Fundamentos Da Caligrafia Art Stica
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Curso de caligrafia artísitca da Andrea Branco...
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Andréa Branco
ESTE MATERIAL É PARTE INTEGRANTE DO CURSO ONLINE “FUNDAMENTOS DA CALIGRAFIA ARTÍSTICA” DA EDUK (WWW.EDUK.COM.BR) CONFORME A LEI Nº 9.610/98, É PROIBIDA A REPRODUÇÃO TOTAL E PARCIAL OU DIVULGAÇÃO COMERCIAL DESTE MATERIAL SEM AUTORIZAÇÃO PRÉVIA E EXPRESSA DO AUTOR (ARTIGO 29)
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Introdução A caligrafia é uma técnica em que se escreve es creve com instrumentos instrumentos específicos e traçados especiais. A partir de um sistema de escrita, procura-se “vestir” os traços dos caracteres dando ao texto uma aparência única. Do grego, κάλλος = kalli “beleza” + γραφή graphẽ = “escrita”. Podemos alar da caligrafia de muitos povos, como o egípcio com os hieroglios, como o chinês com os ideogramas, como os sumérios com a escrita cuneiorme, como os maias com seu alabeto de Landa. L anda. Aqui no Brasil vamos ocar o nosso alabeto ocidental romano, que se originou do alabeto criado pelos enícios em apr aproximadamen oximadamente te 2000 anos a.C. A partir da criação deste alabeto maiúsculo em 500 a.C. vemos desenrolar-se a história da caligrafia na Europa, com variados modelos de letras, a maioria delas traçadas com a pena de ponta quadrada, variações de ormas sobre o tema das nossas letras. No século IX são estabelecidas as letras minúsculas com a criação das letras carolíngeas, letra oficial do Império Franco. Somente no século XVIII vemos uma letra mais fina, executada com a pena de bico: a Copper plate ou Cursiva Inglesa ou Roundhand . ema do presente curso. Aprender caligrafia significa resgatar um longo trajeto de experiências que os homens trilharam Aprender em torno das nossas letras e que também serviram de inspiração para a criação da tipografia no século XV. A letra mecanizada, e não mais manual, continua sendo recriada infinitamente e se transorma nas ontes que usamos diariamente nos nossos computadores e dispositivos móveis. Até 1940-50, dependendo da cidade brasileira, nossos pais e avós ainda escreviam com pena de metal mergulhada em tinta nas suas escolas e no seu dia a dia. A caneta tinteiro já existia, porém não tinha valor acessível a todos. A letra cursiva era ensinada com cuidado e exigida nas escolas, por ser considerada um ítem primordial à apresentação pessoal. Assim, quando alguém casava, era o amiliar que possuísse uma boa letra é quem escreveria os nomes dos convidados nos envelopes dos convites, à pena, com tinta preta. Com o passar do tempo, este trabalho ficou a cargo de pessoas que estudaram a técnica e passaram p assaram a azer este trabalho comercialmente: mercialment e: as calígraas especializadas em convit convites. es. Há relatos também de pessoas que estudaram caligrafia nos antigos cursos de magistério do segundo grau, em aulas de educação artística, em aulas de colégios internos. De qualquer orma sempre existiu uma grande apreciação destas letras tão elegantes, em geral a letra Cursiva Inglesa clássica.
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O scriptorium O período monástico, que vai do nascimento da Igrega Católica até o século XII, é considerado a ase áurea da Caligrafia Artística. O local da escrita, es crita, da iluminura iluminura e dos livros, por excelência, era o “scriptorium”, “scriptorium”, hoje escritório. Como vemos na imagem abaixo, o nobre autor, tradutor, iluminurista, escriba e sacerdote Jean Miélot executa e figura na gravura do século XV, onde aparece caligraando “Os Milagres de Nossa Sen Senhora” hora”..
Este é o ambiente do calígrao medieval: uma escrivaninha muito inclinada, um banco sem encosto, um livro acima (tipo códice) de onde ele copia o texto, que permanece aberto com a ajuda de um peso pendente sobre as páginas. Potes com pigmentos produzidos manualmente a partir de vegetais, minerais, insetos, carvão colocados em cerâmicas e cornos. Estantes de madeira trabalhada mostram diversos livros enormes ricamente escritos, decorados e encadernados, com cintas e echos de sustentação para mantê-los echados e suas páginas de pergaminho pergaminho,, planas.
