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My instructor for figure drawing class introduced him. He talked about the skintones as Schiele uses a lot of different colors when you look at his paintings up blues, yellows, pinks, and he really did something new with figures.

I find some of Schiele's work a bit too much, but I like the ones I posted too. lol

I think my instructor really liked him because my instructor was a fan of modern art, and Schiele kind of took figurative drawing into a more abstract space. He is an expressionist and yet he uses the concrete physical form as part of that expression.

I really like the boat one a lot--and then the couple and the water. But the water in the boat is just really amazing to me--that he managed to create such a visual affect with only scratchy looking lines. It's impressive since I find water really intimidating with all the ripples and reflections.
You can definitely see the many colors he uses almost everywhere, to create texture and vibrancy. It's not just the lines. It's the many colors he uses and his seemingly random brush strokes which aren't really random. He's also swapping brush tips to add texture and layering like a mofo. Genius!

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I would like to draw attention to a type designer. This time it is not Jung or Myers-Briggs but the French type designer Nicolas Jenson, who is unknown outside professional circles today. He represents the Venetian Renaissance, which, together with the French Renaissance, is still of the greatest importance in the field of typography.

Matthew Carter is here to represent the living type designers, firstly because of his engaging personality and then because of his work for Microsoft – where Windows is used, his fonts are often used as well.

1470: Eusebius: Praeparatio evangelica (Preparation for the Gospel) Source

“The first page of Eusebius’ Preparation for the Gospel printed by Nicolas Jenson in 1470. It is thought to be the first appearance of a roman typeface.” Source

First page of the Preparation for the Gospel
(Scan without illustrations)

Johannes Gutenberg c. 1400-1468
Nicolas Jenson c. 1420-1480

“It is a remarkable phenomenon of printing history that the essential forms of Jenson’s roman typeface designed more than 500 years ago are those that we continue to use most often and recognize today as the best and most readable typography. Of course, the characters in the alphabet of the Latin languages are those associated with Jenson’s contribution. But it should also be noted that Jenson designed and cut a Greek alphabet of a similar style.

Throughout the subsequent history of printing, many have noted the beauty and balance of Jenson’s roman type design. In particular, William Morris and the arts and crafts movement of the late nineteenth century focused upon Jenson’s creative genius. According to Lowry, Morris’ romantic affinity for medievalism led to an unjustified elevation of the contribution of Nicolas Jenson alongside those of Johannes Gutenberg and Aldus Manutius.”


Browse fonts designed by Matthew Carter

Optimal speed: 1.25 x

Robert Granjon - Wikipedia

Antiqua–Fraktur Dispute

"Nazis had a complex and variable relationship with Fraktur. Adolf Hitler personally disliked the typeface. In fact, as early as 1934 he denounced its continued use in a speech to the Reichstag:

Your alleged Gothic internalization does not fit well in this age of steel and iron, glass and concrete, of womanly beauty and manly strength, of head raised high and intention defiant ... In a hundred years, our language will be the European language. The nations of the east, the north and the west will, to communicate with us, learn our language. The prerequisite for this: The script called Gothic is replaced by the script we have called Latin so far ...

Nonetheless, Fraktur typefaces were particularly heavily used during the early years of the Nazi era, when they were initially represented as true German script. In fact, the press was scolded for its frequent use of "Roman characters" under "Jewish influence", and German émigrés were urged to use only "German script". However Hitler's distaste for the script saw it officially discontinued in 1941 in a Schrifterlass ("edict on script") signed by Martin Bormann.

One of the motivations seems to have been compatibility with other European languages. The edict mentions publications destined for foreign countries, Antiqua would be more legible to those living in the occupied areas; the impetus for a rapid change in policy probably came from Joseph Goebbels and his Propaganda Ministry. Readers outside German-speaking countries were largely unfamiliar with Fraktur typefaces. Foreign fonts and machinery could be used for the production of propaganda and other materials in local languages, but not so easily in German as long as the official preference for Fraktur remained."


Circular (Not for publication) 3. 1. 1941

"For general attention, on behalf of the Führer, I make the following announcement:

It is wrong to regard or to describe the so-called Gothic script as a German script. In reality, the so-called Gothic script consists of Schwabach Jew letters. Just as they later took control of the newspapers, upon the introduction of printing the Jews residing in Germany took control of the printing presses and thus in Germany the Schwabach Jew letters were forcefully introduced.

Today the Führer, talking with Herr Reichsleiter Amann and Herr Book Publisher Adolf Müller, has decided that in the future the Antiqua script is to be described as normal script. All printed materials are to be gradually converted to this normal script. As soon as is feasible in terms of textbooks, only the normal script will be taught in village and state schools.

The use of the Schwabach Jew letters by officials will in future cease; appointment certifications for functionaries, street signs, and so forth will in future be produced only in normal script.

On behalf of the Führer, Herr Reichsleiter Amann will in future convert those newspapers and periodicals that already have foreign distribution, or whose foreign distribution is desired, to normal script".

Source Facsimile

Wikipedia: Blackletter (sometimes black letter), also known as Gothic script, Gothic minuscule, or Textura, was a script used throughout Western Europe from approximately 1150 until the 17th century. It continued to be commonly used for the Danish language until 1875, and for German, Estonian and Latvian until the 1940s. […]

Fraktur is a notable script of this type, and sometimes the entire group of blackletter faces is incorrectly referred to as Fraktur.


Short video: Adobe Jenson Pro by Robert Slimbach, 1996

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Discussion Starter · #29 ·
That is awesome ^

Rene Magritte



The Art of Conversation

Time Transfixed

La Decalcomanie

The Lovers I

The Pleasure Principle

The Mysteries of the Horizon

Attempting the Impossible


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I love Vladimir Kush’s work.
Here is one of his newer ones that I posted here recently
Fiery Dance
I see strong passion in this—notice the butterflies—metamorphosis and the flight. The floral dance —people as petals; florals have both female and male recreation parts—brings to mind Jung. The reds and oranges show the dance of life with passion.

A surrealist for sure. Some (many) show his passion like the above.
I love this one that you posted: Moonlight Sonata
A crescendo has been reached, just like Bach’s Moonlight Sonata—a crescendo in of its own. Notice the people wrapped like a cocoon and some have wings.

I should be writing poems.

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This one reminds me of a story I wrote in 1988 for a creative writing fiction class I took. I animated flowers giving them human attributes using their name meanings; their growing habits, including seasons; their life span—perennial or not and more. It was a love story of life—existence and the acceptance of ending to begin again. I have a copy on floppy disc. Know anybody whom has the power to still read them 🙃


I guess the table triggered a memory of writing a poem using this painting—Still Life with a Glass and Oysters Jan Davidsz Heem. Out of all the still life’s I’ve seen (a lot), this is my favorite.

Still Life, Come Sit
by me

There was a feast
Still life hanging on a table
Lemons, oysters, a glass of wine
Glorious colors gazing the eyes
A painting of a brush of a life
Intensely invigorating warmth
Many truths it whispered
As it stood still it did prove
While its subject followed its self
The keeper of life of the feast
Moving right before your very eyes
As a chair invited softly, come sit

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