Andréa Branco

ESTE MATERIAL É PARTE INTEGRANTE DO CURSO ONLINE “FUNDAMENTOS DA CALIGRAFIA ARTÍSTICA” DA EDUK (WWW.EDUK.COM.BR) CONFORME A LEI Nº 9.610/98, É
PROIBIDA A REPRODUÇÃO TOTAL E PARCIAL OU DIVULGAÇÃO COMERCIAL DESTE MATERIAL SEM AUTORIZAÇÃO PRÉVIA E EXPRESSA DO AUTOR (ARTIGO 29)
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Introdução
A caligrafia é uma técnica em que se escreve
es creve com instrumentos
instrumentos específicos e traçados especiais.
A partir de um sistema de escrita, procura-se “vestir” os traços dos caracteres dando ao texto
uma aparência única. Do grego, κάλλος = kalli “beleza” + γραφή graphẽ = “escrita”.

Podemos alar da caligrafia de muitos povos, como o egípcio com os hieroglios, como o chinês
com os ideogramas, como os sumérios com a escrita cuneiorme, como os maias com seu ala-
beto de Landa.
L anda. Aqui no Brasil vamos ocar o nosso alabeto ocidental romano, que se originou
do alabeto criado pelos enícios em apr
aproximadamen
oximadamente te 2000 anos a.C.

A partir da criação deste alabeto maiúsculo em 500 a.C. vemos desenrolar-se a história da
caligrafia na Europa, com variados modelos de letras, a maioria delas traçadas com a pena de
ponta quadrada, variações de ormas sobre o tema das nossas letras. No século IX são estabele-
cidas as letras minúsculas com a criação das letras carolíngeas, letra oficial do Império Franco.

Somente no século XVIII vemos uma letra mais fina, executada com a pena de bico: a Copper-
plate ou Cursiva Inglesa ou Roundhand. ema do presente curso.

Aprender caligrafia significa resgatar um longo trajeto de experiências que os homens trilharam
Aprender
em torno das nossas letras e que também serviram de inspiração para a criação da tipografia
no século XV. A letra mecanizada, e não mais manual, continua sendo recriada infinitamente
e se transorma nas ontes que usamos diariamente nos nossos computadores e dispositivos
móveis.

Até 1940-50, dependendo da cidade brasileira, nossos pais e avós ainda escreviam com pena
de metal mergulhada em tinta nas suas escolas e no seu dia a dia. A caneta tinteiro já existia,
porém não tinha valor acessível a todos. A letra cursiva era ensinada com cuidado e exigida
nas escolas, por ser considerada um ítem primordial à apresentação pessoal. Assim, quando
alguém casava, era o amiliar que possuísse uma boa letra é quem escreveria os nomes dos
convidados nos envelopes dos convites, à pena, com tinta preta. Com o passar do tempo, este
trabalho ficou a cargo de pessoas que estudaram a técnica e passaram
p assaram a azer este trabalho co-
mercialmente:
mercialment e: as calígraas especializadas em convit
convites.
es.

Há relatos também de pessoas que estudaram caligrafia nos antigos cursos de magistério do
segundo grau, em aulas de educação artística, em aulas de colégios internos. De qualquer or-
ma sempre existiu uma grande apreciação destas letras tão elegantes, em geral a letra Cursiva
Inglesa clássica.
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O scriptorium
O período monástico, que vai do nascimento da Igrega Católica até o século XII, é considerado
a ase áurea da Caligrafia Artística. O local da escrita,
es crita, da iluminura
iluminura e dos livros, por excelência,
era o “scriptorium”,
“scriptorium”, hoje escritório.

Como vemos na imagem abaixo, o nobre autor, tradutor, iluminurista, escriba e sacerdote Jean
Miélot executa e figura na gravura do século XV, onde aparece caligraando “Os Milagres de
Nossa Sen
Senhora”
hora”..

Este é o ambiente do calígrao medieval: uma escrivaninha muito inclinada, um banco sem
encosto, um livro acima (tipo códice) de onde ele copia o texto, que permanece aberto com a
ajuda de um peso pendente sobre as páginas. Potes com pigmentos produzidos manualmente a
partir de vegetais, minerais, insetos, carvão colocados em cerâmicas e cornos. Estantes de ma-
deira trabalhada mostram diversos livros enormes ricamente escritos, decorados e encaderna-
dos, com cintas e echos de sustentação para mantê-los echados e suas páginas de pergaminho
pergaminho,,
planas.
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Alfabeto Fenício
Z W H D G B A
ZAYIN WAW HE DALEH GIMEL BEH ALEPH
(ARMA) (GANCHO) (RAMELA) (PORA) (VARA) (CASA) (BOI)

N M L K Y  H
NUN MEM LAMEDH KAPH YODH EH HEH
(PEIXE) (ÁGUA) (AGUILHÃO) (PALMA DA (MÃO) (CERCA)
MÃO)

