22/10/2008
The Art of Looking Sideways by Alan Fletcher
The Art of Looking Sideways' by Alan Fletcher is the ultimate guide to visual awareness, a magical compilation that will entertain and inspire all those who enjoy the interplay between word and image, and who relish the odd and the unexpected.
14/10/2008
06/10/2008
The creation of a typeface
by Jean-François Porchez' work on Le Monde.
The creation of a typeface for Le Monde began with a proposal by its designer, Jean- François Porchez, to the newspaper's director, Jean-Marie Colombani. The brief was to create a new typeface that was horizontal, with an oblique axis, and with an improvement in legibility. It was a departure from the Times Roman 9/9 pt that the paper had been using at that stage. [Ler mais...]
The creation of a typeface for Le Monde began with a proposal by its designer, Jean- François Porchez, to the newspaper's director, Jean-Marie Colombani. The brief was to create a new typeface that was horizontal, with an oblique axis, and with an improvement in legibility. It was a departure from the Times Roman 9/9 pt that the paper had been using at that stage. [Ler mais...]
Brody Neuenschwander _Biography
. . . "If this is calligraphy, then it is calligraphy without precedent."
[bellelettere.it]
"Nasceu em Houston, Texas, em 1958. Tendo sempre demonstrado um interesse vasto pela arte, história, literatura e caligrafia, graduou-se em 1981, na Universidade de Princeton, com elevadas honras pela sua tese sobre as técnicas das iluminuras de manuscritos medievais. Cinco anos mais tarde, e agora no “Courtauld Institute” em Londres, tirou o doutoramento em Metodologia da História da Arte Alemã, sendo que, simultaneamente estudava caligrafia no “Roedhampton Institute”. A sua primeira experiência profissional teve lugar enquanto assistente do calígrafo inglês Donald Jackson, durante um ano, e no qual esteve ligado sobretudo à caligrafia tradicional e cerimonial, executando também um trabalho bastante repetitivo. Este seria um primeiro passo para a continuação de Neuenschwander no universo da caligrafia, contudo, o seu trabalho seguiu um rumo bastante distinto daquele ao qual correspondeu o início da sua carreira profissional." [Ler mais...] > Sebenta de Design
Brody Neuenschwander was born in Houston, Texas in 1958. His eighth year was spent in Germany, and it affected him profoundly. He learned a new language and a new culture, something that made him a bit of an outsider when he returned home. Neuenschwander returned to Europe as often as he could, eventually developing a fascination bordering on obsession with medieval culture.
As might be expect, his interest in calligraphy grew from his interest in history. As a teenager he was William Morris reincarnate, making manuscripts and tapestries, armor and wall paintings with a monumental enthusiasm. At Princeton University he was appointed University Scholar, a position that allowed him to devote almost all his time (when he wasn’t rowing) to art history, graduating in 1981 with high honors for his thesis on the techniques of medieval manuscript illumination.
Neuenschwander went straight from Princeton to the Courtauld Institute in London, where he completed his doctorate on the methodology of German art history in 1986. At the same time he studied calligraphy at the Roedhampton Institute. The cross-fertilization that resulted from doing academic and practical studies at the same time has influenced all his subsequent work. The objects studied by art historians are, for Neuenschwander, things that were made by human hands. The structure of the atelier and the properties of the materials are as important to him as the social context of their creation.
Neuenschwander began his professional career as assistant to Donald Jackson, an English calligrapher living on the Welsh borders. For a year Neuenschwander did repetitive studio work, mostly traditional ceremonial pieces. This allowed the techniques he had learned in London to become completely internalized. But it also allowed certain doubts about the validity of calligraphy in modern culture to surface.
In the years that followed Neuenschwander began asking fundamental questions about calligraphy. What is it? How is it used? Where should it be headed? What models should we be looking at?
As luck would have it, this was the very moment that his long collaboration with the English film director Peter Greenaway began. Greenaway, who wanted Neuenschwander to provide live-action calligraphy for the film “Prospero’s Books”, grilled him on the nature of his art. “Can calligraphy be charged with emotions and historical associations? Can it represent in visual terms sound patterns of the language? Can it explore the tense region between text and image?”
