Hebrew cursive calligraphy,how to make a tattoo armrest,celtic tattoo artists 2013,tattoo ideas for shoulder joint - For Begninners

Author: admin | Category: Neck Tattoo Designs | 13.02.2015

My name is Vex; I'm a student of the Visual Communication Department in the Bezalel Academy of art and design, Jerusalem.
One option I considered was to continue a project I did last year (my third of four) called "The Two Dimensional Alphabet" in which I examined the option of an alphabetic system that is written across a plane rather than a single line.
Later on I went over old issues of the magazine “Baseline” and books about Arabic calligraphy. Furthermore, the shape of the lowercase letter in Latin scripts results from the deformation of the capital letter in cursive writing. When I “write cursive” from left to right, the result is a uniform cursive surface on which it is possible to identify Latin letters. In the motion of my hand from right to left, I somewhat felt that the motion of the pencil in circles was resisted. Anyhow, I’ll try to find connections and combinations of letters in these trials of automatic writing.
The font “David Slanted” (one of my favorite fonts) is a brilliant experience to introduce Rashi writing to the mainstream of Hebrew print. The letters on the left are a font which I have designed from the third year until the first semester of this year. 2005-03-22 00:00:00This is certainly not going anywhereDo you remember I tried to write with a paint-brush? I wrote her intending to draw only the significant part of the letter, the one you couldn't recognize the letter without.
I missed a meeting with Eisenstein, my tutor and a meeting with Adi Stern, who's typography class I took last semester. Anyway, I will go on the way I did all last week, because I believe my way is just and fun. I'll say it again: cursive and semi-cursive styles of writing have already existed in Hebrew. In Jewish communities throughout the Arab world it is possible to see a few styles of writing which were influenced by the Arab alphabet. My first guess is that the cursive writings disappeared because Ashkenazi (European) Jews, like The linguist Eliezer Ben Yehuda, writers like Bialik and Shlonsky, revived and secularized Hebrew.
I believe that there is nothing more beautiful than a font designed with love from its basic idea to the delicate nuances.
Now, as for those shapes, I can now style another font which is less “shaky” than the free font is, something which may remind me of Chaim, Sapir or HaZvi typefaces? In every font and every writing style the letters are divided according to similar characteristics. It sounds like something which may organize my work and make the script I invent a bit more systematic and modular. I somewhat felt like in Chemistry laboratory of high-school, since I was steering and moving all kinds of materials with no method and no reason.
Hopefully, it will be possible to group the letters while I work on the letters themselves since I cannot plan this in advance.
I don't really have a problem with this complexity because the handwriting is legible and one can easily write it. I'm also grateful to Liri for having expressed his opinion about the photos I introduced here yesterday. I thought about the hundred foreign surfers who have so far entered this blog and all the students who pass by my studio who look and sometimes ask questions. Secondly, unlike many other projects in visual communication, the way to the final shape of the letters is not less important than the final "product" which will be shown in the exhibition.
Regarding copying and stealing ideas, I'm not disturbed: whoever copies from me will always be one step behind me. In the Herodiane period, first and second centuries, cursive Hebrew script and extreme cursive were quite common throughout the Land of Israel and Judea. One of the reasons why I believe there is no contradiction between the two approaches is that typing is becoming more common than handwriting. Manuscripts develop with a local influence – the Latin influence in Europe and the Arab influence in the Oriental diasporas.
I think that in such a project the process is important because it is entirely unclear to me what the final product or its significance is. Apparently, I’m working now on one product only: the design of the shape of extreme cursive Hebrew script.
According to the timetable, I’m supposed to finish designing the basic shape of the letters until Saturday night.
The matter of a Serif font is now doubtful: Pay attention to the word "Michelle", it is fluent. But in my opinion it is over ambitious to design an unnecessary writing which can hardly be hand-written and hence requires a modern printing technology. As for the cancellation of my doubts from last night: I’m still enchanted by the Vegetative manner by which scripts develop in reality. After the meeting with Eisenstein I continued working on the new font according to the grid from yesterday. After two months of work, and piles of sketches, the sketch of “Na’ama” is still, I believe, the coolest thing I have done for this project. After the two pictures had been taken, the department managed to close down our studio for the sake of acceptation examinations. According to Eisenstein's approach, a set of letters is legible if it has signs with a common logic of design, that differ enough for one to distinguish between different letters, and similar enough to be used as a totally modular set. Therefore, Eisenstein is especially interested in letters which are related to the conventional shape of the letter in an associative and loose way.
In the forthcoming weeks, while I work on the font, I will have to start thinking a bit like an illustrator and make all these shape look like a big happy family. Meanwhile, regarding my experience, cursive writing and Hebrew don't go together; it looks strange. Cyclocross started in Europe more than one hundred years ago when cyclist were looking for a way to stay fit in winter. Cyclocross requires the power of a sprinter, the speed and endurance of a time trialist, the bike-handling skills of a mountain biker and the tactics of a road racer. It is not surprising that cyclocross has become the fastest growing part of the sport of cycling in the U.S. Events foster a festive atmosphere and encourage everyone to have fun while racing as hard as possible. Today I started this blog because I believe that the process of making this project is interesting enough, and because I need your comments.
Dozens of talks with friends that came down to vague declarations such as: "I want to do something experimental about the Hebrew script" But what? The "results" of this experiment were negative, but its products were some large scale posters with text-like structures, without a beginning or an end, and they were pretty cool.