 SH R Q S P - S
AW SHIN RESH QOPH SADHE PEH AYIN SAMEKH
(MARCA) (DENE) (CABEÇA) (MACACO) (ANZOL) (BOCA) (OLHO) (SUPORE)
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Origem do Alfabeto Romano Ocidental

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ESTE MATERIAL É PARTE INTEGRANTE DO CURSO ONLINE “FUNDAMENTOS DA CALIGRAFIA ARTÍSTICA” DA EDUK (WWW.EDUK.COM.BR) CONFORME A LEI Nº 9.610/98, É PROIBIDA A REPRO-
DUÇÃO TOTAL E PARCIAL OU DIVULGAÇÃO COMERCIAL DESTE MATERIAL SEM AUTORIZAÇÃO PRÉVIA E EXPRESSA DO AUTOR (ARTIGO 29)
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ESTE MATERIAL É PARTE INTEGRANTE DO CURSO ONLINE “FUNDAMENTOS DA CALIGRAFIA ARTÍSTICA” DA EDUK (WWW.EDUK.COM.BR) CONFORME A LEI Nº 9.610/98, É PROIBIDA A REPRODUÇÃO TOTAL E PARCIAL OU DIVULGAÇÃO COMERCIAL DESTE MATERIAL SEM AUTOR-
IZAÇÃO PRÉVIA E EXPRESSA DO AUTOR (ARTIGO 29)
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O Desenvolvimento da Escrita Ocidental

O primeiro alabeto oi desenvolvido na Fenícia, em aproximadamente 1200 a.C., adap-
tado no século
séc ulo 8 a.C. pelos
p elos gregos e cujo ormato das letras oi emprestado
emprestado aos etruscos e, por
sua vez, aos romanos, alabeto este responsável por todos os posteriores desenvolvimento de
escritas ocidentais. As escritas neste livro estão agrupadas em seis categorias: Escritas Romana
e Romana ardia, Escritas Insular e Nacional, Escritas Carolíngia e Gótica Primitiva, Escrita
Gótica, Escritas Itálica e Humanista, e Escritas Pós-Renacentistas. A duração de cada escrita é
indicada em uma cronologia.
Provavelmente, o evento mais importante da história da escrita ocidenta
ocidentall oi a adoção do
alabeto etrusco pelos romanos. No primeiro
primeiro século a.C., os romanos desenvolveram
desenvolveram diversas
escritas. Uma delas oi uma cursiva rápida utilizada para correspondência, rabiscada em uma
placa de cera ou escrita com um cálamo em papir papiro.
o. Essa letra influenciou no desenvolvimen
desenvolvimento to
da letra minúscula, incluindo a meia-uncial. Outra escrita undamental oi a Maiúscula Rústi-
ca, usada em manuscri
manuscritos,
tos, inscrições e ormas gravadas.

Maiúsculas imperiais

A terceira letra roman

romanaa produzida no primeiro século a.C., atualmen
atualmentete conhecida como
maiúscula imperial (ou capitular
capitular imperial) oi usada tanto gravada em pedra
p edra como desenhada
com pincel. Mais
Mais de 2 mil anos mais tarde, as ormas
ormas desta escrita ainda servem como base de
nossas maiúsculas modernas.
Por volta do século quarto
quarto,, surgiu também uma letra ormal: a maiúscula quadrada.
Outra escrita importante que teve suas origens durante o período romano oi a uncial. Com
orma semelhante à uncial grega que a precedeu, ela oi desenvolvida para ser usada pela nas-
cente Igreja Cristã.

Escritas insulares e nacionais

Com o fim do Império Romano do Ocidente no século quint

quinto,
o, diversas letras oram de-
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Escritas carolíngia e gótica primitiva

O primeiro império do Ocidente a emergir dos destroços do Império Romano oi o de

Carlos Magno. Por volta do século nono, seu Império Franco se estendia dos Pirineus ao Bál-
tico. Uma letra remodelada de autoria de Alcuíno de York se tornou a letra padrão do império
– sendo atualmen
atualmente
te conhecida como a minúscula carolíngia.
Fora do Império Franco, as letras nacionais persistiram
persistiram.. Na Itália, a escrita benev
beneventana
entana
era uma das escritas que mais subsistiram
subsistiram entre as escritas pós-romanas, ela oi utilizada desde
os meados do século oitavo até 1.300. Na Inglaterra, a insular e a minúscula anglo-saxônica
vigoraram
vigoraram até o décimo século, quando oi introduzida a minúscula carolíngia, que se tornou
mais condensada, antecipando o aspecto angular e uniorme das letras góticas. Essa escrita
condensada é conhecida como carolíngia ardia ou Gótica Primitiva.

