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 Kish Tablet, Sumer, Mesopotamia, 3,500
BCE Earliest known example of writing
The design belongs to the earliest known writing system
The proto-cuneiform script is a remarkable
achievement of human ingenuity. It was the first
known writing system in the world, and it laid the
foundation for all subsequent writing systems. The
script is simple and efficient, and it is able to
represent a wide range of human language.
in the world, and it was used to record administrative and
economic transactions, as well as religious texts and
literature. The themes of the writing are varied, but they
often reflect the concerns of the Sumerian people, such as
their agriculture, trade, and religion.
The style of the proto-cuneiform script is simple and
geometric. The signs are made up of wedge-shaped
impressions made in wet clay with a stylus. The script is
mostly logographic, meaning that each sign represents a
word or phrase.
The designers of the proto-cuneiform script were
influenced by the earlier token system of writing that was
used in Mesopotamia. The token system was a
logographic system of writing that used clay tokens to
represent different objects and concepts. The proto-
cuneiform script was a more efficient and versatile way of
writing, and it quickly replaced the token system.
 Amarna Letter tablet,
approx. 1400 BCE
The ancient writing in the image is an example of the Amarna
letters, which were a series of diplomatic letters written in the
3,000 BCE during the in Egypt. Cuneiform was written by
pressing a stylus into wet clay to create wedge-shaped
impressions. The signs in cuneiform represent words, syllables,
or sounds.
The ‘Amarna Letters’ are the first known diplomatic exchange
between empires (Mesopotamia and Egypt) –both empires used
Cuneiform writing.
They are a source of information about the history, culture, and
literature of the period.
Cuneiform Letter tablet, c.
1750 BCE
The advancements in agriculture and building may by the
Sumerian people of Mesopotamia necessitated a means of
communication and recording –which developed as cuneiform
writing. This example is a complaint letter by a trader about a
shipment of copper ore.
 Hieroglyphics at the Temple of SetiI
Earliest Hieroglyphic writing found in royal tombs at
Abydos, Upper Egypt (c. 3250 BCE)
The Ptolemaic style is characterized by its realism
and detail. The figures on the hieroglyphs are
depicted in a three-dimensional style, and they are
often shown in action poses.
The color of the hieroglyphs on the wall of the
Temple of Dendur is originally bright and vibrant.
The hieroglyphs were originally painted with red,
yellow, blue, and green paints. However, the paints
have mostly faded over time. They provide insights
into the culture and religion of ancient Egypt.
Hieroglyphic script was composed of three basic
types of signs:
Logograms -representing words
Phonograms -representing sounds
Determinatives -placed at the end of the word to
help clarify its meaning.
 The Rosetta Stone at the
British Museum
By the 5thcentury CE, knowledge of hieroglyphic writing was lost,
until deciphered by J.F. Champollion in the 1820s, using the
Rosetta Stone.
The Rosetta Stone dates from 196 BCE. The Rosetta Stone is a
stone slab with inscriptions in three languages: Ancient Egyptian
(hieroglyphs), Demotic Egyptian, and Ancient Greek.
The style of the hieroglyphs on the Rosetta Stone is Late Egyptian.
Late Egyptian hieroglyphs are characterized by their smaller size
and more stylized forms. The figures on the hieroglyphs are also
depicted in a more stylized manner than in earlier Egyptian
hieroglyphic styles.
The black background is made of basalt, and the hieroglyphs are
carved into the stone. The hieroglyphs were originally painted with
black and white paint, but the paint has mostly faded over time.
The Rosetta Stone is a valuable source of information about ancient
Egypt. It provides insights into the language, religion, and culture
of the ancient Egyptians. The stone also provides insights into the
political and social structure of the Ptolemaic Kingdom.
 The Stone of Nora,
c. 8thcentury BCE
The Phoenician alphabet was the first panMediterranean form
of writing which first appeared around 1050 BCE. This era
witnessed the rise and prominence of Phoenician civilization,
characterized by its maritime prowess, extensive trade
networks, and cultural influence across the Mediterranean
region.
The Nora Stone was originally inscribed with a black pigment
against the dark gray background of the basalt stele. Over time,
the pigment has faded, leaving the inscription in shades of gray.
The Nora Stone is a significant archaeological discovery that
sheds light on the Phoenician presence in Sardinia and their
interactions with the indigenous population. It provides valuable
insights into Phoenician writing, language, and diplomatic
practices, offering a glimpse into their political and cultural
influence in the Mediterranean region.
