stroke

The noun is derived from Middle English strok, stroke (“blow from a weapon, cut”), from Old English strāc, from Proto-West Germanic *straik, from Proto-Germanic *straikaz (“stroke”), from Proto-Indo-European *streyg- (“to rub, stroke; to shear; to strike”).
Sense 3.6.2.2 (“the oblique, slash, or virgule (‘/’)”) is a contraction of oblique stroke, a variant of oblique which was originally used in telegraphy.
The verb is derived from the noun.
cognates
* German Streich (“stroke”)
* Middle Low German strēk (“stroke, trick, prank”)
* Scots strak, strake, straik (“blow, stroke”)

isku

one of a series of beats or movements against a resisting medium, by means of which movement through or upon it is accomplished

ход

single movement or thrust of a part (such as a piston) of a machine that moves back and forth; length of this movement

خَطّ

line or mark made on a surface by an implement for drawing, writing, etc.

A single movement of a paintbrush, chisel, pen, pencil, or similar implement; a line or mark made by such an implement.

(linguistics, calligraphy, typography) A line making up a written character.

筆畫

line making up a written character; specifically, a Chinese, Japanese, or Korean character


boustrophedon

Borrowed from Ancient Greek βουστροφηδόν (boustrophēdón, literally “turning like an ox”), from βοῦς (boûs, “ox”) + στροφή (strophḗ, “turning”) + -ηδόν (-ēdón, adverbial suffix).

bor+

βουστροφηδόν

af

(historical, calligraphy, of writing) In a fashion such that the reading direction changes from right-to-left to left-to-right with each new line.


boustrophedon

bor+

βουστροφηδόν

(historical, calligraphy, of writing) Written from right-to-left and left-to-right on alternate lines.


boustrophedon

en-noun

boustrophedon (countable and uncountable, plural boustrophedons)

bor+

βουστροφηδόν

The number of Attic boustrophedon texts is fairly small; most of those just cited have been brought down by the experts to a date close to 550 B.C., a date to which several texts of more than one line inscribed left to right may also be assigned (cf. pp.56—57 infra), besides the four-line retrograde sep. mon. of Pediarchus cited in the previous section (cf. p.52 supra). Stone texts only really become numerous in Attica about 550, and by this time it is clear that left-to-right writing is just as common as boustrophedon, and may have been so even earlier.[…]After 540 boustrophedon was certainly unusual.

1980, Leslie Threatte, The Grammar of Attic Inscriptions: Phonology, page 55:

(Venetic apparently had both kinds of boustrophedon, either flipping the face of the characters when switching direction or else inverting them (Lejeune, 1974, pages 180-181).)

2000, Richard Sproat, A Computational Theory of Writing Systems, page 61:

He draws a sharp distinction between true boustrophedon, which has the tops of the runes pointed in the same direction, but with a change in the direction of writing with each line, and false boustrophedon, which changes from upright to inverted runes with each line, but the lines themselves are each written in the same direction.

2002, Elmer H. Antonsen, Runes and Germanic Linguistics, page 132:

(historical, calligraphy, of writing) Writing that is right-to-left and left-to-right on alternate lines.

بُطْرُفَة

writing that is alternately right-to-left and left-to-right


initial

From Middle French initial or directly from its Latin etymon initiālis (“of the beginning, incipient, initial”), from initium (“a going in, entrance, beginning”), from inire (“to go in, enter upon, begin”), from in (“in”) + ire (“to go”).

(typography, calligraphy) A distinguished initial letter of a chapter or section of a document.

caplletra

calligraphy: distinguished initial letter


black letter

en-noun

black letter (countable and uncountable, plural black letters)

Also we discovered what is still more curious, an English version of the black-letter Latin.

1886 October – 1887 January, H[enry] Rider Haggard, She: A History of Adventure, London: Longmans, Green, and Co., published 1887, →OCLC:

The original boldface printing types are the blackletters used by Gutenberg in the 1440s. For the next two centuries, blackletter fonts were widely used not only in Germany but in France, Spain, the Netherlands and Engand.

2002, Robert Bringhurst, The Elements of Typographic Style (version 2.5), Vancouver: Hartley & Marks, →ISBN, page 103:

(calligraphy) A highly calligraphic Western European script style used from approximately 1150.

(typography) A Northern European style of type based on the script, with contrasting thick-and-thin, angular strokes forming upright letterforms, and usually set with a dark typographic colour on the page.


versal

(typography, calligraphy) Ornamental letter that begins a section


monoline

[…] monolines appear everywhere in the art of the Western letter, and have shaped the alphabet's development as much as the edged line of the broad pen.

1984, Margaret Shepherd, Calligraphy Now, page 31:

(calligraphy) A font line of consistent width, as occurs when imitating pencil script.


Thuluth

(art, chiefly calligraphy) An Arabic script style.


secretary hand

secretary hand (countable and uncountable, plural secretary hands)

It is written in three different Secretary hands: the first finishing at stanza 9 but with stanzas unnumbered,[…].

