Calligraffiti: the Graphic Art of Niels Shoe Meulman Free

FREE CALLIGRAFFITI: THE GRAPHIC ART OF NIELS SHOE MEULMAN PDF Niels Shoe Meulman,Adam Eeuwens | 144 pages | 25 Feb 2015 | From Here to Fame | 9783937946214 | English | Berlin, Germany Niels Shoe Meulman Biography – Niels Shoe Meulman on artnet Out of Stock. Sign in to rate or review. Barcode Showcases the author's creation of calligraffiti, which combines graffiti and calligraphy, through a collection of pieces that he has done for clients and exhibitions. This repeating duality makes this book much more than just a collection of the Calligraffiti: The Graphic Art of Niels Shoe Meulman best work; it unveils the basis of all graphic art. The idea of universal harmony, sometimes described as yin and yang, is translated to the 21st century. Like black and white or even less and more. Throughout the book there will be comments written by Adam Eeuwens and the artist. The book will also include an essay by Adam Eeuwens about the artist and the significance of his work. Niels Shoe Meulman is a contemporary Dutch calligrapher, typographer and designer who successfully made the transition from the street to high end design. His work can be described as classical freehand calligraphy combined with street edge and contemporary design aesthetic. With firm roots in graffiti, Shoe is a member of Europes infamous Crime Time Kings who ruled supreme in the 80s and 90s. They can also be found wandering the streets, gracing a range of luxurious silk scarves out on his Unruly label worn by fashionistas and Hip Hop heads alike. Library Subject 2 Graffiti; Netherlands; Catalogs. Book Calligraffiti: The Graphic Art of Niels Shoe Meulman Click the Google Preview button to view an excerpt from the book. More by Niels Shoe Meulman. Toggle navigation Raru. Edit Cart Checkout Close. Recipient Name. Recipient Email. From Name. From Email. Send Email. Calligraffiti - Niels Shoe Meulman (Hardcover) - Books Online | Raru Calligraffiti is an art form that combines calligraphytypographyand graffiti. It can be classified as either abstract expressionism or abstract vandalism. It is defined as a visual art that integrates letters into compositions that attempt to communicate a broader message Calligraffiti: The Graphic Art of Niels Shoe Meulman writing that has been aesthetically altered to move beyond the literal meaning. Simply put, it is the conscious effort of making a word or group of words into a visual composition. The origins of the term, "calligraffiti" are unclear. The Dutch artist Niels Shoe Meulman is often incorrectly credited with coining the term inwhen he used it as the title of his solo exhibition. An even balance between seeing and reading word and image. On the other hand, basic shapes and splats become language. Use of the term, however, predates the contributions of Niels Shoe Meulman by at least thirty years. The Canadian painter, Brion Gysin used the term in his final exhibition, Calligraffiti of Fire held at the Galerie Samy Kinge in Paris between 19 April and 19 May in and the term was also used as the title of the book which accompanied Gysin's exhibition. Hix in Jordanian artist and art historian Wijdan Ali also used the term, "calligraffiti" in her book, Modern Islamic Art: Development and Continuity, to describe a style of art that had been flourishing across the Middle East and North Africa from the midth century. She defined calligraffiti as the use of "script of ordinary writing where the work is composed of the artist's personalised handwriting within a modern composition. Calligraffiti is distinguished from other styles of calligraphic art such as Pure Calligraphy, Neoclassical, Modern Classical, Freeform, Abstract calligraphy, Calligraphic Combinations and Unconscious Calligraphy in that it has no rules and artists require no formal training. Instead, they go beyond a simple transformation of Arabic or English-language words into visual compositions, and invent new languages. Ali also makes a Calligraffiti: The Graphic Art of Niels Shoe Meulman between calligraffiti and pseudo-calligraffiti. Straight calligraffiti refers to the use of calligraphy without the rules of proportion while pseudo-calligraffiti is a total abstraction in which the letters may or may not be legible. The practice of calligraffiti appears to have begun in the Middle East and North Africa in around the s, when local artists, searching for a visual language that expressed their national identity and heritage, began incorporating Arabic letters, as a graphic form, into their artworks. The incidence of calligraffiti gathered momentum during the early 21st-century when Middle Eastern street artists co-opted urban spaces for calligraffiti art designed to convey political or provocative statements. This street art practice was especially conspicuous during the wave of uprisings between andthat became known as the Arab Spring thereby bringing the art form to the attention of international audiences. He completely revolutionized the art of calligraphy. Calligraffiti is a complex process. Its