These were, of course, the central questions. In subsequent collaborations (“The Pillow Book”, “Flying over Water”, “Bologna Towers 2000”, “Columbus”, “Writing to Vermeer” and so on) the implications of these questions would be worked out.
The second force that pulled Neuenschwander’s work out of the orbit of traditional calligraphy was the German theoretician Hans-Joachim Burgert. Neuenschwander met the German calligrapher at a workshop in London. By default Neuenschwander became Burgert’s translator for the weekend. As a result, Burgert asked him to translate a lengthy text on the esthetics of calligraphy into English. This allowed Neuenschwander to come to a deep understanding of Burgert’s theory and has led to this theory being studied and adopted by other calligraphers in the West, such as Thomas Ingmire.
Burgert’s theory is essentially a classic German Gestaltungstheorie. Letterforms are subjected to formal analysis and judgment. Traditional Western standards of good and bad are replaced by a new formal language, one that is much closer to the esthetic judgments inherent in Arabic and Chinese calligraphy.
For Neuenschwander this new theory was a revolution. Suddenly the calligraphy of the East, which had always exerted an enormous attraction, could be analyzed and understood, not linguistically, but visually. The image-nature of these writing systems could surface.
Neuenschwander has studied the esthetics of Arabic and Chinese calligraphy ever since. Though he might be accused of a typical Orientalist attitude, he attempts to circumvent this danger by applying all lessons learned from the study of Eastern calligraphy to his Western writing.
In 1989 Neuenschwander met Nadine Le Bacq, who would become his wife in 1991. They moved to her home town Bruges in 1993, where they now live. Contact with Flemish language and culture has profoundly influenced Neuenschwander’s work. Though the Flemish are in many ways as tradition-bound as the English, their arts are not. It has been necessary to re-evaluate language and its visualization in terms of the very dynamic culture of Flanders.
Neuenschwander’s work left all standard definitions of calligraphy far behind from about 1996. Though the mark of the pen is usually present, so are typographic letters, scratched letters, drawings, paintings and other images. His work is certainly complex, requiring the viewer to attempt an integration of different kinds of information. There is certainly a deconstructive aspect, as the question is posed again and again,” Is this an image or is this a text”.
In 2004 Neuenschwander spent a semester teaching text art at the School of the Museum of Fine Arts in Boston. This sabbatical from the artist’s studio allowed him to do research into the origins of text art in the first quarter of the 20th century and to follow this development as it impacted on American art after the second World War.
His present studies are focused on using the work of artists such as Cy Twombly and Jessica Diamond to produce a theoretical basis for a modern calligraphy. It won’t be easy. [Ler mais...]
Skin
SKIN is a site-specific installation created by Brody Neuenschwander at the Memling in Sint Jans Hospital Museum, Bruges from September 2007 to February 2008.
Neuenschwander was appointed artist-in-residence at the museum in February 2007 and given the medieval attics of the old museum as studio for the six months leading up to the opening of the exhibition. The theme of skin was chosen to link the history of the hospital buildings with the work of the artist. The works were created in the spaces in which they would eventually be shown. The result is an installation that plays on the history of the site at a number of different and often very subtle levels.
The artist worked in the Dormter, which served for centuries as the dormitory of the sisters who cared for the sick. Neuenschwander made a video installation for the dormitory and a series of related canvases for the vast Diksmuide Attic which adjoins it.
Working with texts taken from tattoos (the first and most obvious reference to skin), Neuenschwander composed a dialogue of hope, despair, passion, loss and redemption between two speakers who struggle to communicate with each other by means of texts engraved on their bodies. This dialogue or libretto served as the basis for the video and its music, as well as the canvases. [Ler mais...]