Escritas góticas

No final do século XII, desenvolveu-

desenvolveu-se
se um sistema complex
complexoo de escritas góticas em toda
a Europa. Para simplificar, elas eram, requentemente, divididas em dois grupos: o de alta qua-
lidade (de luxo), letras ormais usadas tanto no texto de livros religiosos como seculares, e as
letras cursivas, utilizadas para trabalhos de documentação e, a partir do final do século XIII,
para a produção de livros vernáculos. As duas letras de luxo mais importantes oram a textura
quadrata e sua irmã gêmea, a prescisus.

Escritas bastardas

As escritas cursivas góticas são conhecidas como escritas bastardas e permaneceram em uso
até serem substituídas pela Copperplate no século XVIII, 200 anos após o fim das letras góticas
ormais. As letras Bastardas
Bastardas são diíceis de serem catego
categorizadas,
rizadas, dierenciando-se de um país a
outro, de uma cidade a outra e de uma atividade a outra. Entretanto, as dierenças gerais entre
os modelos inglês, rancês e alemão podem ser acilmente percebidas. Foi em uma escrita de
um texto bastardo que as minúsculas e as maiúsculas da mesma letra apareceram pela primei-
ra vez juntas - com as maiúsculas góticas usadas para iniciar novas sentenças
s entenças e indicar nomes
próprios.
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Escrita pós-renascentista

A última escrita significativa é a Copperplate. Como o nome sugere (chapa de cobre), essa oi,
originalmente,
originalment e, uma letra gravada ou corroída com ácido em
e m olhas de cobre. Caracterizada por
volta delicadamente ligadas e proporções exóticas, essa letra cursiva poderia ser
s er gravada com
uma acilidade muito maior do que se osse desenhada. Entretanto, em sua orma manuscrita
mais simples, a Copperplate tinha a vantagem de ser muito rápida e, por volta do século XIX,
era a escrita padrão dos negócios e educação.

Caligrafia moderna

Uma revitalização da caligrafia moderna teve início no começo do século XX, com o trabalho
pioneiro de Edward Johnston, na Inglaterra, e Rudol von Larisch e Rudol Koch, na Alemanha.
Desde a década de 1950, o interesse pela caligrafia tem se desenvolvido em muitas culturas,
sejam elas baseadas no alabeto latino ou não. Durante
Durante os últimos 20 anos, tendo os calígraos
explorando e redefinindo as ormas das letras, a caligrafia se tornou uma orma de arte em si
mesma.

in: A Arte da Caligrafia, David Harris, Ambientes & Costumes, São Paulo, 2009
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Anatomia das letras romanas

linha da ascendente
serifa serifa curva
triangular linha da maiúscula
minúscula
ou caixa orelha ascendente maiúscula ou
miolo língua caixa alta
baixa
arco ou ombro

medidas por
larguras de pena pé em
bojo
curva

ligação
espaço
pé haste interno
barra horizontal principal
bojo

miolo inferior
descendente

floreio

ligatura
crista linha de x
fio
hairline

diamante altura
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Diagrama que ilustra as

relações da caligrafia com outras artes

in: Journal, Society o Scribes, volume 1, número 2, New York, 1986.

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Duas penas básicas

da caligrafia artística
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Alguns modelos de pena de bico e dois

modelos recomendados para o iniciante

Hiro 41
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ESTE MATERIAL É PARTE INTEGRANTE DO CURSO ONLINE “FUNDAMENTOS DA CALIGRAFIA ARTÍSTICA” DA EDUK (WWW.EDUK.COM.BR) CONFORME A LEI Nº 9.610/98, É PROIBIDA A REPRODUÇÃO TO-
TAL E PARCIAL OU DIVULGAÇÃO COMERCIAL DESTE MATERIAL SEM AUTORIZAÇÃO PRÉVIA E EXPRESSA DO AUTOR (ARTIGO 29)
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Construção geométrica do alfabeto cursivo maiúsculo - sobreposições que revelam a estrutura lógica do afabeto
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Explicações sobre as pautas

Nesta apostila há 3 tamanhos de pauta para a letra cursiva inglesa, com a mesma proporção
conorme oi explicado.

Se você or traçar outras pautas para esta letra, deverá seguir sempre a proporção para que
mantenha a personalidade dela. Por exemplo, a altura de x com 6 mm, terá de colocar mais 6
mm x 2 para as ascendentes e mais 6 mm x 2 para as descendentes, como vemos abaixo:
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Letra Cursiva Inglesa - pena de bico - minúsculas - pauta menor

m
m
4

o
52
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Aplicações da Caligrafia
Artística
• Em casa: organização, pastas, arquivos, caixas, gavetas

• Na empresa: arquivos, pastas, estoques, copa, avisos

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Materiais necessários para

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• 6 envelopes tamanho oício

• 6 envelopes tamanho cartão de visita
• 6 envelopes tamanho meio saco
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Endereços em
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