Bibliographic record
Abstract
Language Culture Type International Type Design in Age of Unicode John D. Berry, editor New York: Association Typographique Internationale (AtypI), 2002 Hardbound, 374 pages extensively illustrated, some signatures in color, $60 Designed by Maxim Zhukov ISBN 1-932026-01-0 Initiated by a desire to promote cultural pluralism, this handsome book is ATypI's first large scale foray into publishing. Based on a type design competition, titled 'bukva:raz! ('letter:one!' in Russian), it coincided with the United Nation's Year of Dialogue among Civilizations in 2001. The book contains two large sections: the first is a series of articles about various aspects of type design and its use; the second is the result of the competition. The book is best examined in reverse order. The competition celebrates the best typefaces designed over five years from 1996 to 2001. Over one hundred typefaces featuring fourteen different alphabets and writing systems are represented in five categories: text designs, display designs, text/display type systems, type superfamilies and pi fonts. Winning entries are presented as a spread with the typeface, a brief biography of its designer, the typeface as used in a setting and a brief reflection on the development of the font, which includes historical references, descriptions of the experimental context for letterform development or calligraphic origins as appropriate. The end result is a feast for the eyes. Two entries in particular characterize the spirit of this enterprise. DenHaag, designed by Alexander Tarbeev and Marwel Shmavonyan, is a multilingual sans serif typeface supporting Armenian, Cyrillic, Greek, Hebrew and Latin scripts. Pigiarniq, designed by Wm. Ross Mills and commissioned by the Canadian Territorial Government of Nunavut, is a family of multiscript fonts used for Latin and syllabic scripts. The fonts are simplified sans serifs to support combined settings of these scripts. Yet another cross-writing system entry is Really, a serif font family designed by Gary Munch, for Cyrillic, Greek and Latin systems. The quality of 'bukva:raz!' is exceptional. Given the linguistic limitations of most individuals (judges included), examining and judging the fonts submitted for language systems others than one's own or one closely associated with the norms of one's writing system, must have been a serious challenge. Appreciating the visual rhythm of the written language, its peculiarities whether positive or negative in regard to both form and space from an aesthetic point of view, must have engendered some interesting discussion among the judges. The judges included: Matthew Garter, Yuri Gherchuk, Akira Kobayashi, Lyubov Kuznetsova, Gerry Leonidas, Fiona Ross and Vladimir Yefimov. Maxim Zhukov, who has focused years of attention and much experience on multilingual typography, chaired the judging. Switching now to the first half of the book, there are eleven essays. Robert Bringhurst's essay, Voices, languages and scripts around the globe, observes that the most prominent alphabets are Latin, Greek and Cyrillic. But their distribution and use among language families is not systematic based on sound systems or similarity across languages. For example, Latin script is used beyond English or the romance languages for such diverse tongues as Finnish, Turkish, Basque, Vietnamese and Native American languages to name a few. This essay provides a global context in which to appreciate the contents of the book. Bringhurst applauds and criticizes the 'official' nature of The World's Writing Systems (Daniels & Bright, 1996) and proposes a classification system based on the work of both Peter Daniels and his teacher I. …
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.004 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.002 | 0.003 |
| Science and technology studies | 0.003 | 0.002 |
| Scholarly communication | 0.015 | 0.009 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.001 | 0.003 |
| Insufficient payload (model declined to judge) | 0.116 | 0.057 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".