Solitreo, a traditionally Sephardi script, is the predecessor of the Ashkenazi cursive currently used for handwriting in modern Israel.

With the decline of Ladino, examples of Solitreo have become scarce.

The February 2012 digitization of a Jewish merchant's memoir from late 19th century Salonica, Ottoman Empire ( modern Thessaloniki, Greece ) by scholars from Stanford University provided a new, high-quality resource for scholars of Ladino and Solitreo.

* LadinoType-A Ladino Transliteration System for Solitreo, Meruba, and Rashi

The two forms differ from each other primarily in that Solitreo uses far more ligatures than the Ashkenazi script, creating a more flowing style resembling Arabic.

It is written from right to left, in a cursive style, and includes 28 letters.

A cursive Hebrew script is used in handwriting: the letters tend to be more circular in form when written in cursive, and sometimes vary markedly from their printed equivalents.

It did have a Roman cursive used for rapid writing, which is not represented in this article.

If the lower case L is used as the symbol, it is sometimes rendered as a cursive ℓ to help distinguish it from the capital " I ", although this usage has no official approval by any international bureau.

On the other hand, while minuscule scripts can be written with pen-lift, they may also be cursive, that is, use little or no pen-lift.

* In Russian cursive, as well as in some others based on the Cyrillic script ( for example, Macedonian ), a lowercase Т looks like a lowercase m, and a macron is often used to distinguish it from Ш, which looks like a lowercase w ( see Т ).

Recognition of cursive text is an active area of research, with recognition rates even lower than that of hand-printed text.

This produces several benefits: 1 ) it speeds up handwriting because fewer pen-lifts are required ; 2 ) the alphabet takes on a more cursive and fluid appearance, which is artistically attractive ; and 3 ) most importantly, it increases the variability of the word-shapes.

Unicode character is a cursive development of this symbol.

The modern italic type ampersand is a kind of et-ligature that goes back to the cursive scripts developed during the Renaissance.

Calligraphy is widely practiced in China, which employs cursive scripts such as Kaishu, Xingshu, and Caoshu.

D ' Nealian ( named after its designer, Donald Neal Thurber ) is a derivative of the Palmer Method and uses a slanted, serifed manuscript form followed by an entirely joined and looped cursive of the typical American variety.

Getty-Dubay ( named after its designers, Barbara Getty and Inga Dubay ) is an Italic hand and uses a slightly slanted, optionally serifed Italic manuscript followed by a partially joined, unlooped Italic cursive with letter-forms similar to those of Italic manuscript.

The road jersey is gray with the cursive " Newark " wordmark in navy blue, centered diagonally across the front.

Even though both the running and grass scripts appear to be derived as semi-cursive and cursive variants of regular script, it is in fact the regular script that was the last to develop.

Hieratic refers to a cursive writing system that was used in the provenance of the pharaohs in Egypt and Nubia that developed alongside the hieroglyphic system, to which it is intimately related.

Hieratic is noted for its cursive nature and use of ligatures for a number of characters.

Hieratic is often present in any given period in two forms, a highly ligatured, cursive businesshand used for administrative documents, and a broad uncial bookhand used for literary, scientific, and religious texts.

First is to make the study of cursive Egyptian script more attainable.

Japanese also has its own variously cursive form of writing kanji characters, the most extremely simplified of which is known as Sōsho.

Early uncial script is likely to have developed from late Old Roman cursive.

An example is 20px, which is a cursive form of 無 ( meaning " nothing ").

( Since the time-span of the nation-state coincides roughly with the separate existence of the United States as an independent entity, it is perhaps natural for Americans to think of the nation as representative of the highest form of order, something permanent and unchanging.

And it is expressed, at least to their taste, in a perfect form.

The unit of form is determined subjectively: `` the Heart, by the way of the Breath, to the Line ''.

The test of form is fidelity to the experience, a gauge also accepted by the abstract expressionist painters.

But in this approach it is the artist's ultimate insight, rather than his immediate impressions, that gives form to the work.

It is through the metamorphosed dancer that the germ of form is discovered.

It only means that there will be new form, and that this form will be of such a type that it admits the chaos and does not try to say that the chaos is really something else.

That is why the form itself becomes a preoccupation, because it exists as a problem separate from the material it accommodates.

To find a form that accommodates the mess, that is the task of the artist now ''.

Though sex in some form or other enters into all human activity and it was a good thing that Freud emphasized this aspect of human nature, it is fantastic to explain everything in terms of sex.

How is the beat poet to achieve unity of form when he is at the same time engaged in a systematic derangement of senses.

But the highroad, according to the description of its traffic, belongs to life as it is lived in unawareness of death, while the way to the churchyard belongs to some other sort of life: a suffering form, an existence wholly comprised in the awareness of death.

And if I have gone into so much detail about so small a work, that is because it is also so typical a work, representing the germinal form of a conflict which remains essential in Mann's writing: the crude sketch of Piepsam contains, in its critical, destructive and self-destructive tendencies, much that is enlarged and illuminated in the figures of, for instance, Naphta and Leverkuhn.

All such imitations of negative quality have given rise to a compensatory response in the form of a heroic and highly individualistic humanism: if man can neither know nor love reality as it is, he can at least invent an artistic `` reality '' which is its own world and which can speak to man of purely personal and subjective qualities capable of being known and worthy of being loved.

Whitehead contends that the human way of understanding existence as a unity of interlocking and interdependent processes which constitute each other and which cause each other to be and not to be is possible only because the basic form of such an understanding, for all its vagueness and tendency to mistake the detail, is initially given in the way man feels the world.

In a bold, sometimes careless, form there is nothing academic ; ;

This is brought out in the next to last chapter of the book, `` A Hero's Funeral '', written in the form of an impassioned prose poem.

But let us not complain of the evils of capitalism by referring to a form that is not truly capitalistic.