Leonardo

Letter and ImageAuthor(s): MassinSource: Leonardo, Vol. 5, No. 4 (Autumn, 1972), p. 384Published by: The MIT PressStable URL: http://www.jstor.org/stable/1572629 .

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Letters Letters Letters Letters Letters Letters

Art in Motion: New Directions in Animation

As regards J. E. Jones' review in Leonardo 5, 272 (1972), it appears to me that while his observations are from a somewhat different perspective than the objective of the book, it is fair and penetrating and, as the author, I can learn a lot from it.

John Halas Multinational Visual Products Group

6 Holford Road Hampstead, London NW3-1AD, England

Letter and Image

I would like to make some comments on A. Gadney's review of my book in Leonardo 5, 273 (1972).

It is certainly true that there might have been room for further developments in the last chapter and, in particular, that a place might have been found for works like those of Andy Worhol. Apart from the fact that this documentation had been put together several years ago, one must note that the scene in this field, in New York particularly, changes very rapidly.

I must point out that the last chapter, like the first, was devoted to giving the reader a feeling of the situation. It was hardly meant to give a panoramic view but rather orientations and points of departure. Only the central part of the book, dealing with the alphabet and calligrams, sought to be a census; it is difficult to see how it could have been exhaustive, since at every moment new images are created. But I wanted to make it sufficiently complete to prove my point. This is that ever since the Latin alphabet came into being, those who use it, whether they be poets, painters, teachers or calligraphers, all have unceasingly sought to break through its abstract geometry, thereby revealing a nostalgia for other forms of writing, such as hieroglyphics, ideograms and pictographs.

Apart from these comments, I find nothing further to add to Gadney's admirable review.

Massin Artistic Director, Editions Gallimard

5 rue Sdbastien-Bottin 75-Paris 7, France

Secondary School Art

I read with interest D. Friend's review of my book in Leonardo 5, 276 (1972). He is right, of course, in stressing the need to encourage in young people what he calls 'esthetic perception', if, by this, he means a sensitive awareness of the durable and deeply underlying values in experience. I think Friend would agree that this awareness is more than just a response to what happens and exists around us: it is, in fact, the same personal judgment we exercise

Art in Motion: New Directions in Animation

As regards J. E. Jones' review in Leonardo 5, 272 (1972), it appears to me that while his observations are from a somewhat different perspective than the objective of the book, it is fair and penetrating and, as the author, I can learn a lot from it.

John Halas Multinational Visual Products Group

6 Holford Road Hampstead, London NW3-1AD, England

Letter and Image

I would like to make some comments on A. Gadney's review of my book in Leonardo 5, 273 (1972).

It is certainly true that there might have been room for further developments in the last chapter and, in particular, that a place might have been found for works like those of Andy Worhol. Apart from the fact that this documentation had been put together several years ago, one must note that the scene in this field, in New York particularly, changes very rapidly.

I must point out that the last chapter, like the first, was devoted to giving the reader a feeling of the situation. It was hardly meant to give a panoramic view but rather orientations and points of departure. Only the central part of the book, dealing with the alphabet and calligrams, sought to be a census; it is difficult to see how it could have been exhaustive, since at every moment new images are created. But I wanted to make it sufficiently complete to prove my point. This is that ever since the Latin alphabet came into being, those who use it, whether they be poets, painters, teachers or calligraphers, all have unceasingly sought to break through its abstract geometry, thereby revealing a nostalgia for other forms of writing, such as hieroglyphics, ideograms and pictographs.

Apart from these comments, I find nothing further to add to Gadney's admirable review.

Massin Artistic Director, Editions Gallimard

5 rue Sdbastien-Bottin 75-Paris 7, France

Secondary School Art

I read with interest D. Friend's review of my book in Leonardo 5, 276 (1972). He is right, of course, in stressing the need to encourage in young people what he calls 'esthetic perception', if, by this, he means a sensitive awareness of the durable and deeply underlying values in experience. I think Friend would agree that this awareness is more than just a response to what happens and exists around us: it is, in fact, the same personal judgment we exercise

Art in Motion: New Directions in Animation

As regards J. E. Jones' review in Leonardo 5, 272 (1972), it appears to me that while his observations are from a somewhat different perspective than the objective of the book, it is fair and penetrating and, as the author, I can learn a lot from it.