I’m also trying to imagine what the writing may look like if those shapes were used in print. Nevertheless, this is a much longer process which started with the use of Latin writing back in Ancient Rome. Everyone who tried to write with a stylus knows that it is easy to move one’s hand in circles to the right. It is strange to realize that I like the texture of the “text” from the right eventhough it is defected and irregular.
Well, there was a difference in some people’s curling from right to left and the sketching from left to right. I promise to scan and upload some examples as soon as “Mythos”, an (awful!) online bookstore, send me the book “The Book of Hebrew Script” which I ordered a month ago. The format of Open-Type can use different configurations of a letter regarding its position in the word, and simplifies the use of Kashidas ("Semitic justification") and ligatures.
For instance, the letters written in the end of a word are normally designed with the same characteristics or the famous uoe?"? a"o letters (Shin, Ayin, Teit, Nun, Zain, Gimel and Zadik). I had bigger fish to fryI found a way to collect the letters in my handwriting – according to the way they are connected. The table with X's in its lower part is a list of the letters I more or know how they are going to look.
My timetable starts next week and finishes on the day the project has to be submitted (mark the 27th of June). At this stage I discover that things that look wonderful when they are separate do not always work in a whole.
It was an official form of writing: Many legal documents written in such scripts were found. In adition, modern printing technologies permit very simple typing of complex cursive script. The blog was an excellent means to write important or interesting stuff which arise while I'm working. Therefore, from now on the documentation of the project will be a format of a weekly newsletter for selected subscribers.
He warned me about the "flexible brief" of projects which are a lasting and associative experiment.
Furthermore, the design of this script is problematic from every aspect: It is tilted Serif. The required density of the connections clashes with the meter of the letter and its inner space. What’s the point in designing a semi-cursive shape of a Hebrew if this process can be true only when it happens naturally? Letters like the Aiyn which is created by its right part and the gestalt of the other hand of the Aiyn in the letter which comes from the left. After all even if I don’t change the basic shapes of the Hebrew letters and I go for a font every reader of Hebrew can read, my aim will still be fulfilled if it will still have correlation with the handwrite script and the Arab alphabet. She was trying to précis each letter to its basic shape as a line of pencil, without styling it or getting into calligraphy. This is a minuet with something like forty shapes in order to make them all work together in harmony. This assumption is not at all refuted: The Latin Italic is a “printed” handwriting that stylized through centuries to its various typographic shapes.
I started moving the pencil in circles while I was moving my hand along the width of the paper. However, I copied words from notebooks without really bothering to think about what I’m writing. I didn’t show up for the meeting because I had a session with the Head of the Department; I presented the project to him.
Except for Nassri Kattar’s daring attempt, there were no tries to adjust Arab alphabet to print.
Today I divided the work to three parts – as usually I started with free automatic writing. In many fonts the uoe?"? a"o letters are distinct from the other letters in the way The the letter's heads is linked to the lower part of the letter. I have to come to a few important decisions regarding the final design (presumably with or without serifs? She claims that the most significant part of the project is the division of the writing to groups of letters. We have been discussing our projects between us quite a lot, after all, that's what keeps us busy most of the time.
My schedule is comfortably divided to "planning of letters", "designing the final letter" (manually) "the computerization of the final letter", "organizing the exhibition" (for that I devoted a month. The failure of Bar-Kochva's revolt against the Roman occupation and the destruction of the second temple led to the exile of the Jewish people and to the extermination of that cursive script. Its public display, the automatic dating and mainly the simple and rapid possibility to keep pictures taken by a digital camera caused me to be more consistent with the documentation of the process of working. The brief I submitted to Yossi Ohayon, the head of the V.C Department sounds rather flexible. Therefore, some words look more “cramped” whereas some of them look more “spacious” as long as all the letters are concerned. As was in the former sketches, everything will look more united and the short letters won’t look as if got lost in space.
Only after working hard and designing many ugly letters did I understand that the problem was that I stuck too much to the grid. As strange as it sounds, I tried to bend these to the system of a font which it theoretically usable in printing. When I tried to scale down the letters and use them in a sentence, matters only became more complicated.
This is usually not an aspect that typographers give much thought to, since the shape of the letter is given. I have always said that my project might not have a final product, but it does have a hypothesis. This is a fine piece of metal, which runs on the paper (preferably chromo mat) smoothly, fast and elegantly. The origin of this writing is cursive handwriting which was fixed in the 17th century according to the typographic fashion in Italy. I sometimes design signs by drawing and classic hand-lettering with a pencil and some rulers. I started with Lamed and Shin because those are letters are linked in many people’s hand-writings. Therefore, in places in the world where cursive Hebrew styles developed, there was no print!


