Calligraffiti: the Graphic Art of Niels Shoe Meulman Free

FREE CALLIGRAFFITI: THE GRAPHIC ART OF NIELS SHOE MEULMAN PDF

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. It does this by imposing itself on the religious and political debates by commandeering public spaces. Her work very explicitly deals with the political realities of Egypt, whether it is political Islam, democracy, or women's issues. Calligraffiti, as art, has the power to influence society and the people who are exposed to it. For example, it can be used to bring awareness to lost memories Calligraffiti: The Graphic Art of Niels Shoe Meulman forgotten moments in history. Inkman's USINA project decorates the forgotten limestone factory walls in Boukornine Tunisia to remind the world of those who struggled there and pay them respect. His purpose was to create hope in Tunisia; that the people of the country could rediscover something positive and be proud of their culture in the midst of political turmoil. The civil war created a deep fragmentation within the Lebanese society and a sense of amnesia that Halwani sought to fight against. His calligraffiti is meant to portray the city in a positive light, repair social ties and breathe life into a broken society. He often questions contemporary identity, philosophy, and history in Iran, which can be seen in his piece on the Iranian diaspora that features a headless deer. Another way in which calligraffiti has impacted the social sphere is by engaging a discuss about contemporary issues and bringing people together. The quote reads "Oh humankind, we have created you from a male and a female and made people and tribes so you may know each other"; it attempts to break stereotypes and opens a discussion around the place of art in Islam. Many calligrafitti artists Calligraffiti: The Graphic Art of Niels Shoe Meulman Arabic script or are heavily inspired by it. There Calligraffiti: The Graphic Art of Niels Shoe Meulman been a rise in Arabic calligraffiti outside the Middle East and by non Middle Eastern artists. Arabic calligraffiti has become a cosmopolitan art form. This can partially be attributed to the richness of Arabic calligraphy compared to other scripts. The use of Arabic calligraphy has been a typographic decision by many artists who seek to reinvent the aesthetic. The widespread use of Arabic calligraphy outside the Middle East is often a result of political and social dynamics. He says his style developed from his struggle to fit in; the feeling that while he was not French, he was not fully Tunisian either. As a result, artists like Julien Breton and L'atlas have adopted the Arabic script style. Many artists use calligraffiti to reconnect with cultural and historical identities that they lost, or as Calligraffiti: The Graphic Art of Niels Shoe Meulman way to find a new identity. Calligraffiti is a relatively new term and graffiti is still taboo in parts of the Middle East and Asia, and as a result many calligraffiti artists are anonymous or rely on pseudonyms. Additionally, many calligraphers have created calligraffiti pieces, even though it is not their primary focus. InNiels Shoe Meulman created the Calligraffiti Ambassadors with the aim of expanding the Calligraffiti: The Graphic Art of Niels Shoe Meulman and creating a community of calligraffiti artists. The group has already grown since its inception and includes artists from all over the world. They exhibited some of their work at the Affenfaust Gallery in Hamburg, Germany. In addition to solo exhibitions of individual street artists such as Declarations by el-Seed, [89] a number of group exhibitions, showcasing the social and political importance of calligraffiti have been mounted by prestigious art museums and galleries have mounted exhibitions dedicated to street art and calligraffiti. These include:. From Wikipedia, the free encyclopedia. The inevitability of leaving things behind, by Yazan Halwani, Mannheim, Germany, Calligraffiti: The Graphic Art of Niels Shoe Meulman Retrieved 8 May Nadia Shabout, for example, argues that he does not fit the definition of a calligraffiti artist because he aimed for a total deconstruction of the letter. Shabout, N. Archived from the original on Retrieved Archived from the original on 9 May Albin Michel. The Daily Beast. Threadless Blog. Street Art NYC. Categories : Graffiti and unauthorised signage Calligraphy. Hidden categories: Webarchive template wayback links CS1 maint: archived copy as title CS1 French-language sources fr All articles with dead external links Articles with dead external links from October Articles with permanently dead external links. Namespaces Article Talk. Views Read Edit View history. Niels Shoe Meulman | Widewalls

In NSM made the decision to focus on his art again. Ever since, NSM has been travelling to spread the magic of his Calligraffiti around the globe. His recent painting style can be described as Abstract Expressionism with a Calligraphic origin. Rather than ship artwork from abroad, NSM will make site-specific art in each city. At all exhibitions and other events, the artist will be available for interviews, and on hand to sign his book Calligraffiti with Calligraffiti: The Graphic Art of Niels Shoe Meulman dedications. Auckland, New Zealand. In addition, the legendary Kinokuniya Bookstore will host an exhibition in their Wedge Gallery from 25 January until February 7, Second on Calligraffiti: The Graphic Art of Niels Shoe Meulman list is street-art haven Melbourne. And NSM will work together with local creative crew Dangerfork to make exclusive prints for this tour. Next stop is Auckland, New Zealand. Last but not least is Singapore. This will make a magnificent grand finale. We are working with local studio Doodle Room. Inspired by traditional work of Asian calligraphers with brushes and water in the street, NSM will work his magic in the Singapore streets before he returns to Amsterdam. More info: — likemindedstudio. Follow the event on facebook here. For interviews with the artist and more images and information, please contact: Sacha Horton. Tour Dates: Sydney. Supported by Ironlak. Leave a Comment Cancel Reply You must be logged in to post a comment.