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"Nasceu em Houston, Texas, em 1958. Tendo sempre demonstrado um interesse vasto pela arte, história, literatura e caligrafia, graduou-se em 1981, na Universidade de Princeton, com elevadas honras pela sua tese sobre as técnicas das iluminuras de manuscritos medievais. Cinco anos mais tarde, e agora no “Courtauld Institute” em Londres, tirou o doutoramento em Metodologia da História da Arte Alemã, sendo que, simultaneamente estudava caligrafia no “Roedhampton Institute”. A sua primeira experiência profissional teve lugar enquanto assistente do calígrafo inglês Donald Jackson, durante um ano, e no qual esteve ligado sobretudo à caligrafia tradicional e cerimonial, executando também um trabalho bastante repetitivo. Este seria um primeiro passo para a continuação de Neuenschwander no universo da caligrafia, contudo, o seu trabalho seguiu um rumo bastante distinto daquele ao qual correspondeu o início da sua carreira profissional." [Ler mais...] > Sebenta de Design
Brody Neuenschwander was born in Houston, Texas in 1958. His eighth year was spent in Germany, and it affected him profoundly. He learned a new language and a new culture, something that made him a bit of an outsider when he returned home. Neuenschwander returned to Europe as often as he could, eventually developing a fascination bordering on obsession with medieval culture.
Neuenschwander went straight from Princeton to the Courtauld Institute in London, where he completed his doctorate on the methodology of German art history in 1986. At the same time he studied calligraphy at the Roedhampton Institute. The cross-fertilization that resulted from doing academic and practical studies at the same time has influenced all his subsequent work. The objects studied by art historians are, for Neuenschwander, things that were made by human hands. The structure of the atelier and the properties of the materials are as important to him as the social context of their creation.
Neuenschwander began his professional career as assistant to Donald Jackson, an English calligrapher living on the Welsh borders. For a year Neuenschwander did repetitive studio work, mostly traditional ceremonial pieces. This allowed the techniques he had learned in London to become completely internalized. But it also allowed certain doubts about the validity of calligraphy in modern culture to surface.
In the years that followed Neuenschwander began asking fundamental questions about calligraphy. What is it? How is it used? Where should it be headed? What models should we be looking at?
As luck would have it, this was the very moment that his long collaboration with the English film director Peter Greenaway began. Greenaway, who wanted Neuenschwander to provide live-action calligraphy for the film “Prospero’s Books”, grilled him on the nature of his art. “Can calligraphy be charged with emotions and historical associations? Can it represent in visual terms sound patterns of the language? Can it explore the tense region between text and image?”
These were, of course, the central questions. In subsequent collaborations (“The Pillow Book”, “Flying over Water”, “Bologna Towers 2000”, “Columbus”, “Writing to Vermeer” and so on) the implications of these questions would be worked out.
The second force that pulled Neuenschwander’s work out of the orbit of traditional calligraphy was the German theoretician Hans-Joachim Burgert. Neuenschwander met the German calligrapher at a workshop in London. By default Neuenschwander became Burgert’s translator for the weekend. As a result, Burgert asked him to translate a lengthy text on the esthetics of calligraphy into English. This allowed Neuenschwander to come to a deep understanding of Burgert’s theory and has led to this theory being studied and adopted by other calligraphers in the West, such as Thomas Ingmire.
Burgert’s theory is essentially a classic German Gestaltungstheorie. Letterforms are subjected to formal analysis and judgment. Traditional Western standards of good and bad are replaced by a new formal language, one that is much closer to the esthetic judgments inherent in Arabic and Chinese calligraphy.
For Neuenschwander this new theory was a revolution. Suddenly the calligraphy of the East, which had always exerted an enormous attraction, could be analyzed and understood, not linguistically, but visually. The image-nature of these writing systems could surface.
Neuenschwander has studied the esthetics of Arabic and Chinese calligraphy ever since. Though he might be accused of a typical Orientalist attitude, he attempts to circumvent this danger by applying all lessons learned from the study of Eastern calligraphy to his Western writing.
In 1989 Neuenschwander met Nadine Le Bacq, who would become his wife in 1991. They moved to her home town Bruges in 1993, where they now live. Contact with Flemish language and culture has profoundly influenced Neuenschwander’s work. Though the Flemish are in many ways as tradition-bound as the English, their arts are not. It has been necessary to re-evaluate language and its visualization in terms of the very dynamic culture of Flanders.