John Halas Multinational Visual Products Group

6 Holford Road Hampstead, London NW3-1AD, England

Letter and Image

I would like to make some comments on A. Gadney's review of my book in Leonardo 5, 273 (1972).

It is certainly true that there might have been room for further developments in the last chapter and, in particular, that a place might have been found for works like those of Andy Worhol. Apart from the fact that this documentation had been put together several years ago, one must note that the scene in this field, in New York particularly, changes very rapidly.

I must point out that the last chapter, like the first, was devoted to giving the reader a feeling of the situation. It was hardly meant to give a panoramic view but rather orientations and points of departure. Only the central part of the book, dealing with the alphabet and calligrams, sought to be a census; it is difficult to see how it could have been exhaustive, since at every moment new images are created. But I wanted to make it sufficiently complete to prove my point. This is that ever since the Latin alphabet came into being, those who use it, whether they be poets, painters, teachers or calligraphers, all have unceasingly sought to break through its abstract geometry, thereby revealing a nostalgia for other forms of writing, such as hieroglyphics, ideograms and pictographs.

Apart from these comments, I find nothing further to add to Gadney's admirable review.

Massin Artistic Director, Editions Gallimard

5 rue Sdbastien-Bottin 75-Paris 7, France

Secondary School Art

I read with interest D. Friend's review of my book in Leonardo 5, 276 (1972). He is right, of course, in stressing the need to encourage in young people what he calls 'esthetic perception', if, by this, he means a sensitive awareness of the durable and deeply underlying values in experience. I think Friend would agree that this awareness is more than just a response to what happens and exists around us: it is, in fact, the same personal judgment we exercise

Art in Motion: New Directions in Animation

As regards J. E. Jones' review in Leonardo 5, 272 (1972), it appears to me that while his observations are from a somewhat different perspective than the objective of the book, it is fair and penetrating and, as the author, I can learn a lot from it.

John Halas Multinational Visual Products Group

6 Holford Road Hampstead, London NW3-1AD, England

Letter and Image

I would like to make some comments on A. Gadney's review of my book in Leonardo 5, 273 (1972).

It is certainly true that there might have been room for further developments in the last chapter and, in particular, that a place might have been found for works like those of Andy Worhol. Apart from the fact that this documentation had been put together several years ago, one must note that the scene in this field, in New York particularly, changes very rapidly.

I must point out that the last chapter, like the first, was devoted to giving the reader a feeling of the situation. It was hardly meant to give a panoramic view but rather orientations and points of departure. Only the central part of the book, dealing with the alphabet and calligrams, sought to be a census; it is difficult to see how it could have been exhaustive, since at every moment new images are created. But I wanted to make it sufficiently complete to prove my point. This is that ever since the Latin alphabet came into being, those who use it, whether they be poets, painters, teachers or calligraphers, all have unceasingly sought to break through its abstract geometry, thereby revealing a nostalgia for other forms of writing, such as hieroglyphics, ideograms and pictographs.

Apart from these comments, I find nothing further to add to Gadney's admirable review.

Massin Artistic Director, Editions Gallimard

5 rue Sdbastien-Bottin 75-Paris 7, France

Secondary School Art

I read with interest D. Friend's review of my book in Leonardo 5, 276 (1972). He is right, of course, in stressing the need to encourage in young people what he calls 'esthetic perception', if, by this, he means a sensitive awareness of the durable and deeply underlying values in experience. I think Friend would agree that this awareness is more than just a response to what happens and exists around us: it is, in fact, the same personal judgment we exercise

Art in Motion: New Directions in Animation

As regards J. E. Jones' review in Leonardo 5, 272 (1972), it appears to me that while his observations are from a somewhat different perspective than the objective of the book, it is fair and penetrating and, as the author, I can learn a lot from it.

