gri_2003_m_46_b05_f11_008
- Max. dissimilarity: 0.062
- Mean dissimilarity: 0.033
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Transcribers
- 68820275 - jesseytucker
- WINNER - 69124465 - tinkapuppy
- 69490615 - marcinj
- 69742636 - databanana
- 71521118 - Preacher357
- 71588815 - Judith.Taylor
68820275 - jesseytucker
TRAJAN'S COLUMN THREEAntiqua or letter anticha formata and Lettera anticha
corsiva. Nevertheless Mr. West's book is an informative and en-
thusiastic introduction to the subject.
Mr. John C. Tarr's Good Handwriting and How to Acquire It
is, alone of the books reviewed here, practical. He offers
instruction in the acquisition of the chancery script and
discusses bad hands of various kinds--a chapter which prompted
personal disquiet in one reader, at least. Chancery is recommended
for Clarity, Speed, Beauty, and Pleasantness. There is useful
advice on pen-nibs, models to be imitated, margins, paper, and
rational flourishes.
'Who will deny', Mr. West demands, 'that a letter written by
hand will impart something that is direct between friends, and
that it is a gesture no machine can make?' I will. To assert
tis is to be guilty of a sentimental, anti-mechanistic bias with
which handwriting--if it is to prosper in a machine age--should
not be associated. William Morris (with whom modern handwriting
has a direct link via Edward Johnston and Sir Sidney Cockerell-
Morris' secretary) made the mistake of resisting the machine emotionally
instead of attempting to humanize and improve its products. The
machine need not be 'inhuman': after all, the first italic type
of Aldus Manutius, which has influenced even typwriter letters,
was based on hand-written italic.
Fairbank, Blunt, West, and Tarr all admire the Renaissance.
It is to their credit that they do. The band they recommend is
charged with humanistic associations. As Mr. West points out, 'to
WINNER - 69124465 - tinkapuppy
TRAJAN'S COLUMN THREEANTIQUA antiqua or lettera anticha formata and Lettera anticha
corsiva. Nevertheless Mr. West's book is an informative and en-
thusiastic introduction to the subject.
Mr. John C. Tarr's Good Handwriting and How to Acquire It
is, alone of the books reviewed here, practical. He offers
instruction in the acquisition of the chancery script and
discusses bad hands of various kinds - a chapter which prompted
personal disquiet in one reader, at least. Chancery is recommended
for Clarity, Speed, Beauty and Pleasantness. There is useful
advice on pen-nibs, models to be imitated, margins, paper, and
rational flourishes.
'Who will deny', Mr. West demands, 'that a letter written by
hand will impart something that is direct between friends, and
that it is a gesture no machine can make?' I will. To assert
this is to be guilty of a sentimental, anti-mechanistic bias with
which handwriting - if it is to prosper in a machine age - should
not be associated. William Morris (with whom modern handwriting
has a direct link via Edward Johnston and Sir Sidney Cockerell -
Morris' secretary) made the mistake of resisting the machine emotionally
instead of attempting to humanize and improve its products. The
machine need not be 'inhuman': after all, the first italic type
of Aldus Manutius, which has influenced even typewriter letters,
was based on hand-written italic.
Fairbank, Blunt, West and Tarr all admire the Renaissance.
It is to their credit that they do. The hand they recommend is
charged with humanistic associations. As Mr. West points out, 'to
69490615 - marcinj
TRAJAN'S COLUMN THREEantiqua or lettera anticha formata and Lettera anticha
corsiva. Nevertheless Mr. West's book is an informative and en-
thusiastic introduction to the subject.
Mr. John C. Tarr's Good Handwriting and How to Acquire It
is, alone of the books reviewed here, practical. He offers
instruction in the acquisition of the chancery script and
discusses bad hands of various kinds- a chapter which prompted
personal disquiet in one reader, at least. Chancery is recommended
for Clarity, Speed, Beauty, and Pleasantness. There is useful
advice on pen-nibs, models to be imitated, margins, paper, and rational flourishes.
'Who will deny', Mr. West demands, 'that a letter written by
hand will impart something that is direct between friends, and
that it is a gesture no machine can make?' I will. To assert
this is to be guilty of a sentimental, anti-mechanistic bias with
which handwriting- if it is to prosper in a machine age- should
not be associated. William Morris (with whom modern handwriting
has a direct link via Edward Johnston and Sir Sidney Cockerell-
Morris' secretary) made the mistake of resisting the machine emotionally
instead of attempting to humanise and improve its products. The
machine need not be 'inhuman': after all, the first italic type
of Aldus Manutius, which has influenced even typewriter letters,
was based on hand-written italic.
