шн – -Translation – Keybot Dictionary

Spacer TTN Translation Network TTN TTN Login Deutsch Français Spacer Help
Source Languages Target Languages
Keybot 15 Results  calligraphy-expo.com
  ШНАЙДЕР Вернер Междунар...  
Show textShow cached sourceOpen source URL
Вернер Шнайдер является обладателем многочисленных призов. Среди них:
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine calligraphy-expo.com as primary domain
Numerous awards from the following institutions:
  ШНАЙДЕР Вернер Междунар...  
Show textShow cached sourceOpen source URL
ШНАЙДЕР Вернер
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine calligraphy-expo.com as primary domain
Werner Schneider
  Участники проекта Между...  
Show textShow cached sourceOpen source URL
ШНАЙДЕР Вернер Висбаден, Германия
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine calligraphy-expo.com as primary domain
Yevgeny Dobrovinsky Moscow, Russia
  ШНАЙДЕР Вернер Междунар...  
Show textShow cached sourceOpen source URL
Работы неоднократно появлялись в различных международных печатных изданиях. Персональная выставка его работ — «Архивы Вернера Шнайдера в Академии искусств в Берлине». Позже его работы появились в музее Виктории и Альберта в Лондоне, в книгах и сборниках по искусству в библиотеке Сан-Франциско, в библиотеке имени Вальтера Лумиса Ньюберри в Чикаго, Музее письменности в Париже, Музее принца Уэльского в Бомбее, в музее «Клингшпор» в Оффенбахе-на-Майне (Германия) и т. д.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine calligraphy-expo.com as primary domain
Solo exhibition “Werner-Schneider-Archives of the Academy of Arts, Berlin”. Later on his works were showcased in Victoria and Albert Museum London; Book and Arts Special Collection of The San Francisco Library; Newberry Library Chicago, Musée des Arts de l“Écriture, Paris; Prince of Wales Museum Bombay; Klingspor-Museum Offenbach am Main, etc.
  Что нового можно увидет...  
Show textShow cached sourceOpen source URL
Иногда изобразить можно одним лишь текстом, без посторонней помощи рисунков и узоров. Как метко передано чувство душевного смятения и отчаяния одним лишь письмом в творении Вернера Шнайдера «Боже мой, Боже мой, почему ты покинул меня?».
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine calligraphy-expo.com as primary domain
Sometimes you can deliver the full meaning with the help of a text, with no drawings or patterns. The work called “My God, my God, why hast thou forsaken me?” by Werner Schneider fantastically communicated the sense of despair and unrest of the spirit.
  ШНАЙДЕР Вернер Междунар...  
Show textShow cached sourceOpen source URL
Вернер Шнайдер — каллиграф, принадлежащий плеяде великолепных немецких каллиграфов, которые начали развивать это искусство с конца XIX века. Это такие мастера, как Е. Р. Вайс, Рудольф Кох, Ф. Х. Эрнст Шнайдлер и Герман Цапф, а также многие другие.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine calligraphy-expo.com as primary domain
Werner Schneider is a calligrapher, part of a distinctive German tradition that emerged at the end of the 19th century and which includes E.R. Weiss, Rudolf Koch, F.H. Ernst Schneidler and Hermann Zapf among many others. Schriftkunst (letterart) literally means “writing art”, but in practice it encompasses a range of activities involving letterforms: handwriting, script, calligraphy, drawn lettering and type design.
  ШНАЙДЕР Вернер Междунар...  
Show textShow cached sourceOpen source URL
Вернер Шнайдер — каллиграф, принадлежащий плеяде великолепных немецких каллиграфов, которые начали развивать это искусство с конца XIX века. Это такие мастера, как Е. Р. Вайс, Рудольф Кох, Ф. Х. Эрнст Шнайдлер и Герман Цапф, а также многие другие.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine calligraphy-expo.com as primary domain
Werner Schneider is a calligrapher, part of a distinctive German tradition that emerged at the end of the 19th century and which includes E.R. Weiss, Rudolf Koch, F.H. Ernst Schneidler and Hermann Zapf among many others. Schriftkunst (letterart) literally means “writing art”, but in practice it encompasses a range of activities involving letterforms: handwriting, script, calligraphy, drawn lettering and type design.
