

Normalizing Scraped Greek Inscriptions

I'm so sick none of this is spell checked.

0: Wait, What?

Are you confused why I'm talking about "scraping," "inscriptions" and the like? Then check out this post!

(shameless plug)

Anyways, you have a web scraper and it has returned an Ancient Greek inscription. Opa! Now we can start with the linguistics, right?

Unfortunately, no. We still have to handle our encodings. I mean... you could go straight ahead, but I can tell you from experience that it's not pleasant.

1: Unicode Encoding

So here's the problem. When the Greeks first borrowed the alphabet from the Phoenicians, spelling was rather simplified. Every letter was in (what we would call today) capital / upper case, and punctuation was minimal at best.

Let's use IG I3 1 (PH#1) as an example. On the website, the inscription looks like this:

But if you went out and actually pulled the rock out of the ground, then it would look a much more like this:

How did we get to the version on the website, then?

Well, over the course of the next six centuries, the letter shapes changed to something more resembling the upper case letters used in written Greek today. Then, in the late Roman era / early Middle Ages, Byzantine scholars started developing what would eventually become the lower case letters. Manuscripts were all written by hand, you see, meaning every piece took exceptional dedication. It is fitting, then, that scholars wanted their works to be as expressive as any other art! Hence the practice of calligraphy, as well as our alternate letter forms.

(Oh, and there was some spelling standardization scattered around, but that's not represented in the PackHum transcription, so we won't dig into it...)

Additionally, the Byzantines added a handful of accent marks. See, Ancient Greek had a pitch accent (similar to Japanese, or that wonderful circumflex accent in Swedish). To describe what pitch went where, scholars developed the following accents (shown on the letter alpha, with modern accent names):

ά alpha with tonos (aka acute)

ὰ alpha with varia (aka grave)

ᾶ alpha with perispomeni (aka circumflex)

Word-initial vowels also began with either smooth breathing or rough breathing (the consonant rho was always rough at the start of a word). This indicated if the vowel was preceded by an h-sound (rough) or not (smooth).

ἀ alpha with psili (aka smooth breathing)

ἁ alpha with dasia (aka rough breathing)

Finally, some long vowels were part of diphthongs. These /V:i/ segments (usually) lost their second element, becoming a long monophthong: e.g. αι (a:i) > α (a:). Byzantine scholars, who could still understand Classical and pre-Classical writing, noticed this change and began marking those long vowels with a little iota (the i-letter).

ᾳ alpha with ypogegrammeni (aka iota subscript)

Over the generations, these changes became standard for any and all written Greek, both ancient and modern.

Now. Here's the thing. These accents could combine. And they combined differently for upper and lower case letters. Look at this table from my thesis (shameless plug).

And here's the thing... because of how Unicode works... the computer reads every single one of those as a different letter. If you're trying to program a tool for working with these inscriptions, then you can't just say ~grab every α~, because you will get only α, and not ά, ᾶ, ᾏ, and so on.

But wait there's more! Unicode also contains those accents as separate letters which the computer can click together! These look the exact same as the "precomposed" characters in the table above!

"Ok," you say, "how do we unfuck this?"

2: Unfucking Unicode Normalization Forms

Well, the folks at Unicode considered this problem early. Their solution was to implement a way to take apart and rebuild characters on the fly. Let's start with the core vocab:

Composition: The process of turning a base letter and combining diacritics (aka accents) into a precomposed character.

Decomposition: The process of turning a precomposed character into a base character and combining diacritics.

Precomposed Character: A letter on Unicode's big chart which already has diacritics. Each one of those characters in the table above is a precomposed character. Unicode, unhelpfully, makes sure these look identical to characters with combining diacritics.

Keep those in mind and you'll be solid.