Neuenschwander’s work left all standard definitions of calligraphy far behind from about 1996. Though the mark of the pen is usually present, so are typographic letters, scratched letters, drawings, paintings and other images. His work is certainly complex, requiring the viewer to attempt an integration of different kinds of information. There is certainly a deconstructive aspect, as the question is posed again and again,” Is this an image or is this a text”.
In 2004 Neuenschwander spent a semester teaching text art at the School of the Museum of Fine Arts in Boston. This sabbatical from the artist’s studio allowed him to do research into the origins of text art in the first quarter of the 20th century and to follow this development as it impacted on American art after the second World War.
His present studies are focused on using the work of artists such as Cy Twombly and Jessica Diamond to produce a theoretical basis for a modern calligraphy. It won’t be easy. [Ler mais...]
Skin
SKIN is a site-specific installation created by Brody Neuenschwander at the Memling in Sint Jans Hospital Museum, Bruges from September 2007 to February 2008.
Neuenschwander was appointed artist-in-residence at the museum in February 2007 and given the medieval attics of the old museum as studio for the six months leading up to the opening of the exhibition. The theme of skin was chosen to link the history of the hospital buildings with the work of the artist. The works were created in the spaces in which they would eventually be shown. The result is an installation that plays on the history of the site at a number of different and often very subtle levels.
The artist worked in the Dormter, which served for centuries as the dormitory of the sisters who cared for the sick. Neuenschwander made a video installation for the dormitory and a series of related canvases for the vast Diksmuide Attic which adjoins it.
Working with texts taken from tattoos (the first and most obvious reference to skin), Neuenschwander composed a dialogue of hope, despair, passion, loss and redemption between two speakers who struggle to communicate with each other by means of texts engraved on their bodies. This dialogue or libretto served as the basis for the video and its music, as well as the canvases. [Ler mais...]
05/10/2008
02/10/2008
Ellen Lupton
Photo by Jason Knauer, 2007
1 2 3 4 5 6 7 8 9 10
Born 1963, Philadelphia, PA
Recognized for her invaluable role as an educator, author and curator in the field of design and for her intellect and mastery of words.
Ellen Lupton makes this industry smarter. If graphic design has a sense of its own history, an understanding of the theory that drives it and a voice for its continuing discourse, it’s largely because Lupton wrote it, thought it or spoke it.
Like so many other design legends that came of age in the era of “commercial art,” Lupton was not aware of design as a viable field of study before college. It wasn’t until she began as a fine art student at Cooper Union in 1981 that she discovered the expressive potential of typography. The visual art of writing was an inspiration to a self-professed “art girl” who came from a family of English teachers. Realizing the potential for an expanded critical discourse in graphic design provoked a shift in her ambitions. “Graphic design was a revelation to me,” says Lupton. “Design really wasn’t in the mainstream back then. It was esoteric. It was the thing you did if you were very ‘neat,’ which I wasn’t.”
Upon graduating in 1985, Lupton accepted an offer to run the newly founded Herb Lubalin Study Center of Design and Typography at the Cooper Union. The future advocate of “do-it-yourself” started out as a D.I.Y. curator herself, fusing her talents as a writer and designer with an abiding interest in post-structuralism to visually construct the principles of graphic design history and theory on a shoestring budget. Curatorial work came naturally as an extension of writing and design. Exhibitions provided another arena in which objects, images and text functioned as both the method of communication and the subject of inquiry. Lupton’s early work in this area brought the visual and the verbal together so playfully that she surprised her academic peers with her ability to make rigorous theory digestible and engaging. During this time Lupton also began publishing as a critic, establishing herself as a leading voice in the field in publications such as Blueprint, Eye, Design Review, I.D., Print, Emigre andAssemblage.