  ШНАЙДЕР Вернер Междунар...  
Show textShow cached sourceOpen source URL
Так же, как и Адриан Фрутиже, всемирно известный шрифтовой дизайнер, Шнайдер видит спасение в написанной букве — лучшей основе для изучения буквенных форм, потому что написанная буква — это зарядка и для глаз, и для рук.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine calligraphy-expo.com as primary domain
Like Adrian Frutiger as a worldwide type-designer, one of his heroes, Schneider sees salvation in the written letter, “the best basis for the study of all letterforms”, since it provides training for both the eye and the hand. “For an understanding of form there is only this sequence: writing and drawing as a means of sensitizing the eye, followed by work on the computer”, concludes Schneider. In his opinion, the study of letterforms is as critical a component of our civilization as the study of any artwork in our museums.
  ШНАЙДЕР Вернер Междунар...  
Show textShow cached sourceOpen source URL
Так же, как и Адриан Фрутиже, всемирно известный шрифтовой дизайнер, Шнайдер видит спасение в написанной букве — лучшей основе для изучения буквенных форм, потому что написанная буква — это зарядка и для глаз, и для рук.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine calligraphy-expo.com as primary domain
Like Adrian Frutiger as a worldwide type-designer, one of his heroes, Schneider sees salvation in the written letter, “the best basis for the study of all letterforms”, since it provides training for both the eye and the hand. “For an understanding of form there is only this sequence: writing and drawing as a means of sensitizing the eye, followed by work on the computer”, concludes Schneider. In his opinion, the study of letterforms is as critical a component of our civilization as the study of any artwork in our museums.
  ШНАЙДЕР Вернер Междунар...  
Show textShow cached sourceOpen source URL
Вернер Шнайдер родился в Марбурге (р. Лан, Германия) в 1935 году. Под руководством профессора Фридриха Поппла в школе искусств в Висбадене изучал искусство рукописного письма. Позже становится преподавателем этого учебного заведения, особое внимание уделяя письму и дизайну.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine calligraphy-expo.com as primary domain
Werner Schneider was born in Marburg/Lahn, Germany in 1935. He studied lettering arts under Prof. Friedrich Poppl at the Werkkunstschule Wiesbaden. Later he became a teacher there with a special emphasis on calligraphy and design.
  ШНАЙДЕР Вернер Междунар...  
Show textShow cached sourceOpen source URL
Работы Вернера Шнайдера — это знак качества буквенных форм. Его работы напоминают нам о бессмертной красоте и совершенстве романского капитального письма, а также о красоте прочих европейских шрифтов.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine calligraphy-expo.com as primary domain
Werner Schneider‘s own work is emblematic of the high standards that can be achieved in letterform design today. His work is a reminder of the timeless quality and value of Roman capitals, as well as the other scripts that constitute our Western alphabetical heritage. Yet, at the same time, his work also shows how important it is to keep the tradition alive not simply by copying the past, but by imbuing it with a new modern spirit. And this can only be accomplished by deeply understanding these letters–absorbing them into our fingers and muscles, as Schneider has done in his long career. Only then can we create new interpretations that will in turn be the classics for the future. And only then can we have the confidence to challenge the standards of the past through new explorations of tools and the scripts that reside within each of us. Scripts present the personal aspect of calligraphy while Roman capitals and other historic hands represent the communal aspect of this art.
  ШНАЙДЕР Вернер Междунар...  
