The mysterious Voynich manuscript has finally been decoded

Artículos, arte, Ciencia, diseño, Enlaces, ilustración, Naturaleza, Sin categoría

History researcher says that it’s a mostly plagiarized guide to women’s health.

Since its discovery in 1912, the 15th century Voynich Manuscript has been a mystery and a cult phenomenon. Full of handwriting in an unknown language or code, the book is heavily illustrated with weird pictures of alien plants, naked women, strange objects, and zodiac symbols. Now, history researcher and television writer Nicholas Gibbs appears to have cracked the code, discovering that the book is actually a guide to women’s health that’s mostly plagiarized from other guides of the era.

Gibbs writes in the Times Literary Supplement that he was commissioned by a television network to analyze the Voynich Manuscript three years ago. Because the manuscript has been entirely digitized by Yale’s Beinecke Library, he could see tiny details in each page and pore over them at his leisure. His experience with medieval Latin and familiarity with ancient medical guides allowed him to uncover the first clues.

After looking at the so-called code for a while, Gibbs realized he was seeing a common form of medieval Latin abbreviations, often used in medical treatises about herbs. “From the herbarium incorporated into the Voynich manuscript, a standard pattern of abbreviations and ligatures emerged from each plant entry,” he wrote. “The abbreviations correspond to the standard pattern of words used in the Herbarium Apuleius Platonicus – aq = aqua (water), dq = decoque / decoctio (decoction), con = confundo (mix), ris = radacis / radix (root), s aiij = seminis ana iij (3 grains each), etc.” So this wasn’t a code at all; it was just shorthand. The text would have been very familiar to anyone at the time who was interested in medicine.

 

Further study of the herbs and images in the book reminded Gibbs of other Latin medical texts. When he consulted the Trotula and De Balneis Puteolanis, two commonly copied medieval Latin medical books, he realized that a lot of the Voynich Manuscript’s text and images had been plagiarized directly from them (they, in turn, were copied in part from ancient Latin texts by Galen, Pliny, and Hippocrates). During the Middle Ages, it was very common for scribes to reproduce older texts to preserve the knowledge in them. There were no formal rules about copyright and authorship, and indeed books were extremely rare, so nobody complained.

Once he realized that the Voynich Manuscript was a medical textbook, Gibbs explained, it helped him understand the odd images in it. Pictures of plants referred to herbal medicines, and all the images of bathing women marked it out as a gynecological manual. Baths were often prescribed as medicine, and the Romans were particularly fond of the idea that a nice dip could cure all ills. Zodiac maps were included because ancient and medieval doctors believed that certain cures worked better under specific astrological signs. Gibbs even identified one image—copied, of course, from another manuscript—of women holding donut-shaped magnets in baths. Even back then, people believed in the pseudoscience of magnets. (The women’s pseudoscience health website Goop would fit right in during the 15th century.)

The Voynich Manuscript has been reliably dated to mere decades before the invention of the printing press, so it’s likely that its peculiar blend of plagiarism and curation was a dying format. Once people could just reproduce several copies of the original Trotula or De Balneis Puteolanis on a printing press, there would have been no need for scribes to painstakingly collate its information into a new, handwritten volume.

Gibbs concluded that it’s likely the Voynich Manuscript was a customized book, possibly created for one person, devoted mostly to women’s medicine. Other medieval Latin scholars will certainly want to weigh in, but the sheer mundanity of Gibbs’ discovery makes it sound plausible.

See for yourself! You can look at pages from the Voynich Manuscript here.

Fuente: Arstechnica.com

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Type on the campaign trail

Artículos, arte, derechos, diseño, Enlaces, Fotografia, ilustración, Sin categoría, tipografía

US designers contribute type, posters, badges and branding to the Hillary Clinton cause

 

From the outset, the Hillary Clinton campaign has enlisted the help of some of the United States’ best designers to portray and propagate her messages.

The Hillary Clinton campaign identity designed byMichael Bierut and his team atPentagram.

HillaryforAmerica

Pentagram’s Michael Bierut and his team designed the campaign identity in 2015 which used Sharp Type foundry’s typeface Sharp Sans Display No.1 as the foundation for their identity system. The foundry’s co-founder Lucas Sharp saw this application as an ‘opportunity to take the design further. We had drawn a tightly spaced, Lubalin-esque geometric sans that looked really good big. Now we wanted to draw a version with utility and versatility, that could work in any situation.’

 

‘Stronger Together’ is set in Sharp Slab for Hillary.

StrongerTogether

Bierut’s extensive identity system would be used by all manner of people on the campaign trail – from professionals to volunteer organisers – which meant that the detailed instructions laid out in the style guide for tracking a display face used for other applications were unlikely to be followed. Sharp writes, ‘It occurred to us that a serious presidential campaign needs a typeface that can work in any situation.’ As a result, Sharp Sans grew to include Sharp Unity for Hillary, Sharp Slab for Hillary, Sharp Slab Extrabold, Sharp Slab Book, Sharp Stencil for Hillary and Sharp Stencil.