 The Duenos Inscription,
approximately 6thcentury BCE
The classical Latin alphabet, known as the Roman alphabet, was adapted from the Etruscan
and Greek alphabets by the ancient Romans to write the Latin language in approximately
7thcentury BCE.
Earliest known form of Latin alphabet is ‘The Duenos Inscription’, discovered in Rome in
1880.
The Duenos Inscription is written in the Old Latin alphabet, which is an early form of the
Latin alphabet that was influenced by the Etruscan alphabet. The letters are angular and
geometric in form, and are arranged in horizontal lines from left to right.
The Duenos Inscription was originally
patinated in a green or black color. However,
the patina has mostly faded over time, and the
inscription is now a dark gray color.
The Duenos Inscription is a significant
example of early Roman art and writing. It is
a well-preserved and skillfully executed
object that provides valuable insights into the
language, culture, and religion of the early
Romans.
Inscription at the base of the Column of
Trajan, Rome, c. 113 CE
The inscription is written in the capitalis monumentalis script, which is a form of Roman script that is
characterized by its large, square letters. The letters are carefully carved into the marble base of the column, and
they are still perfectly legible today.
The Inscription at the Base of the Column of Trajan is a fascinating and important object that sheds light on the
Early Imperial Roman period. It is a testament to the ingenuity and cultural richness of the Romans, who were
able to adapt and synthesize influences from other cultures to create their own unique identity.
Grandval Bible in Carolingian
Miniscule, c. 840
Culture and the arts flourished again under the stability of the Medieval
Emperor Charlemagne when he came to power in the 8thcentury. The
inscription is written in the Carolingian Miniscule script, which is a type of
minuscule script that was developed during the Carolingian Renaissance.
The script is characterized by its small, tightly spaced letters, its clear and
legible forms, and its elegant and refined appearance. The inscription is a
short, continuous text that is arranged in horizontal lines on the base of the
manuscript. The letters are carefully spaced and evenly balanced, and the
lines are aligned to create a sense of order and harmony. The inscription was
originally written in gold ink on a purple background. This combination of
colors was considered to be very luxurious and expensive, and it was often
used in manuscripts that were intended for important patrons. The
Carolingian Miniscule script was based on the Roman cursive script, and it
also incorporated elements of Byzantine calligraphy, such as the use of gold
ink and purple parchment.
The most influential was the Carolingian Minuscule script, which introduced
lowercase letter forms and was used in manuscript book production.
Book of Kells, 800 CE
The Book of Kellswas written by Columban scribes in Ireland or Britain (or
possibly both locations) c. 800 CE. It marks the centenary of St. Colmcille’s
death.
The book is also known for its lavish decoration, which includes a variety of
motifs such as spirals, interlaces, and zoomorphic figures.
The Book of Kells is written in the Insular half-uncial script, which is a type of
script that is characterized by its large, rounded letters and its use of decorative
flourishes. The script is also notable for its use of abbreviations and ligatures,
which are techniques for saving space on the page. The Book of Kells is known
for its vibrant and colorful decoration. The colors used in the book include red,
blue, green, yellow, purple, and gold. The colors are applied with a brush, and
theyBook
The are often layered
of Kells wastocreated
create during
a rich and
a complex effect.
period of great political and cultural
upheaval in Ireland. The country was
divided into a number of small kingdoms,
and it was frequently raided by Vikings.
Illuminated script of Geoffrey Chaucer’s The Canterbury
Tales, early 15thcentury, The British Library, London
The Illuminated script of Geoffrey Chaucer's The Canterbury Tales, early 15th
century, belongs to the International Gothic style, which flourished in Europe from
the late 14th to the mid-15th centuries. This style is characterized by its use of bright
colors, intricate patterns, and naturalistic depictions of figures and landscapes.
The illuminations in The Canterbury Tales are characterized by their use of bright
and vibrant colors. The colors are often applied in a layered and translucent manner,
creating a rich and complex effect. The use of color helps to create a sense of
atmosphere and mood, and it also helps to emphasize the narrative and thematic
elements of the text.
The Illuminated script of The Canterbury Tales was created during a period of great
social and cultural change in England.
The illuminations are beautifully executed and full of detail, and they provide a
valuable visual commentary on the text of the poem. The illuminations are also a
testament to the ingenuity and cultural richness of the International Gothic style,
which produced a number of important works of art and literature.