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Alfabeto Fenício Z ZAYIN (ARMA)
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M MEM (ÁGUA)
H HE (RAMELA)
L LAMEDH (AGUILHÃO)
SH R Q SHIN RESH QOPH (DENE) (CABEÇA) (MACACO)
D DALEH (PORA)
G GIMEL (VARA)
B BEH (CASA)
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Y YODH (MÃO)
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P PEH (BOCA)
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(PALMA DA MÃO)
S SADHE (ANZOL)
A ALEPH (BOI)
H HEH (CERCA)
S SAMEKH (SUPORE)
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Origem do Alfabeto Romano Ocidental
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. C . d 3 1 1 m e a d í u l c n o c a m o R m e o n a j a r T e d a n u l o C a d e s a b a n o ã ç i r c s n i s i a i r e p m I s e r a
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. 3 0 0 2 , o l u a P o ã S , i r a s o R a r o t i d E , ” ? o p i t u e s o é l a u Q “ o ã ç e l o C , a h c o R o i d u a l C , n a j a r T : n i
ESTE MATERIAL É PARTE INTEGRANTE DO CURSO ONLINE “FUNDAMENTOS DA CALIGRAFIA ARTÍSTICA” DA EDUK (WWW.EDUK.COM.BR) CONFORME A LEI Nº 9.610/98, É PROIBIDA A REPRODUÇÃO TOTAL E PARCIAL OU DIVULGAÇÃO COMERCIAL DESTE MATERIAL SEM AUTORIZAÇÃO PRÉVIA E EXPRESSA DO AUTOR (ARTIGO 29)
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ESTE MATERIAL É PARTE INTEGRANTE DO CURSO ONLINE “FUNDAMENTOS DA CALIGRAFIA ARTÍSTICA” DA EDUK (WWW.EDUK.COM.BR) CONFORME A LEI Nº 9.610/98, É PROIBIDA A REPRODUÇÃO TOTAL E PARCIAL OU DIVULGAÇÃO COMERCIAL DESTE MATERIAL SEM AUTORIZAÇÃO PRÉVIA E EXPRESSA DO AUTOR (ARTIGO 29)
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O Desenvolvimento da Escrita Ocidental O primeiro alabeto oi desenvolvido na Fenícia, em aproximadamente 1200 a.C., adaptado no século séc ulo 8 a.C. pelos p elos gregos e cujo ormato das letras oi emprestado emprestado aos etruscos e, por sua vez, aos romanos, alabeto este responsável por todos os posteriores desenvolvimento de escritas ocidentais. As escritas neste livro estão agrupadas em seis categorias: Escritas Romana e Romana ardia, Escritas Insular e Nacional, Escritas Carolíngia e Gótica Primitiva, Escrita Gótica, Escritas Itálica e Humanista, e Escritas Pós-Renacentistas. A duração de cada escrita é indicada em uma cronologia. Provavelmente, o evento mais importante da história da escrita ocidenta ocidentall oi a adoção do alabeto etrusco pelos romanos. No primeiro primeiro século a.C., os romanos desenvolveram desenvolveram diversas escritas. Uma delas oi uma cursiva rápida utilizada para correspondência, rabiscada em uma placa de cera ou escrita com um cálamo em papir papiro. o. Essa letra influenciou no desenvolvimen desenvolvimento to da letra minúscula, incluindo a meia-uncial. Outra escrita undamental oi a Maiúscula Rústica, usada em manuscri manuscritos, tos, inscrições e ormas gravadas.
Maiúsculas imperiais A terceira letra roman romanaa produzida no primeiro século a.C., atualmen atualmente te conhecida como maiúscula imperial (ou capitular capitular imperial) oi usada tanto gravada em pedra p edra como desenhada com pincel. Mais Mais de 2 mil anos mais tarde, as ormas ormas desta escrita ainda servem como base de nossas maiúsculas modernas. Por volta do século quarto quarto,, surgiu também uma letra ormal: a maiúscula quadrada. Outra escrita importante que teve suas origens durante o período romano oi a uncial. Com orma semelhante à uncial grega que a precedeu, ela oi desenvolvida para ser usada pela nascente Igreja Cristã.
Escritas insulares e nacionais Com o fim do Império Romano do Ocidente no século quint quinto, o, diversas letras oram de-
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Escritas carolíngia e gótica primitiva O primeiro império do Ocidente a emergir dos destroços do Império Romano oi o de Carlos Magno. Por volta do século nono, seu Império Franco se estendia dos Pirineus ao Báltico. Uma letra remodelada de autoria de Alcuíno de York se tornou a letra padrão do império – sendo atualmen atualmente te conhecida como a minúscula carolíngia. Fora do Império Franco, as letras nacionais persistiram persistiram.. Na Itália, a escrita benev beneventana entana era uma das escritas que mais subsistiram subsistiram entre as escritas pós-romanas, ela oi utilizada desde os meados do século oitavo até 1.300. Na Inglaterra, a insular e a minúscula anglo-saxônica vigoraram vigorara m até o décimo século, quando oi introduzida a minúscula carolíngia, que se tornou mais condensada, antecipando o aspecto angular e uniorme das letras góticas. Essa escrita condensada é conhecida como carolíngia ardia ou Gótica Primitiva.