The Unicode Consortium gave us four tools that can help with our conundrum. The first is called "Normalization Form Decomposition" (NFD). This form turns any precomposed characters into the appropriate combination of base characters and diacritics. Take the letter ᾊ, for example. It's name is the Unicode chart is "Greek Capital Letter Alpha with Psili and Varia and Prosgegrammeni," and it's code point (its position on the chart) is U+1F8A. If we decompose this character, we get the four characters:

Α (Greek Capital Letter Alpha; U+0391)

◌̓ (Combining Comma Above; U+0313)

◌̀ (Combining Grave Accent; U+0300)

◌ͅ (Combining Greek Ypogegrammeni; U+0345)

Note that Unicode does not contain separate combining accents for the tonos (acute) or varia (grave), so characters are actually composed with their latin equvalents.

Next, we have "Normalization Form Composition" (NFC). As the name suggests, this one composes characters, taking your string of letters and accents then returning one precomposed glyph. Bear in mind that this process is clever: it actually decomposes your string first, then recomposes it. If we composed the four characters above -- or any equivalent, such as Ἂ + ◌ͅ (Greek Capital Letter Alpha with Psili and Varia; U+1F0A, and Combining Greek Ypogrgrammeni; U+0345 ) -- then we will get the glyph ᾊ from above.

Nice, right? Most programs are doing this constantly. If you're on a Mac / iPhone and you type an accent+letter, it will automatically transform into a precomposed glyph whenever possible. If you're working with R (and we are) then RStudio will do the same. This right here is the secret sauce for multi-lingual typesetting in the modern age.

However, sometimes you get letters that are the same thing, definitely the same thing, but have more than one code point for various reasons. These are usually specialized forms of a letter with some persistent quirk which would be difficult to reproduce consistently. For example, the Latin Extended-D Unicode block contains the letter ꞵ (Latin Small Letter Beta; U+A7B5) which is used for various Central African languages in the Gabonese Republic (source: wiki). While the appearance of any glyph is at the discretion of whichever font is in use, this letter is often identical to the letter β (Greek Small Letter Beta; U+03B2). The Latin Extended blocks contain many such letters.

Another example: you know those websites that let you type in bolds and italics etc. when they're otherwise not supported? Something like 𝒕𝒉𝒊𝒔 or 𝓉𝒽𝒾𝓈? Or maybe you're a *~goth egg~* and your bio is in Fraktur: 𝔱𝔥𝔦𝔰? Each one of those characters is actually a glyph from the Math Alphanumeric Symbols block. Each of these is used in mathematical typesetting, but look at them. They're still the same Latin letters we're used to, they're just preformatted for a specific usage. What gives?

Well, the Unicode consortium has a way of describing letters that are-but-aren't the same. They're called equivalent.

All the accent examples above are in canonical equivalence. That means, from a human's perspective, the precomposed glyphs and the letter+diacritic combinations look exactly the same. If you print them on the page, the printer makes the same dots in the same places. If you write them out, you make the same strokes with the pen. They may have separate code points but, as far as anybody reading it is actually concerned, they're the same thing.

However, the math examples above are in compatibility equivalence, as are the two betas further up, meaning that their specific formatting is informational even though they're really just forms of the same letter. A mathematician presented with an italic 𝑒 and a Fraktur 𝔢 would know that they mean different things, even though they're the same letter, all because of how they're set on the page.

N.B.: The letters fi and the ligature glyph fi (Latin Small Ligature fi; U+FB01) are in compatibility equivalence with one another.

"What does this have to do with Normalization?"

Good question! The Unicode standard also contains methods for composing and decomposing with compatibility equivalents.

First, there is "Normalization Form Compatibility Decomposition." This has the abbreviation NFKD, where K stands for... Compatibility. I think they did that because...

There is also "Normalization Form Compatibility Composition" (NFKC). Like NFC, this first decomposes (but this time with compatibility!) then recomposes. These have the special effect of turning ligatures into independent characters, super-/subscripts into in-line numerals, etc.

Finally, with these Normalization Forms, we have enough control over what glyphs the computer reads and can manipulate strings of characters to make them searchable!

3: Normalization Forms in R

Okay. That was a lot. Let's take stock.

So far, we have covered:

Problem: How Greek accents interfere with processing

Background: How the accents developed

Problem in Depth: How glyphs are recognized by Unicode

Solution Framework: How Unicode manipulates glyphs

Now the question becomes "how do we implement Normalization in our web scraper?"