In the mid-1980s Lupton founded the Design Writing Research lab with partner J. Abbott Miller as a so-called “after school” supplement to their early working lives. “We were young and had theories,” she says, “so we created DWR as a thing where we could take on work with clients and do artsy-fartsy stuff for the real world.” The fledgling studio provided the ideal climate for the kind of seamless integration between theory and practice that would characterize the scope of Lupton’s career. Ideas from the Design Writing Research studio and early curatorial explorations at the Lubalin Center formed the basis for Design/Writing/Research: Writing on Graphic Design, co-authored and designed by Lupton and Miller in 1996. The Lupton/Miller partnership has yielded many accomplishments, both professionally and personally, from the Chrysler Design Award in 1993 to the ultimate collaboration: their two children, Ruby and Jay.
Lupton earned access to broader audiences and larger-scale projects in 1992, when she became the contemporary design curator at the Cooper-Hewitt National Design Museum, one of the few existing design curatorships in the country. During her continued tenure at the museum, Lupton has organized numerous exhibitions and major publications that showcase design for a general public without sacrificing conceptual depth. Shows such as 1996’s “Mixing Messages: Graphic Design in Contemporary Culture” set a precedent for sophisticated, mainstream legibility that came to fruition in 2000, when Lupton co-organized the first National Design Triennial, thus establishing a benchmark of innovation in American contemporary design.
“I first experienced Ellen Lupton’s curation when I visited her ‘Mechanical Brides’ and ‘Mixing Messages’ exhibitions in the late 1990s,” recalls Paul Warwick Thompson, director of the Cooper-Hewitt since 2001. “I was truly excited by the prospect of working with Ellen, and I remain captivated by the ‘Skin’ exhibition, which she curated in my first year in New York. She is a beautifully expressive writer, an eloquent and engaging speaker, a remarkable designer and design thinker: a true polymath.”
For the latest Triennial, 2006’s “Design Life Now,” Lupton raised a few eyebrows by including populist forms of new social media such as blogs, open-source software and D.I.Y. magazines, all of which work towards making design literacy part of mainstream culture and reflect her own desire to make design a less exclusive club. Lupton herself is an avid blogger on design-your-life.org and DIYKids.org, two sites that apply design to everyday life co-edited with her identical twin sister Julia. Inviting audiences to participate in the creation of a new design discourse shows a level of confidence rarely found among the design elite and a lack of fear in what she calls the age of “unstoppable self-education.”
“Ellen Lupton is an institution,” says Paula Scher. “In a time when design writing has moved to the blogosphere—and is more democratic, but more idiotic—Ellen’s clear voice is even more valuable.”
In her role as director of the graphic design MFA program at the Maryland Institute College of Art since 2003, Lupton has continued to practice an inclusive ethos of design and communication. (She joined the school as chair of the undergraduate design program in 1997.) In 2006, she and her grad students produced D.I.Y.: Design It Yourself, a manual for empowering non-designers with how-to skills. Lupton advocates exposing all methods of production: to this end, she has taught a course on code writing with a graduate student at MICA, and recently hosted seminars on independent publishing and blogging for designers and writers.
When she needed the right textbook for her students, Lupton wrote one herself. Although she has worked with various publishing houses over the years, she has produced over a dozen books with Princeton Architectural Press, including 2004’s Thinking with Type, one of the press’s best-selling titles. That seminal book features a series of concise essays, deftly illustrated examples and direct rules of engagement, and is most notable for the humor that hums dryly behind its Scala typeface. Her writing is smart, but more importantly, it entertains, too. “I wanted to produce a book that addressed both the how and why of typography, with serious history and theory,” she recalls, “and I wanted it to be fun, but not dumbed down. This is typography for people who think, but the book is not pompous or overly detailed.”
Lupton’s writing about design is itself an art. “She’s exceptionally adept at both the verbal and the visual, which is not to be taken for granted in this new era of ‘designer as author,’ an era that she so skillfully pioneered and has inspired many of us to follow suit,” says Chip Kidd. Lucid, sophisticated and free from jargon, her words continue to define the territory of graphic design after deconstruction—using theory not just as a collection of footnotes or an intellectual endgame, but also as a way to bring critical reflection into everyday practice. Abbott Miller concurs, “Ellen has always been interested in writing that is clear and stripped down. She wants to make theory and history relevant to what designers do, making her work a resource for practicing designers as well as a contribution to the discourse of design history.”