Fairbank, Blunt, West, and Tarr all admire the Renaissance.
It is to their credit that they do. The hand they recommend is
charged with humanistic associations. As Mr. West points out, 'to
69742636 - databanana
Trajan's Column Threeantiqua or lettera anticha formata and Lettera anticha corsiva. Nevertheless Mr West's book is an informative and enthusiastic introduction to the subject.
Mr John C. Tarr's Good Handwriting and How to Aquire It is, alone of the book reviewed here, practical. He offers instrucion in the acquisition of the chancery script and discusses bad hands of various kinds, a chapter which prompted personal disquiet in one reader, at least. Chancey is recommended for Clarity, Speed, Beauty, and Pleasantness. There is useful advice on pen-nibs, models to be imitated, margins, paper, and rational flourishes.
'Who will deny', Mr West demands, 'that a letter written by hand will impart something that is direct between friends, and that it is a gesture no machine can make?' I will. To assert this is to be guilty of a sentimental, anti-mechanistic bias with which handwriting - if it is to prosper in a machine age - should not be associated. William Morris (with whom modern handwriting has a direct link via Edward Johnston and Sir Sidney Cockerell - Morris' secretary) made the mistake of resisting the machine emotionally instead of attempting to humanise and improve its products. The machine need not be 'inhuman': after all, the first italic type of Aldus Manutius, which has influenced even typewriter letters was based on hand-written italic.
Fairbank, Blunt, West, and Tarr all admire the Renaissance. It is to their credit that they do. The hand they recommend is charged with humanistic associations. As Mr West points out, 'to
71521118 - Preacher357
TRAJAN'S COLUMN THREEantiqua or lettera anticha formata and Lettera anticha
corsiva. Nevertheless Mr West's book is an informative and en-
thusiastic introduction to the subject.
Mr John C. Tarr's Good Handwriting and How to Acqire It
is, alone of the books reviewed here, practical. He offers
instructions in the acquisition of the chancery script and
discusses bad hands of various kinds - a chapter which prompted
personal disquiet in one reader, at least. Chancery is recommended
for Clarity, Speed, Beauty, and Pleasantness. There is useful
advice on pen-nibs, models to be imitated, margins, paper, and
rational flourishes.
'Who will deny'. Mr West demands, 'that a letter written by
hand will impart something that is direct between friends, and
that it is a gesture no machine can make?' I will. To assert
this is to be guilty of a sentimental, anti-mechanistic bias with
which handwriting - if it is to prosper in a machine age - should
not be associated. William Morris (with whom modern handwriting
has a direct link via Edward Johnston and Sir Sidney Cockerell -
Morris' secretary) made the mistake of resisting the machine emotionally
instead of attempting to humanise and improve its products. The
machine need not be 'inhuman': after all, the first italic type
of Aldus Manutius, which has influenced even typewriter letters,
was based on hand-written italic.
Fairbank, Blunt, West, and Tarr all admire the Renaissance.
It is to their credit that they do. The hand they recommend is
charged with humanistic associations. As Mr West points out, 'to
71588815 - Judith.Taylor
TRAJAN's COLUMN THREEantiqua or lettera anticha formata and Lettera anticha
corsiva. Nevertheless Mr West's book is an informative and en
thusiastic introduction to the subject.
Mr John C. Tarr's Good Handwriting and How to Acquire It
is, alone of the books reviewed here, practical. He offers
instruction in the acquisition of the chancery script and
discusses bad hands of various kinds - a chapter which prompted
personol disquiet in one reader, at least. Chancery is recommended
for Clarity, Speed, Beauty and Pleasantness. There is useful
advice on pen-nibs, models to be imitated, margins, paper and
rational flourishes.
'Who will deny', Mr West demands, 'that a letter written by
hand will impart something that is direct between friends, and
that is a gesture no machine can make?' I will. To asset
this is to be guilty of a sentimental, any-mechanistic bias with
which handwriting - if it is to prosper in a machine age - should
not be associated. William Norris (with whom modern handwriting
has a direct link via Edward Johnston and Sir Sidney Cockerell -
Morris' secretary) made the mistake of resisting the machine emotionally
instead of attempting to humanise and improve its products. The
machine needed not to be 'inhuman': after all, the first italic type
of Aldus Manutius, which has influenced even typewriter letters,
was based on hand-written italic.
Fairbank, Blunt, West and Tarr all admire the Renaissance.
If is to their credit that they do. The hand they recommend is
charged with humanistic associations. As Mr West points out, 'to