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Tashkent, Uzbekistan Soviet-Era Metro System
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Exploring the details inside the Süleymaniye Mosque 🕌
Photo by Sergio Larraín
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“Graceful, spiritual, with the gentleness of arabesques our life is similar to the existence of fairies that spin in soft cadence around nothingness to which we sacrifice the here and now
Dreams of beauty, youthful joy like a breath in pure harmony with the depth of your young surface where sparkles the longing for the night for blood and barbarity
In the emptiness, spinning, without aims or needs dance free our lives always ready for the game yet, secretly, we thirst for reality for the conceiving, for the birth we are thirst for sorrows and death.”
–Hermann Hesse, "In Secret We Thirst" from The Glass Bead Game (1943)
[Memphis Muse]
Arabesques (Series 1)
1. Front A set of six ornament prints representing, respectively, Air, Fire, Water, Earth, Venus and Mars, each of them symbolized by a symmetrical composition combining various figures, animals, plants, grotesques, medallions and objects. 1782 Etching (British Museum)
2. Earth, After Marcus Gheeraerts the Elder Flemish Published by Philips Galle Netherlandish
3. Fire, After Marcus Gheeraerts the Elder Flemish, Published by Philips Galle Netherlandish
4. Mars, God of War, After Marcus Gheeraerts the Elder Flemish Published by Philips Galle Netherlandish
5. Africa, After Marcus Gheeraerts the Elder Flemish Published by Philips Galle Netherlandish
6. Asia, After Marcus Gheeraerts the Elder Flemish, Published by Philips Galle Netherlandish
7. Europe, After Marcus Gheeraerts the Elder Flemish, Published by Philips Galle Netherlandish
8. Master of the Diel, A panel of ornament with putti and other figures | The Metropolitan Museum of Art
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Typography Tuesday
GRANJON ARABESQUES
Last week we presented “Typographic Interpretations” from The Pentagram Press Commonplace Book. This week we present more typographic explorations from the Pentagram Press, this time from their 1990 publication An Exploration of the Granjon Arabesques, arranged by Michael Tarachow and Merce Dostale and printed in Minneapolis by Tarachow in an edition of 312 copies. Our copy is one of 40 copies hand-bound in quarter cloth with printed paper over boards at the Campbell-Logan Bindery, and is signed by both Tarachow and Dostale.
This set of type ornaments was originally designed in the 1550s by French type designer and printer Robert Granjon (1513-1590). The arabesques used here were revived and redesigned for the Monotype Corporation in the 20th century. Of this production, Tarachow and Dostale write:
Mysterious, vibrant, quirky, confident, noble, opulent: the patterns that these Granjon Arabesques form are as diverse as your possible interpretation, We enjoyed the work & play that this booklet entailed, and hope that you have enjoyed this journey to the Land of Granjon.
View other posts with work by the Pentagram Press.
View other posts with Arabesques.
View more Typography Tuesday posts.
Manuscript Monday!
Image description: Blue and gold floral motif against pale gold background. The central shape contains calligraphy. Ibrahim Sultan's Shahnama (Bodleian, Ouseley Add. 176), Image f. 12a: Shamsa Alternate transliteration Title: Shahnameh Translation Title: Book of Kings Firdawsi, b. 940-941/329-330 AH; d. 1020-1021/411 AH, Iranian [author] ca. 1430-1435 Place of production: Shiraz, Iran 468 folios, nasta'liq, gilt binding: Opaque watercolor, gold, and ink on paper 11 1/4 x 7 7/8 in Persian Islamic Style / Period: Timurid Repository: Bodleian Library, Oxford (Oxfordshire, England, United Kingdom) HOLLIS Number: 8001003129
Towards a Transformation of Reality By Michèle Coudert “Artistic work is essentially #individual. Being part of a group such as the #DF Art Project allows me to access a #professional, yet #external outlook, #one which is objective but also benevolent. #United we stand! With my #stylised and #hybrid #figures, I wish to focus on an eye, an exchange of glances, sloping towards the #mouth that invites #dialogue. The #bridge of the #nose, the #shape of the #eyes, #arabesques which delimit the head like horns of #crowns, these make us think of #augmented reality. These faces aim to #foster a link between my imaginary world and that of the spectator. The geometric shapes assemble in fragmented forms to create diagrams and patterns. The mix of materials, sometimes sources of light, recomposes the figure in a mosaic of effects and colours, caught between abstraction and figuration. The face is one of the first points of contact with another. It expresses an emotion, tells a story, true or false. These singular figures are visual fairy tales that each can claim as their own.” Vers une réalité transformée Le travail artistique est par essence individuel. Faire partie d’un groupe tel que DF Art Project permet d’avoir un #regard #extérieur professionnel, objectif et en même temps #bienveillant. L’union fait la #force. Avec mes figures stylisées et hybrides, l’attention converge vers l’œil, dans un échange de regards, et vers la bouche qui invite au dialogue. L’axe médian du nez, le trait des yeux, les arabesques qui terminent les têtes comme des cornes ou des couronnes, renvoient à une réalité transformée. Ces visages cherchent à créer un lien entre mon imaginaire et celui du spectateur. Les formes #géométriques s’assemblent en #volumes fragmentés qui créent des plans et des reliefs. Le mélange des matières, parfois une source #lumineuse, #recompose la figure en une mosaïque d’effets et de couleurs, entre #abstraction et figuration. Le #visage est un des premiers contacts avec l’autre. Il exprime une émotion, #raconte une histoire, vraie ou fausse. Ces figures singulières sont des contes visuels que chacun peut s’approprier. » (at Paris, France) https://www.instagram.com/p/CnXwUlvLy-h/?igshid=NGJjMDIxMWI=