To start, we will need the R library stringi. The whole purpose of the library is to expand our options for string processing in R. This includes five functions which are the most relevant for our current purposes:

stringi::stri_trans_nfd() Normalization Form Decomposition

stringi::stri_trans_nfc() Normalization Form Composition

stringi::stri_trans_nfkd() Normalization Form Compatibility Decomposition

stringi::stri_trans_nfkc() Normalization Form Compatibility Composition

stringi::stri_escape_unicode() Escape Unicode Characters

The first four are just the Normalization Forms from Section 2. The fifth one is just how we check our work. Remember: above I mentioned that RStudio will compose Unicode strings automatically before providing an output. If you store a decomposed string and try to print the results to the console, you will still see a composed string. This makes it hard to tell if you are working with properly formatted data! However, you can escape Unicode strings. That is to say, you can tell the computer that it should not touch whatever the output is.

If you have worked with Markdown, HTML, LaTeX and the like, then this should be familiar. If not, here's the short version.

Sometimes a computer needs to use certain characters for commands. For example, you can't just type the left angle bracket < in an HTML file and expect anything to happen, because you use angle brackets to tell Firefox that something is a command. If you want to type Greek is Beautiful in italics, then your HTML file would read <i>Greek is Beautiful</i>, where the opening tag <i> and the closing tag </i> define italicized text. As a result, if you want to type the left angle bracket, you need to use the escape code < . But look, the ampersand is used in an escape code. If you want it, escape it! & is the way to go.

Let's circle back to R now. If we want to type the letter ᾊ (Greek Capital Letter Alpha with Psili and Varia and Prosgegrammeni; U+1F8A), then we have two options. The first is to type the character directly into the console / .R file. Second is to type the Unicode string. In R, it's spelled \u1f8a.

If you want to escape it, then you need to add another backslash to the front, as such:

This is exactly what we would get if we pass the glyph ᾊ to stringi::stri_escape_unicode():

Now lets see what that looks like if we decompose it first:

Ohoho!

So, even though RStudio will recompose characters before we get the chance to see them, we can capture decomposed characters by escaping them. This way we can print out a string and make sure it decomposed properly.

(Quick note: that symbol %>% is called a pipe, and it is accessed by loading the library dplyr. This tells R to take the output of a function and hand it down to the next function in the line.)

With that victory under our belt, let's take a moment to tidy up. We're going to write some wrapper functions, i.e., functions that simply call another function. This might seem weird, but it can make our code more readable down the line. For example, since we're going to be normalizing a lot of text, things will get messy if we have to call stringi::stri_trans_nfd() every couple of lines. It would be much better if we could just type, say, NFD() and achieve the same results.

Let's see what that would look like. We need to pick a name, define it as a function, declare a placeholder name for our input, normalize the input variable, then return it.

Nice and simple! Let's do the same for the other Normalization Forms.

There we are!

With these in our pocket, we can start tidying up our inscriptional components. For starters, the source book for the inscription includes a superscript: IG I³. It's a small thing, but it means we can't simply type the name into the console, and we're in a position to clean it up.

Superscript numbers fall under canonical equivalence, so we'll use one of our NFK_() functions. Since there is nothing to compose -- no diacritics and the like -- the outputs of NFKD(PH1_book) and NFKC(PH1_book) are equivalent. That means we can skip composition and stick with decomposition:

Cool cool

What about the header? Well, mixed bag. Take a look:

There's some line breaks in there — see those \n's? That spelling should look familiar. — but normalization doesn't touch that. Really, the only thing here that we can currently fix are those superscripts. Once again, NFKD() to the rescue.

Fine enough for now, I suppose. But... we'll remember this. With some evil intent.

How about the text?

Lots of those line breaks... wonder what that's about. We also have some numbers in there. Let's break down what those mean.

If there's square brackets, like in τ̣[ὸς ἐ Σ]αλαμ̣[ῖνι κλερόχ]ος, that means the text is actually missing. Any letters in between those brackets are reconstructed, i.e., an educated hypothesis as to what might have originally been carved there.