specificity is in its paradoxical nature, as it is characterised by and composed of many elements that appear contradictory:. It requires an overall vision from the artist- from the message he is trying to convey, to the shape of the letters, to the larger picture he is creating. Calligraffiti artist, Tubs, explains that the art form's graffiti component forces the artist to reflect upon and consciously create a piece that will arouse a specific feeling or reaction in the viewer. Part of what differentiates calligraffiti from calligraphy is its freedom from rules. Calligraphy is a meticulous and specific art that takes years to master. Most calligraffiti artists, like El Seed, do not consider themselves calligraphers because they do not know, nor do they follow the many rules of calligraphy. Each individual artist uses and sometimes designs his or her own tools. Arabic calligraphy is incredibly rich; it is an art form that has been perfected for well over a millennium. Islamic tradition greatly encouraged the development of calligraphy as an art form in order to bear witness of the written word and to spread Islam. The spread and evolution of calligraphy can be traced very specifically throughout Islamic history as it is inherently tied Calligraffiti: The Graphic Art of Niels Shoe Meulman the spread of Islam Calligraffiti: The Graphic Art of Niels Shoe Meulman. Calligraphy was how scribes transcribed and created copies of the Quran—allowing Mohammad's message to extend beyond the Arabian Peninsula. As a result, calligraphy became not only a tool for the expansion of Islam, but its most characteristic form of religious art. Calligraffiti has emerged quite forcefully in the Middle East in recent years, particularly in the wake of the Arab uprisings. While graffiti has never been widespread in the region, it has spread with the rising dissidence against Middle Eastern dictatorships and authoritarian regimes. Calligraphy artist Hassan Massoudy called Arabic calligraphy and graffiti "two daughters of the same parents" because of their interrelationship. He notes that "Obviously Calligraffiti: The Graphic Art of Niels Shoe Meulman and graffiti] both are about the use of letters and their alphabets, and their center of gravity is the beauty of writing. For both, a letter is more than just a letter and they fill them with emotions. The use of empty space and composition within this space is something else they have in common. The first step towards calligraffiti was the emergence of the abstract movement in the Middle East during the 20th century. Calligraphy was impacted by the abstract movement in the s and s with the introduction of the Hurufiyya movement in the Arab world and the Saqqa Khaneh movement in Iran. Hassan MassoudyHossein Zenderoudi and Parviz Tanavoli were some of the pioneers of this new era of calligraphy. The next two decades saw an initial explosion of graffiti in the context of the First Intifada and the Lebanese Civil War. Artist and activist Janet Kozak, characterizes calligraffiti artists in the Middle East as being "not bound by the shackles of tradition, yet still indebted to it", as they use "a unique blend of traditional scripts and design mixed with modern materials and techniques". Calligraffiti has been a way for artists in the Middle East to reclaim the region while still staying grounded in their culture and tradition. From the civil war in Beirut, to the Palestinian intifadas, to the Arab uprisings, calligraffiti has become a Calligraffiti: The Graphic Art of Niels Shoe Meulman for social and political protest—where letters become symbols. Calligraffiti is an urban art as much as it is a gallery art, and as such it has served as a tool to reclaim public spaces and impose the will and opinion of the people. Once an infrequent sight, graffiti and Calligraffiti: The Graphic Art of Niels Shoe Meulman now adorn the walls of most major cities in the Middle East, representing the rising political and social tensions in the region. Despite most artists' claims that they are neither political or social actors, their art has inevitable impact—as Saudi artist Rana Jarbou said "words are weapons". Many calligraffiti artists contest the idea that their art is political. Protesting political affairs has been the subject of much of the graffiti in the region, and calligraffiti has not escaped this. Much of the anonymous calligraffiti that emerged from the Arab Spring is deeply embedded in a political struggle. Similarly, Askar's piece entitled "Palestine" cannot be separated from the political weight the word "Palestine" holds; nor can his piece that says "salaam" meaning peacethat is shaped like a key, escape the symbolism of the key in the Palestinian occupation. Anonymous calligraffiti on the Israeli wall in Bethlehem is inherently political because of its location. The exhibit "Contemporary Arabic Graffiti and Lettering" explores how Calligraffiti creates a dialogue between the social and political sphere, by questioning dominant beliefs and ideologies.

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