In addition to inspiring others to become contributors to the design world, Lupton challenges them to be intellectuals, too. Her conclusion to Thinking with Type offers this typically droll bit of advice: “Think more, design less.” She is this profession’s constant reminder to strive for conceptual depth, avoid style over substance and be smarter than we think we can be.
By Katherine Feo
© 2008 AIGA
01/10/2008
A escrita alfabética
s mais antigas inscrições alfabéticas em grego datam do século O alfabeto grego "unificado"
O alfabeto grego baseia-se no alfabeto fenício desenvolvido por volta de
A princípio, cada pólis usava seu próprio conjunto de sinais. O alfabeto usado pela cidade de Mileto foi adotado por Atenas em
Nos tempos antigos, havia apenas letras maiúsculas; as minúsculas foram criadas durante o Período Helenístico pelos eruditos alexandrinos e
Eis o alfabeto grego de minúsculas e maiúsculas utilizado nas edições modernas de textos gregos:
| Α α Β β ϐ Γ γ Δ δ Ε ε Ζ ζ Η η Θ θ ϑ Ι ι Κ κ Λ λ Μ μ | alfa beta gama delta épsilon dzeta eta teta iota capa lambda mi | Ν ν Ξ ξ Ο ο Π π Ρ ρ Σ σ ς ϲ Τ τ Υ υ Φ φ Χ χ Ψ ψ Ω W ω | ni csi ômicron pi rô sigma tau ípsilon fi qui psi ômega |
Há vinte e quatro letras, dezessete consoantes e sete vogais. Algumas consoantes
Alguns textos gregos atuais, notadamente os editados na Inglaterra, usam o iota adscrito (αι) ao invés do iota subscrito (ᾳ) utilizado pelos editores franceses e alemães logo após as vogais longas. No Portal, utilizo o "sistema inglês", ou seja, o do iota sempre adscrito (αι = ᾳ).
Algumas das letras utilizadas para a representação dos sons eram também empregadas para a notação alfabética dos numerais.
Os alfabetos arcaicos
Os sinais alfabéticos apresentados acima são suficientes para o estudo de manuscritos e inscrições tardias. Ao lidarmos, porém, com textos e inscriçõesmais antigas, sobretudo papiros, blocos de pedra, túmulos e vasos de cerâmica, nos deparamos com freqüência com os diversos alfabetos locais usados pelas póleis gregas antes do fim do século
Os eruditos costumam dividir esses alfabetos em três grupos, chamados de "alfabetos verdes", "alfabetos vermelhos" e "alfabetos azuis", de acordo com a representação gráfica de determinados sons. Os mais antigos são os alfabetos verdes (Creta, Melos, Tera); depois, os azuis (orientais, v.g. Jônia, Corinto, Argos, Atenas) e vermelhos (ocidentais, v.g. Eubéia, Esparta, Olímpia, Delos). Eis alguns exemplos, confrontados com o alfabeto grego "unificado":
| -403 Jônia Atenas Corinto Argos Eubéia |
 |
Os Sons
o acento agudo
A língua grega tinha acento de natureza musical, e na sílaba acentuada o som se elevava um pouco. Era diferente do acento das línguas modernas, de natureza tônica, em que a sílaba acentuada é pronunciada com mais força.
As vogais tinham quantidade, i.e., o tempo que se leva para pronunciá-las é diferente: breves, uma unidade de tempo; longas, duas unidades.
Os sinais diacríticos
alguns sinais
diacríticos
| ' | acento agudo |
| ` | acento grave |
| ~ | acento circunflexo |
 | espírito doce |
 | espírito rude |
| ; | sinal de interrogação |
 | sinal de pausa |
 | trema |
O espírito rude empresta às vogais e ao -ρ- um som rascante denominado aspiração; o espírito doce indica ausência de aspiração.
 | NEXVS EXTERNVS links para outros sites |
RIBEIRO JR., W.A. A escrita alfabética. Portal Graecia Antiqua, São Carlos. Disponível em http://greciantiga.org/lng/lng03.asp. Data da consulta: 01.10.2008.
