Fonts for learning to write fall into various categories. Some are intended to develop school exercises, others to facilitate the acquisition of writing through reading, and some character designers are aimed at the public of parents wanting to advance their children or even adolescents and adults wishing to correct or improve their handwriting. For many, these notebook fonts are still synonymous with elegant, decorative writing, such as the so-called English cursive writing, or script, architectural plans. You can choose Fancy fonts generator for the same.
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The decision of the Ministry of Education to provide schools with fonts intended to facilitate the fluidity of writing and note-taking gives the opportunity to take an interest in some of these fonts from the group of so-called Latin scripts.
Initially designed so that students could reproduce the handwriting of employees in writing or civil servants, the more recent fonts have other educational aims, and seek less to please than to facilitate directed acquisition or self-learning. Learning to write. We tried to separate these fonts and ask ourselves: Will their evolution depend on new methods of optical handwriting recognition and the creation of optimized fonts for display on screens? The future ducts correct will it be influenced by technical developments?
First of all, what fonts are we talking about?
Of those which we will qualify, according to an ad hoc expression, of notebook fonts.Either school fonts, intended for teachers or parents of students, and not publishing fonts that have been designed to facilitate the reading of works reserved for a young audience. Is this distinction valid? Yes, if we are to believe some creators who felt the need to design two ranges of families, one intended to facilitate learning, the other reserved for publishers.
This is the case of P’tit François, by Olivier Nineuiland Evelyn Audureau, whose families (script and cursive) are divided into families called “Education”, which “conform to the rules of school notebooks (lineages“Seyes”, or“tunnels”for kindergarten)” and say “Book” (“with short rising [and] tighter spacing [for] the composition of the texts to be read”). Each family has four styles (Medium, Medium Italic, Bold, and Bold Italic).
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Things get complicated with composite, educational and special fonts, which are meant to make it easier to compose examples made by parents or teachers. At its simplest, we have, for example, the fonts of Jean-Marie Douteau, which are divided between fonts for learning to write (the range of Écolier fonts, made up of two common fonts, one with short descenders, the another with long descenders, with three variants also including rulers, one for preparatory classes, two others taking up the difference in length of the descendants), and fonts dedicated to reading exercises, the Obase and Odumo. Assuming that the upper part of the characters makes it possible to distinguish them, these fonts contain letters whose lower part does not appear.
The creators of such “composite” fonts deploy a wealth of imagination to facilitate the task of parents and school teachers. They are often teachers, active or retired. Thus, those of Bernard Vivier (BV-Ronde and others) are accompanied by so-called box versions (to print rectangles in which the child will trace the letter). He also provided tips for reproducing three kinds of rules. The letters of its fonts, if composed after using key shortcuts (AltGr + key little used for French) will be aligned in the rules.