Show textShow cached sourceOpen source URL
Работы Вернера Шнайдера — это знак качества буквенных форм. Его работы напоминают нам о бессмертной красоте и совершенстве романского капитального письма, а также о красоте прочих европейских шрифтов.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine calligraphy-expo.com as primary domain
Werner Schneider‘s own work is emblematic of the high standards that can be achieved in letterform design today. His work is a reminder of the timeless quality and value of Roman capitals, as well as the other scripts that constitute our Western alphabetical heritage. Yet, at the same time, his work also shows how important it is to keep the tradition alive not simply by copying the past, but by imbuing it with a new modern spirit. And this can only be accomplished by deeply understanding these letters–absorbing them into our fingers and muscles, as Schneider has done in his long career. Only then can we create new interpretations that will in turn be the classics for the future. And only then can we have the confidence to challenge the standards of the past through new explorations of tools and the scripts that reside within each of us. Scripts present the personal aspect of calligraphy while Roman capitals and other historic hands represent the communal aspect of this art.
  Музей Клингспора Междун...  
Show textShow cached sourceOpen source URL
Также Музей Клингспора может похвастаться большой коллекцией работ Эрнста Шнайдлера (1882—1956 гг.), основателя Штутгартской школы. В коллекции также есть работы его учеников, Рудо Спеманна, Вернера Бунца, Георга Трампа и Евы Аскофф.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine calligraphy-expo.com as primary domain
The families of Rudolf Koch (1876 - 1934) and Rudo Spemann (1905 - 1947) gave entire collections inherited from their estates, and the young museum soon became the central collecting point for modern typographic art. The expressive calligraphy , tapestries with types and book production of Rudolf Koch and his former students are evidence of a lively Offenbach School of Calligraphy of the 20th century.
  ШНАЙДЕР Вернер Междунар...  
Show textShow cached sourceOpen source URL
Мастер Шнайдер искренне верит, что по мере приближения третьего тысячелетия человечество всё чаще обращается к вечной красоте романского монументального письма. И радует то, что люди уже осознали разрушительное действие геометрических форм.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine calligraphy-expo.com as primary domain
Schneider believes that as we approach the third millennium there is an increasing need for a greater consciousness of the eternal beauty of the Roman monumental letter and a recognition of the deleterious effects of geometrically-based letterforms.“Refined forms, above all others Roman capitals, have been my best teacher,” he has said. “Looking at the inscription on the Trajan Column awakens in me again and again a strong aesthetic feeling and fills me with a sense of deep respect. These nearly perfect forms and their qualities could not be improved upon during the 2000 years of their existence.” The Roman monumental capitals stand in stark contrast to geometric letters – both those proposed by the modernist design movement of this century and those recently created in response to perceived requirements of computers. Schneider is harshly critical of the latter: “I respect the ideas of the German-Bauhaus, but the Bauhaus is to be blamed for its failure in the field of lettering. A purely constructed approach to letterforms leads to inhuman results. Bayer‘s Universal typeface ignores all the laws that have influence on the perceptual function of the human eye. The introduction of electronic techniques has created a new situation. Technicians have tampered with letterforms and forced them into a corset of equal widths.
  ШНАЙДЕР Вернер Междунар...  
Show textShow cached sourceOpen source URL
Мастер Шнайдер искренне верит, что по мере приближения третьего тысячелетия человечество всё чаще обращается к вечной красоте романского монументального письма. И радует то, что люди уже осознали разрушительное действие геометрических форм.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine calligraphy-expo.com as primary domain
Schneider believes that as we approach the third millennium there is an increasing need for a greater consciousness of the eternal beauty of the Roman monumental letter and a recognition of the deleterious effects of geometrically-based letterforms.“Refined forms, above all others Roman capitals, have been my best teacher,” he has said. “Looking at the inscription on the Trajan Column awakens in me again and again a strong aesthetic feeling and fills me with a sense of deep respect. These nearly perfect forms and their qualities could not be improved upon during the 2000 years of their existence.” The Roman monumental capitals stand in stark contrast to geometric letters – both those proposed by the modernist design movement of this century and those recently created in response to perceived requirements of computers. Schneider is harshly critical of the latter: “I respect the ideas of the German-Bauhaus, but the Bauhaus is to be blamed for its failure in the field of lettering. A purely constructed approach to letterforms leads to inhuman results. Bayer‘s Universal typeface ignores all the laws that have influence on the perceptual function of the human eye. The introduction of electronic techniques has created a new situation. Technicians have tampered with letterforms and forced them into a corset of equal widths.