Gutenberg Bible, 1455
The Illuminated script of the Gutenberg Bible reflects the religious themes
of the text, which include the creation of the world, the fall of man, and the
redemption of humanity through Jesus Christ. The illuminations also
provide a visual commentary on the biblical stories, helping to elucidate
their meaning and significance. The illuminations also feature a variety of
intricate patterns and decorative motifs, such as borders, historiated initials,
and marginal illustrations.
The illuminations in the Gutenberg Bible are characterized by their use of
rich and vibrant colors. The colors are often applied in a layered and
translucent manner, creating a complex and jewel-like effect. The use of
color helps to create a sense of awe and reverence, and it also helps to
emphasize the narrative and thematic elements of the text. It was printed in
a variant of Blackletter type called ‘Textura’, imitating the scribes’ gothic
writing.
They were also likely influenced by the text of the Bible itself, which
provided inspiration for the iconography and imagery of the illuminations.
The Illuminated script of the Gutenberg Bible is a fascinating and important
object that sheds light on the Late Gothic style and the early history of the
printed book.
Claude Garamond, Gros Canon Romain
(adopted by Hendrik van den Keere), c.1570
Claude Garamond's Gros Canon Romain typeface belongs to the
Renaissance style of typography, which flourished in Europe from the
15th to the 17th centuries. This style is characterized by its emphasis on
clarity, legibility, and proportion. Renaissance typefaces were designed
to be more readable than their predecessors, and they played a major
role in the development of the printed word.
The letters of Gros Canon Romain are based on the proportions of the
Roman square, a geometric shape that was considered to be the ideal
form for a letter. The typeface is also characterized by its use of optical
adjustments, such as the swelling of the strokes at the curves, which
makes the letters appear more even and balanced when printed.
Gros Canon Romain is a classic and versatile typeface that is still
widely used today. It is considered to be one of the most beautiful and
legible typefaces ever designed. The typeface is characterized by its
clarity, proportion, and elegance. Garamond's careful attention to detail
and his mastery of the Roman square resulted in a typeface that is both
timeless and functional.
 John Baskerville, The
Works of Virgil, 1757
He established a foundry in Birmingham and began to promote
his typeface (‘Baskerville’), which he first used for the
publication of Virgil in 1757. Baskerville’ type was criticised for
its stark, abstract qualities. Critics said it was too delicate and
that the letterforms were too thin to be read easily.
Firmin Didot, Oeuvres de Jean Racine,
1801
The Didot family were a French family of printers and booksellers. Francois
AmbroiseDidot developed the Point System –a radical new system of type
measurement. The unit was divided into 12 inches, each consisting of 72 points.
Didot’ssons Pierre and Firmin Didot designed the Modern Roman font, Didot.
This became an influential typeface because it set the standard for geometric
structure and contrast.
Didot's typographic design for Racine's works exemplifies the elegance,
precision, and refinement that are hallmarks of Neoclassical typography. The
letters are meticulously formed with consistent and harmonious proportions,
creating a clean and crisp appearance. The overall design is characterized by a
sense of balance and order, reflecting the Neoclassical emphasis on clarity and
rationality.
Didot's typographic choices for Racine's works are carefully considered to
enhance the readability and visual appeal of the text. He employs a typeface with
fine strokes and consistent spacing between letters, making the text easy to read.
Firmin Didot's typographic design for Oeuvres de Jean Racine, 1801,
exemplifies the enduring principles of Neoclassical typography, demonstrating
the power of clarity, balance, and refinement in creating visually appealing and
effective designs.
Giambattista Bodoni, Manuale Tipografico, 1818
Bodoni's typographic style in the Manuale Tipografico exemplifies
the elegance, precision, and refinement that are hallmarks of
Neoclassical typography. The letters are meticulously formed with
consistent and harmonious proportions, creating a clean and crisp
appearance. The overall design is characterized by a sense of
balance and order, reflecting the Neoclassical emphasis on clarity
and rationality.
Giambattista Bodoni was heavily influenced by the work of earlier
Neoclassical typographers like Firmin Didot, whose typographic
designs for Oeuvres de Jean Racine, 1801, were widely admired.
Bodoni also drew inspiration from the works of ancient Roman
typographers like Trajan, whose letterforms were known for their
clarity and balance.
Giambattista Bodoni's Manuale Tipografico (1818) remains a
cornerstone of Neoclassical typography, showcasing the enduring
principles of clarity, balance, and refinement in typographic design.
His work continues to inspire and inform typographers and
designers today, solidifying his legacy as a master of Neoclassical
typography.