(Dot's under a letter mean they're partly obscured but still roughly readable)

However, some of those brackets have periods and number nested in them, like in ἐᾶ Σαλαμῖνι [․․5․․]λεν. That means there's five "spaces"...

I guess now's the time to explain something. See that picture up above (so, so long ago) where I recreated this inscription for you? See how the letters are aligned in a grid? That type of arrangement is called Stoichedon (wiki), and it's a standard feature of Athenian inscriptions. Not every inscription does this, and sometimes non-Athenian inscriptions do use it, but generally it's an Athens thing.

Now look at the header. See where it says "stoich. 35"? That means this is in stoichedon/grid style, and that there are 35 columns.

So, that [․․5․․] means that there are five letters missing! If you look at my reconstruction, you'll see that I took those gaps into account when aligning the letters. If there's a "c." (for "circa," bc the earliest books were published in Latin), that means there's roughly that many spaces. Not sure what condition the stone was in that we ended up with β[ο]λε͂[ς ․․․c.11․․․․] at the bottom, but that's the number I used aligning the letters in my reconstruction, and I didn't get a malformed array error, so.

(I also didn't include any letters in brackets, though I did include dotted letters)

"Ok, that's all great, but what about the numbers not in brackets?"

Well, those are line numbers! See them in the picture waaaaaaay back at the top? Well, they're also text and they're also included in the HTML that we captured so... there they are!

Unfortunately, we can't do anything about numbers at the moment. Bit of a misdirect, given how much I just wrote about them, but I thought it best that we all knew what they were. And this is my blog. If you don't like it, then A) how did you get this far, and B) my thesis is much more concise.

(Shameless plug)

Anyways, there is something we can do with the text, though. Look that that word "ℎεκάτε[ρον" right before the 19-space gap. Why does that h look like that? Why is it even there?

Well, in reverse order, this inscription in particular is so old that it predates the semi-standardized spelling we're used to. See, in modern Greek there's this letter called ita, and it looks like this: Η η. In Ancient Greek, it's called êta, and looks roughly the same. As mentioned above, the lower case form was a Byzantine invention, but the uppercase form was... roughly stable (the vertical lines also have bars across the top and bottom in the recreation, but it's close).

The thing is, that was after the Athenian spelling reform implemented by the archon Eucleides in 403/2 BCE. In fact, he didn't just try to standardize spelling, but he switched alphabets. See, there wasn't just one Greek alphabet, but many.

In the alphabet that the Athenians used before Eucleides' reform, the letter was called heta, and it made an h-sound. After the reform, the Athenians stopped writing the h-sound, and it wouldn't come back in writing until the Byzantines came up with he rough breathing mark (see above).

(In fact, the Latin alphabet was derived from one of the Greek alphabets which retained heta, and it eventually evolved into the Latin letter h.)

"But why not just use an 'h' ?"

Well, the thing is, in most transliteration schemes the Latin letter 'h' still maps onto eta. Since the PHI website actively transliterates text any time you use the search bar at the bottom, they can't have that sort of overlap. So, they use the character ℎ (Plank constant; U+210).

Fortunately, we don't need to transliterate anything. We can type in Greek, so we won't need to worry about using Latin inputs for Greek searches. That means we could easily have the Latin 'h' in our inscription texts!

Plus, the plank constant is just an italic 'h'. We've handled this exact type of problem talking about compatibility equivalence, so we know we can use one of our NKF_() functions again.

But... there's more to consider. Look, we have accents now! We aren't just dealing with numbers or single characters, but fully composed glyphs. Sure we wouldn't ever see the decomposed forms, but leaving them decomposed now would be inefficient. See, if we store the text in its decomposed form, then every character needs to be stored separately. Think about the ᾊ example from above. The precomposed glyph ᾊ is one character. The decomposed set Α + ◌̓ + ◌̀ + ◌ͅ is four characters. It may not seem like a big deal right now, but when we run the full scraper, we're going to have multiple millions of glyphs. Then it will matter.