Escritas góticas No final do século XII, desenvolveudesenvolveu-se se um sistema complex complexoo de escritas góticas em toda a Europa. Para simplificar, elas eram, requentemente, divididas em dois grupos: o de alta qualidade (de luxo), letras ormais usadas tanto no texto de livros religiosos como seculares, e as letras cursivas, utilizadas para trabalhos de documentação e, a partir do final do século XIII, para a produção de livros vernáculos. As duas letras de luxo mais importantes oram a textura quadrata e sua irmã gêmea, a prescisus.
Escritas bastardas As escritas cursivas góticas são conhecidas como escritas bastardas e permaneceram em uso até serem substituídas pela Copperplate no século XVIII, 200 anos após o fim das letras góticas ormais. As letras Bastardas Bastardas são diíceis de serem catego categorizadas, rizadas, dierenciando-se de um país a outro, de uma cidade a outra e de uma atividade a outra. Entretanto, as dierenças gerais entre os modelos inglês, rancês e alemão podem ser acilmente percebidas. Foi em uma escrita de um texto bastardo que as minúsculas e as maiúsculas da mesma letra apareceram pela primeira vez juntas - com as maiúsculas góticas usadas para iniciar novas sentenças s entenças e indicar nomes próprios.
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Escrita pós-renascentista A última escrita significativa é a Copperplate. Como o nome sugere (chapa de cobre), essa oi, originalmente, originalment e, uma letra gravada ou corroída com ácido em e m olhas de cobre. Caracterizada por volta delicadamente ligadas e proporções exóticas, essa letra cursiva poderia ser s er gravada com uma acilidade muito maior do que se osse desenhada. Entretanto, em sua orma manuscrita mais simples, a Copperplate tinha a vantagem de ser muito rápida e, por volta do século XIX, era a escrita padrão dos negócios e educação.
Caligrafia moderna Uma revitalização da caligrafia moderna teve início no começo do século XX, com o trabalho pioneiro de Edward Johnston, na Inglaterra, e Rudol von Larisch e Rudol Koch, na Alemanha. Desde a década de 1950, o interesse pela caligrafia tem se desenvolvido em muitas culturas, sejam elas baseadas no alabeto latino ou não. Durante Durante os últimos 20 anos, tendo os calígraos explorando e redefinindo as ormas das letras, a caligrafia se tornou uma orma de arte em si mesma. in: A Arte da Caligrafia, David Harris, Ambientes & Costumes, São Paulo, 2009
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Anatomia das letras romanas linha da ascendente serifa triangular
miolo
língua
minúscula ou caixa orelha baixa
serifa curva
maiúscula ou caixa alta
ascendente arco ou ombro
medidas por larguras de pena
pé em curva
bojo
ligação bojo
pé horizontal
barra
linha da maiúscula
haste principal
espaço interno
miolo inferior
descendente
floreio ligatura fio hairline
crista
diamante
altura
linha de x
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Diagrama que ilustra as relações da caligrafia com outras artes
in: Journal, Society o Scribes, volume 1, número 2, New York, 1986.
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Duas penas básicas da caligrafia artística
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Alguns modelos de pena de bico e dois modelos recomendados para o iniciante
Hiro 41
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ESTE MATERIAL É PARTE INTEGRANTE DO CURSO ONLINE “FUNDAMENTOS DA CALIGRAFIA ARTÍSTICA” DA EDUK (WWW.EDUK.COM.BR) CONFORME A LEI Nº 9.610/98, É PROIBIDA A REPRODUÇÃO TOTAL E PARCIAL OU DIVULGAÇÃO COMERCIAL DESTE MATERIAL SEM AUTORIZAÇÃO PRÉVIA E EXPRESSA DO AUTOR (ARTIGO 29)
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Construção geométrica do alfabeto cursivo maiúsculo - sobreposições que revelam a estrutura lógica do afabeto
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Explicações sobre as pautas Nesta apostila há 3 tamanhos de pauta para a letra cursiva inglesa, com a mesma proporção conorme oi explicado. Se você or traçar outras pautas para esta letra, deverá seguir sempre a proporção para que mantenha a personalidade dela. Por exemplo, a altura de x com 6 mm, terá de colocar mais 6 mm x 2 para as ascendentes e mais 6 mm x 2 para as descendentes, como vemos abaixo:
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Letra Cursiva Inglesa - pena de bico - minúsculas - pauta menor m m 4
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Aplicações da Caligrafia Artística • Em casa: organização, pastas, arquivos, caixas, gavetas • Na empresa: arquivos, pastas, estoques, copa, avisos
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• 6 envelopes tamanho oício • 6 envelopes tamanho cartão de visita • 6 envelopes tamanho meio saco
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