I then designed a few new letters according to the round grid I wrote about and today I started designing with a milimeter paper a square version of the letters I designed with French curves. But the cursive Hebrew script will be divided to letters that can connect from the right upwards, from the right downwards, from the left downwards. There ought to be logic in each letter you design" She said and made me swear to pay no attention to my stylistic whims. But I have hardly seen all the other tens of students of our department since the beginning of the semester.
I still have posters to design) and a "hysteria coefficient" (I took an extra week in order to prevent problems, and if there will be no problems I'll work on my sunten). The artists of that company, some of them are close friend of mine, create mainly electronic music. It didn't promise anything more concrete than “the examination of borderline cases in which square characters meet manuscripts and manuscripts meet Arabic”. I start suspecting that the resulting font will not be as good as the theoretic basis behind it. Personal tendencies of writers, technological changes (writing with a quill or using a pen, parchment or paper, and the “Wild Card”: printing), environmental influences (the influence of Gothic Latin writing on the Ashkenazi Hebrew style and the fluency of Arab writing over Hebrew writers in Arab countries) fashion and economic constraints. Moreover, the letters vary in height and This characteristic is of importance and principal for the sake of fluency. I threw the gridline papers and the rulers and returned to the sketch of “Na’ama” which I did two months ago. I was sitting there for a few hours and writing in the notebook in my new handwriting with a simple Rapidograph. The basic shape of the letter in every script is affected by the way people moved their hands in order to draw the shapes of the letters. I decided on three sources of structure and shape for this script (the two types of Modern Hebrew and the Arab alphabet). Simultaneously, in Europe the Latin writing prospered, while the Hebrew print was rather rare.
The system is meant to create letters which will be modular enough so that theoretically it will be possible to turn them into a working model.
Some letters will not be joined at all – final letters, and a combination of what was previously mentioned. I'm almost the only one who is working on the project in the studio of the department (which is rather nice. Every person who expresses his honest opinion about the how he reads (or has trouble reading) my lettering will help me to design a better type.
A Jewish Scripture from Yemen would have almost identical letters as a Jewish Scripture from Poland. Before the session with Yossi I had realized that my “examination of borderline cases” came down to designing the shape of the letters and less on experiments in writing which is not classic calligraphy or lettering with black ink or pencil.
It's definitely not political in the sense of recruited art, for I had no intention to deliver any message. The balance I would like to have between my sources of inspiration is destabilized without them.
Non the less, there are some worldwide examples for scripts which were designed by individual persons. Listen, it is great fun to see that a ten day work catches up two walls in a medium size room. For instance he pointed out the letters Pe, Beth and Gimmel that really go one step before the Reish, The Chet and the Aleph, from their resemblance to familiar letters. The connection needs to be a part of the shape of the letter, as it is in Arabic, instead of being a trace of the motion of the paintbrush.
But the design of a model is a very long process (for instance, I needed three semesters in order to work on a standard Hebrew font.
For instance, the letters are mostly connected by "thorns" which turn downwards (in words like "Madlane" and "Daphne"). Eisenstein made a few important comments about the joints between letters which seemed problematic to him.
Sure, I did a lot of hand lettering for this project, but always thinking calligraphically instead of using free handwriting.
When I went through this process, I came to a few interesting conclusions about writing and Hebrew, designers and the Middle East.
The excuse is "It looks nicer this way" may turn my work from a serious academic project into a decorative nonsense.
I decided on its origins; one origin is in square characters, the second origin is in Ashkenazi free handwrite which we use every day. I manage to create a new system of writing with its own laws and a significant inner division (the "uoe?? a"o of that writing). I have heard that the Korean writing had been designed as a result of a request of a Korean ruler who had decided to restrict the Chinese influence on his culture.
I promise that the next font I will design will be a cursive script that could be used to create a hierarchy in running text.
The 19th century Hebrew font Drogolin is an attempt to give Hebrew The style and the contrast of the kinds of Latin letters such as Bodoni and Dido.
He claimed that the main reason is that people are afraid that ideas will be stolen from them. I believe, and Eisenstein shears this opinion, that every alphabetic system takes time to learn. Even the Rashi Script which is similar to square Hebrew letters can hardly be read by people who are not used to it.
One should learn Rashi script although one reads well the Hebrew free handwrite and square type.
This is what happened with the project of bi-dimensional writing when I was a third year student.
I certainly don’t know how my presentation is going to look like and what’s going to be in the exhibition. While Eisenstein was talking about the look of my writing, it sounded as if he was describing some kind of a Baroque ornament.
This is the reason for the table which compares between the Rashi script and “Koren” Hebrew font letters in the Bible I got in my military basic training.
I have been working hard enough in order to reduce it and focus my thesis on each letter and each joint.



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Comments

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