(02-10-2024, 08:51 PM)Koen G Wrote: You are not allowed to view links. Register or Login to view.Your examples of EVA-q with faint descender are quite interesting. Isn't that exactly what we see with p-like letters in the You are not allowed to view links. Register or Login to view. Latin script?
I'm not sure which of p-like letters you are referring to, there are a few of them on f116v. As far as I understand, some of them do have descenders, some don't have any detectable descenders at all. Overall, the transitions there do not look as sharp to me.
Quote:Is it possible that this is a bizarre consequence of the presumably imperfect way the VM scribe(s) cut their quills, which caused ink to flow differently depending on the type of stroke?
Well, they are truly the masters of imperfection those scribes
(03-10-2024, 05:57 PM)oshfdk Wrote: You are not allowed to view links. Register or Login to view.I've found the same kind of sharp transition from the dark to light ink in EVA y on You are not allowed to view links. Register or Login to view. (marked with a red arrow), so it's not limited to EVA q's. Could this be a retouch job?
I went looking for a definite example of a retouch job for comparison. Here's one where the text was originally written in 1560 and was conspicuously touched up sometime thereafter by (apparently) the same notary after the page got rubbed and dirtied.
[
attachment=9313]
Here's another detail from a couple pages back in the same document that does
not appear to have been retouched, but that shows a lot of variation in ink darkness, including a number of sharp "breaks" similar to the ones we've been considering in the VMs on [q] and other glyphs. This variation encompasses most of each page for several pages, but
not the several lines at the bottom of each page, so it might have something to do with the preparation or condition of the writing surface.
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attachment=9314]
This is on paper rather than vellum, but after comparing a number of paper and vellum sources I don't get the sense that there's much difference in how the ink behaves, at least as far as this particular phenomenon goes.
My hope was that differences in ink darkness in the VMs could be used to gain insight into when a scribe paused during writing, since that could have implications for an encoding method. For example, if the writer consistently wrote [chor] as [cho] (pause) [r], or [char] as [ch] (pause) [ar], that could potentially reveal something about the meaningful units or building-blocks of Voynichese. There
does seem to be some such patterning among light/dark contrasts. But the more I look at other documents and read others' thoughts here, the less sure I am what to make of it.
(04-10-2024, 12:49 PM)pfeaster Wrote: You are not allowed to view links. Register or Login to view.My hope was that differences in ink darkness in the VMs could be used to gain insight into when a scribe paused during writing, since that could have implications for an encoding method. For example, if the writer consistently wrote [chor] as [cho] (pause) [r], or [char] as [ch] (pause) [ar], that could potentially reveal something about the meaningful units or building-blocks of Voynichese. There does seem to be some such patterning among light/dark contrasts. But the more I look at other documents and read others' thoughts here, the less sure I am what to make of it.
I think finding out the stroke order of each voynich glyph would be more insightful. I wanted to make a post about that, but I'm not an expert.
If you're interested in ink colours and handwriting, this isn't bad. Many things are visible side by side.
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