So let's recompose while we're at it.

And there we have it!

All of it!

Normalized!

This will come into play again later, but that's all we can do with normalization for the time being.

Next time, I think we'll go over tokenization.

[peterscribbles]

I wanted to highlight the simple: reusing everyday paper grocery bags, for calligraphy and painting, can have a great impact on the environment. And an equally simple message of, walk lovingly with Mother Earth in ways that are less harmful.

11 1/2inch x 17inch paper local grocery store sack.

Diamine Antique Copper and Twilight background with Dr Ph. Martin's Black India Ink for writing. Classic Rolf folded pen

#paperpenandsurfaceprompt3

@paperpenandsurface

#foccreates

#boundandlettered

#calligraphymasters

#cmilymm

#calligraphymasterschallenges

#calligraphycommunity #calligraphylove #calligraphymasters #italiccalligraphy #italic #handlettering

@calligraphymasters

#rolfpens

#rulingpenrolfpens

#gesturalcalligraphy

#rolfpenscalligraphy

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[kashmirahead]

Kashmiri youth's talent displayed at art exhibition held in Polo View Ma...

An art exhibition was held in Srinagar’s Polo View Market. Saika Rashid, a female artist from Srinagar displayed her work. She does abstract art, modern art and fuses it with calligraphy so that it looks more beautiful. Works of Tamseel Tabasum, a female artist who does printmaking which is new in Kashmir were also on display. To make her art she makes use of carved wood. Murran Masudi, another female artist, is a student of Kashmir University. The Fine Arts Department held an art exhibition in Srinagar Polo View Market with the theme Youth United. Murran converted her photographic series into paintings which have been displayed at the exhibition. The paintings depicted how self and nature are one. Saufin Abdullah, a male artist and a student of University of Fine Arts and Music from the University of Kashmir showed through his artwork how the seniors in Kashmir spent time on the verandah. Tamseel elaborating on her printmaking art work said, a design is carved on the wood then we apply colour and print it on paper. According to Murran, art is an inspiration. The whole creation is based on art only. So this art exhibition will definitely inspire people, she feels. Tamseel says there are many students who cannot go out of Kashmir to pursue higher studies. So a Masters and PH D in Fine Arts should be started here. Saufin said nowadays many people are getting interested in seeing and appreciating art. A lot of people came to the Polo View Market to the exhibition venue to click photographs. Saika says there are many hidden talents in Kashmir. More such platforms should be available so that the Kashmiri youth goes in the right direction, progresses and brings their talent in front of the whole world. Saufin sent out a message to the youth through this video that they should discontinue their bad activities and give attention to their passion.  

[nicks-lunchbox-service]

Peter Pan Donut & Pastry Shop.

The best donuts in Greenpoint! The best donuts in Brooklyn. The best donuts in New York City. The best donuts in the world?

Peter Pan Donut is family owned and operated for over 60 years. My first apartment in NYC was in Greenpoint, and I remember this place from then. Still so good, it just gets better and better.

Watercolor and ink on paper. For the ink, I used sumi ink with a Japanese calligraphy brush and Dr. Ph Martin's ink and a pen with a metal nib for the text.

PRINTS and ORIGINAL available... up on the Etsy  https://etsy.me/3Jk4gas

[setherpiecemasterpiece]

Art Collab 001 | July 2020

"Be The One To Guide Me But Never Hold Me Down"

Text and Sketch by Benchard Bichayda (@doctorcalligrapher) Illustrated by Keith Nicodemus (@itskeithdannic)

Edited in Adobe Photoshop CC 2019 . . . . . #art #artph #artcollab #artlovers #artoftype #artist #artsy #artwork #calligraphy #calligraphyph #design #designspiration #digitalart #digitalillustration #goodtype #graphicdesign #illustration #lettering #space #thedailytype #text #textart #typegang #typematters #typography #typespire #vectorart #visualart #DoctorCalligrapher #Setherpiece

[maaaaarilag-blog]

[cee5787418]

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