As escritas gregas
Fig. 7-1. Procissão sacrificial. Pintura em placa de madeira da Caverna de Pitsa, próxima de Corinto. Data: 540 a.C. Atenas, National Archaeological Museum. © Ekdotike Athenon
a imagem da Fig. 7-1, duas moças com ramos de folhagem nas mãos, um jovem com um aulos, outro jovem, menor, com uma lira, um menino com um carneiro, um homem com vaso e bandeja nas mãos dirigem-se a um altar (extrema D), já com o fogo aceso para o sacrifício. Todos são, talvez, da mesma família.
Os dois instrumentos musicais aqui mostrados são o aulos, formado por dois tubos e cujo som era provavelmente semelhante ao oboé, preso ao rosto do auleta através de um sistema de correias, e a lira, antiquíssimo instrumento de cordas. Em muitas traduções não é raro encontrarmos a palavra "aulos" erroneamente traduzida para "flauta".
A despeito do tamanho, esta pequena placa pintada é um raríssimo exemplo da pintura grega em painéis. Vê-se que as imagens tinham apenas duas dimensões e pareciam ampliações das cenas de vasos de figuras negras mais antigos, criados em Corinto nos séculos VII-VI a.C. — mas sem as incisões características. Muito esquemáticas, as cenas se caracterizam pela composição simples, pela pouca importância dada à perspectiva e pelo uso de quatro ou cinco cores básicas.
Ao longo de sua longa história, os gregos utilizaram dois tipos de escrita para escrever sua língua: a escrita Linear B, nos séculos XIV-XII a.C., durante o Período Micênico; e a escrita alfabética, do século VIII a.C. em diante. Observe-se, no fundo da imagem, inscrição em uma das mais antigas formas do alfabeto grego, o alfabeto da cidade de Corinto. Todas as letras são maiúsculas.
Eis um exemplo da Linear B, uma escrita silábica:
(transcreve-se "tu-ka-te" e significa "filha").
A seguir, um exemplo da escrita alfabética evoluída, em minúsculas, criada durante a Idade Média e usada nos manuscritos gregos copiados a partir do século IX:
"seja moderado na prosperidade
e prudente na adversidade"
A despeito do tamanho, esta pequena placa pintada é um raríssimo exemplo da pintura grega em painéis. Vê-se que as imagens tinham apenas duas dimensões e pareciam ampliações das cenas de vasos de figuras negras mais antigos, criados em Corinto nos séculos VII-VI a.C. — mas sem as incisões características. Muito esquemáticas, as cenas se caracterizam pela composição simples, pela pouca importância dada à perspectiva e pelo uso de quatro ou cinco cores básicas.
Ao longo de sua longa história, os gregos utilizaram dois tipos de escrita para escrever sua língua: a escrita Linear B, nos séculos XIV-XII a.C., durante o Período Micênico; e a escrita alfabética, do século VIII a.C. em diante. Observe-se, no fundo da imagem, inscrição em uma das mais antigas formas do alfabeto grego, o alfabeto da cidade de Corinto. Todas as letras são maiúsculas.
Eis um exemplo da Linear B, uma escrita silábica:
(transcreve-se "tu-ka-te" e significa "filha").A seguir, um exemplo da escrita alfabética evoluída, em minúsculas, criada durante a Idade Média e usada nos manuscritos gregos copiados a partir do século IX:
"seja moderado na prosperidade
e prudente na adversidade"
Essa é uma frase atribuída a Periandro (625-585 a.C.), um dos Sete Sábios da Grécia.
[Ler mais...] > Informações complementares
RIBEIRO JR., W.A. A escrita alfabética. Portal Graecia Antiqua, São Carlos. Disponível em http://greciantiga.org/lng/lng03.asp. Data da consulta: 01.10.2008.
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