1961, Bernard Mellor, The Poems of Sir Francis Hubert, page 280:

When Mercy Harvey advised the nobleman to imitate her handwriting, she specified that he should write the address on the outside of the letter in "a small raggid secretary hand."

1998, Eve Rachele Sanders, Gender and Literacy on Stage in Early Modern England, page 173:

There are five scribes, all using variations on Secretary hands consistent with the third quarter of the fifteenth century.

2004, “Introduction”, in Stephen H. A. Shepherd, editor, Turpines Story, page xvi:

While originating at the end of the medieval period, the secretary hand was not widely employed until the early modern period, by which time it had completely displaced the earlier court hands.

2004, “Introduction”, in Helen Ostovich, Elizabeth Sauer, editors, Reading Early Modern Women: An Anthology of Texts in Manuscript and Print, 1550 - 1700, page 7:

Most authors, including dramatists, used both a separate secretary and an italic hand; in many cases the secretary hand was used for composing (that is, cursive or fluent) writing and italic for more formal copying.

2006, Grace Ioppolo, Dramatists and Their Manuscripts in the Age of Shakespeare, Jonson, Middleton and Heywood, page 84:

(historical, calligraphy) A style of handwriting developed in Europe and used during the 16th and 17th centuries for writing English, German, Welsh and Gaelic; a variety of this style.


chancery hand

It begins like a transcript, at the top of the page, without the least appearance or form of an intended original : it is written in the common secretary hand of ,the age, which Crawford mistook for a chancery hand;[…].

1819, Malcolm Laing, The History of Scotland, volume 1, page 373:

Her name, from Crawford's example of it, seems to me to be written in the same chancery hand, which renders the supposed forgery a mere copy, mistaken by Welwood for the original.

1830, John Pinkerton, The Literary Correspondence of John Pinkerton, Esq., volume 2, page 112:

But, unlike his posterity, Hercolani did not carry this sort of pleasantry too far, and his book remains a splendid specimen of the late chancery hand distinguished by decorative treatment of the ascenders and descenders and a discreet flourishing of initial and terminal letters.

2009, Stanley Morison, Selected Essays on the History of Letter-forms in Manuscript and Print, page 165:

(calligraphy, historical) Either of two styles of handwriting: a written form of black letter used in France and England from about 1350, developed in the Lateran chancelry in the 13th century, or a style of cursive handwriting introduced in the 1420s by Niccolò de' Niccoli, developed from humanist minuscule; a variety of either of these styles.


Carolingian minuscule

Carolingian minuscule (usually uncountable, plural Carolingian minuscules)

The Carolingian minuscule, which we have already found brought to perfection at Tours and at other centres of France, was the literary hand of the Frankish Empire, and extended its influence and was gradually adopted in neighbouring countries.

1912, Edward Maunde Thompson, An Introduction to Greek and Latin Palaeography, published 2013, page 403:

The Carolingian empire did not endure past the 9th century; yet Carolingian minuscule survived in France well into the 12th century, as it continued to be the preferred style of writing in monastic book production.

1995, William W. Kibler, editor, Medieval France: An Encyclopedia, page 1304:

Later Merovingian hands, however, often from Italy and drawing heavily from half uncials, prefigured the later Carolingian minuscule and achieved a certain graceful legibility.

2001, Steven Roger Fischer, History of Writing, published 2003, page 247:

(calligraphy, historical) A script developed to standardise writing in the Latin alphabet throughout the Holy Roman Empire, used between approximately 800 and 1200 CE.

Written in black ink in Carolingian minuscules, holdings are identified by reference to the vill in which they were situated and their assessment is noted, whilst the lord in 1086 is indicated by an interlineation in red in the same hand.

2000, David Roffe, Domesday: The Inquest and the Book, page 85:

(calligraphy, usually in the plural) A character written in the script.


kionedon

From Ancient Greek κιονηδόν (kionēdón), from κίων (kíōn, “pillar”) + -ηδον (-ēdon, “adverbial suffix”).

(historical, calligraphy, of writing) in a vertical manner, as on a pillar (kion); in vertical lines from top to bottom.


kionedon

(historical, calligraphy, of writing) Written in a vertical manner, as on a pillar (kion)


kionedon

(historical, calligraphy, of writing) Writing that is vertical, as on a pillar (kion)


stoichedon

From Ancient Greek στοιχηδόν (stoikhēdón), from στοῖχος (stoîkhos, “row”) + -ηδον (-ēdon, “in the manner of”).

(historical, calligraphy) An epigraphical form in which the letters are arranged as rows and columns within a grid arrangement.


flying white

zh-l

飛白／飞白 (fēibái)

(Chinese calligraphy) A kind of calligraphic technique that involves applying a relatively dry brush at high speed to create dry, streaky strokes.


vyaz

(calligraphy) A traditional lettering style for Cyrillic and Slavosphere Latin, slender, ornate and interweaving.