 

Examples of Sharp Slab for Hillary,Sharp Unity for Hillary, Sharp Stencil for Hillary, Sharp Slab Extrabold, Sharp Slab Book and examples of several of the fonts in use on a campaign bus.

type_comp

Jennifer Kinon of design and branding agency Original Champions of Design (OCD) stepped away from her agency role to become Hillary Clinton campaign’s design director. Kinon was tasked with rolling out and extending from the identity designed by Michael Bierut (Pentagram) that used the Sharp Sans family. Both Bierut and Sharp have praised Kinon’s work online and many of her designs have gone viral including the ‘Love Trumps Hope’ image.

 

A selection of Hillary merchandise.

HillYes

Other design led initiatives in support of Hillary Clinton include The Forty-Five Pin Project and 30 Reasons with work by designers such as Matt Dorfman, Elizabeth Resnick and Craig Frazier.

 

30 Reasons posters by Elizabeth Amorose, OCD,Bonnie Siegler andLarkin Werner.

30Posters_comp

 

Vote.

Hill_vote

 

Hillary for Americavideo showing Pentagram’s identity in action.

https://player.vimeo.com/video/169739384

Eye is the world’s most beautiful and collectable graphic design journal, published quarterly for professional designers, students and anyone interested in critical, informed writing about graphic design and visual culture. It is available from all good design bookshops and online at the Eye shop, where you can buy subscriptions and single issues.

A new life for old type: Pentagram’s identity for Pink Floyd Records

arquitectura, Artículos, arte, diseño, Enlaces, Fotografia, ilustración, musica, Sin categoría, tipografía

 

Pentagram partner Harry Pearce talks us through designing an identity for Pink Floyd Records and a lavish 27-disc box set for the band

Pentagram’s alphabet for Pink Floyd Records, based on the stencil lettering from the cover of the band’s 1977 album, Animals

Aubrey Powell and Storm Thorgerson’s record sleeves for Pink Floyd are some of the most memorable of all time. Working under the name Hipgnosis, the pair’s surreal imagery inspired generations of designers and have become enduring symbols of the band’s music. Think of Pink Floyd, and it’s near impossible not to imagine the prism on the cover of Dark Side of the Moon or the bright pink pig on the sleeve of Animals.

Pink Floyd’s music and visual output is the subject of a major retrospective opening at London’s V&A Museum in May. In November last year, the band released a 27-disc box set of early singles and recordings on their record label Pink Floyd Records.

The identity for Pink Floyd Records was designed by Pentagram partner Harry Pearce and his creative team and is based on the stencil lettering from the cover of Animals. Designer Johannes Grimmond worked with Pearce to create a complete alphabet based on the original letterforms, giving the label a distinctive logotype. The alphabet can also be used as a headline font on new releases and merchandise.

Pink Floyd Records logotype. The alphabet can also be used as a headline font
Edition numbering for record label releases
Edition numbering for record label releases

Pearce says he initially experimented with creating something new for the label but decided that the lettering “just had a wonderful quality to it.”

“The stencil somehow feels evocative of the stencilling on all their equipment and their boxes…. It’s such a wonderful, idiosyncratic bit of type that we just felt it deserved a bigger life than it had already,” he told CR. “[The band and Powell] loved the idea and it’s right in the middle of the canon of all of their work.”

Creating a complete alphabet based on the design was quite a challenge. “It was originally made to be on a 12″ LP … when you take that typeface and make it very small, which it often had to be, all of the inter-character work, the huge contrast between the stencil cuts through the lettering was so narrow that you reduce it down and it just sort of closes up,” says Pearce. “That was one challenge and the fact was that we just didn’t have that many letters, so we did an analysis of the forms of letters that were there and built a system on that.”

Pearce and his team also designed The Early Years 1965 – 72, which features early singles and previously unreleased recordings from Pink Floyd’s archives.

The black-and-white outer casing takes inspiration from the Bedford van that the band once drove around in (see gallery above). Discs are packaged in seven volumes – one for each year between 1965 and 72 – and each one features a painting by artist John Whiteley (an old friend of Powell’s) on its cover.

Whiteley created the artworks during the band’s early years but – like much of the material on the box set – they have never before been released. “Those beautiful works of his have never seen the light of day so that was a lovely continuity there,” says Pearce. “They aren’t modern versions of his work, they were made at the same time [as the recordings].”

A2’s Typewriter font is used throughout the packaging, offering a more contemporary take on traditional typewriter lettering. “We thought that was relevant, as even though [the box set] is old material, we’re cataloguing it today, so it isn’t just all nostalgia.”

Booklets contain lyrics and photographs from Pink Floyd’s archives, many of which have never before been published. The box set also features some lovely added touches. The spine of each volume bears a unique reference number and a word representing that year’s output. Roger Waters came up with the words for each year and each one is intercepted with a forward slash, providing another reference to the white stripe on the Bedford van.

Pentagram worked closely with Aubrey Powell on the design of the identity and the box set. “He was a bit like our filter really. He’s so intimate with the band, we took his advice on the directions and ideas [that were presented to him] and he took them to the band. Him being a designer himself, it was a really sympatico relationship,” says Pearce.

As a long time fan of Pink Floyd’s, Pearce describes the project as “a complete joy”.

“When I was a teen in the 1970s listening to that stuff, holding that 12″ sleeves in my hands, never did I dream I’d one day be working with some of that material,” he says. “Some of that music was founding stuff for me back in the 70s, so it’s a very precious thing to do and we took immense care on this project.”

“That’s probably another reason why we honoured the lovely lettering on that original Animals album [for the identity],” he adds. “We could have imposed our own style on to this … we could have invented a new logo, but this just seemed to resonate so much more – the fact that we were honouring and using things that already existed and giving them a new and extended life.”

Pearce has also written an ‘outro’ for forthcoming Thames & Hudson book Vinyl. Album. Cover. Art: The Complete Hignosis Catalogue.

You can read our interview with Aubrey Powell about the work of Hipgnosis and his partnership with Thorgerson here.

Fuente: www.creativereview.co.uk

El MOMA lanza un curso online gratuito que explora el trabajo de 7 maestros de la pintura abstracta de postguerra

Artículos, arte, diseño, Fotografia, ilustración, Sin categoría

El Museo de Arte Moderno de Nueva York, MOMA, ha lanzado un curso online gratuito donde se explora el trabajo de 7 maestros de la pintura abstracta de postguerra. A través de ocho sesiones, el centro de arte da la oportunidad de conocer y analizar la obra de de 7 artistas pertenecientes a la Escuela de Nueva York a través de los fondos del museo.

El MOMA lanza un curso online gratuito que explora el trabajo de 7 maestros de la pintura abstracta de postguerra

¿Alguna vez te has preguntado cómo Agnes Martin equilibró la perfección y la imperfección en sus composiciones reticuladas? ¿Por qué Jackson Pollock fue apodado ‘Jack the Dripper’? ¿Cómo Mark Rothko trató de hacer llorar a los espectadores? ¿O cómo suena una pintura de Willem de Kooning? En definitiva, ¿quieres saber cómo algunos de los artistas más célebres del siglo XX hicieron sus pinturas abstractas?

Cabarets del Cielo y del Infierno en París

arte, diseño, Fotografia

A finales del Siglo XIX en la época de la Belle Époque, una serie de corrientes relacionadas con el ocultismo, el esoterismo y el culto a la muerte comenzaron a florecer entre la alta sociedad de las ciudades europeas más importantes. Era incluso extraño que tras una cena de gala no hubiese una sesión espírita o séance en la que se “jugaba” con la invocación de espíritus y demás seres o entidades de ultratumba. Con este caldo de cultivo tan peculiar, en París surgieron una serie de cabarets muy distintos a los que normalmente nos vienen a la cabeza al nombrar lugares como el Moulin Rouge y Folies Bergère.

Los libros de la Bauhaus GRATIS!

arquitectura, Artículos, arte, diseño, Enlaces, Fotografia, ilustración, musica, Sin categoría, tipografía

Los aportes más valiosos al mundo del diseño sin duda los dio la Escuela de la Bauhaus. Se inauguró en Alemania en 1919 y revolucionó los parámetros académicos burgueses del arte de aquella época, estableciendo una nueva visión de lo estético y funcional entre arquitectos, escultores, pintores, etcétera.

¿Cómo logra el juego Pokémon GO ser más popular que la pornografía?

Juegos, Sin categoría

La solicitud de información sobre esta aplicación para celular supera a las búsquedas de pornografía en Google.

La aplicación Pokémon GO ha cautivado a millones de usuarios de tal manera que, como reflejan las estadísticas de Google, en algunos momentos la cantidad de búsquedas sobre este juego superó al número de consultas sobre pornografía —en los países en donde el juego de realidad aumentada ya está disponible para su descarga—, informa el portal Nintendo Enthusiast.

Jorge Luis de la Vega

arte, diseño

Jorge Luis de la Vega, artista autodidacta, nació en Buenos Aires el 27 de marzo de 1930 y murió, en la misma ciudad, el 26 de agosto de 1971. Fue pintor, dibujante, grabador, cantautor, casi arquitecto, docente universitario en la UBA y en la Cornell University, perspectivista, autor de historietas, diseñador gráfico y creativo en una agencia de publicidad.