John Halas Multinational Visual Products Group

6 Holford Road Hampstead, London NW3-1AD, England

Letter and Image

I would like to make some comments on A. Gadney's review of my book in Leonardo 5, 273 (1972).

It is certainly true that there might have been room for further developments in the last chapter and, in particular, that a place might have been found for works like those of Andy Worhol. Apart from the fact that this documentation had been put together several years ago, one must note that the scene in this field, in New York particularly, changes very rapidly.

I must point out that the last chapter, like the first, was devoted to giving the reader a feeling of the situation. It was hardly meant to give a panoramic view but rather orientations and points of departure. Only the central part of the book, dealing with the alphabet and calligrams, sought to be a census; it is difficult to see how it could have been exhaustive, since at every moment new images are created. But I wanted to make it sufficiently complete to prove my point. This is that ever since the Latin alphabet came into being, those who use it, whether they be poets, painters, teachers or calligraphers, all have unceasingly sought to break through its abstract geometry, thereby revealing a nostalgia for other forms of writing, such as hieroglyphics, ideograms and pictographs.

Apart from these comments, I find nothing further to add to Gadney's admirable review.

Massin Artistic Director, Editions Gallimard

5 rue Sdbastien-Bottin 75-Paris 7, France

Secondary School Art

I read with interest D. Friend's review of my book in Leonardo 5, 276 (1972). He is right, of course, in stressing the need to encourage in young people what he calls 'esthetic perception', if, by this, he means a sensitive awareness of the durable and deeply underlying values in experience. I think Friend would agree that this awareness is more than just a response to what happens and exists around us: it is, in fact, the same personal judgment we exercise

Art in Motion: New Directions in Animation

As regards J. E. Jones' review in Leonardo 5, 272 (1972), it appears to me that while his observations are from a somewhat different perspective than the objective of the book, it is fair and penetrating and, as the author, I can learn a lot from it.

John Halas Multinational Visual Products Group

6 Holford Road Hampstead, London NW3-1AD, England

Letter and Image

I would like to make some comments on A. Gadney's review of my book in Leonardo 5, 273 (1972).

It is certainly true that there might have been room for further developments in the last chapter and, in particular, that a place might have been found for works like those of Andy Worhol. Apart from the fact that this documentation had been put together several years ago, one must note that the scene in this field, in New York particularly, changes very rapidly.

I must point out that the last chapter, like the first, was devoted to giving the reader a feeling of the situation. It was hardly meant to give a panoramic view but rather orientations and points of departure. Only the central part of the book, dealing with the alphabet and calligrams, sought to be a census; it is difficult to see how it could have been exhaustive, since at every moment new images are created. But I wanted to make it sufficiently complete to prove my point. This is that ever since the Latin alphabet came into being, those who use it, whether they be poets, painters, teachers or calligraphers, all have unceasingly sought to break through its abstract geometry, thereby revealing a nostalgia for other forms of writing, such as hieroglyphics, ideograms and pictographs.

Apart from these comments, I find nothing further to add to Gadney's admirable review.

Massin Artistic Director, Editions Gallimard

5 rue Sdbastien-Bottin 75-Paris 7, France

Secondary School Art

I read with interest D. Friend's review of my book in Leonardo 5, 276 (1972). He is right, of course, in stressing the need to encourage in young people what he calls 'esthetic perception', if, by this, he means a sensitive awareness of the durable and deeply underlying values in experience. I think Friend would agree that this awareness is more than just a response to what happens and exists around us: it is, in fact, the same personal judgment we exercise

of other people, they must develop confidence first in their own vision, and, along with this, confidence in expressing their vision by the best means they can. My book sets out to examine afresh how these means can be provided and how the need for per- sonal experience with materials and creative skills can be met in the secondary school. If your reviewer found the stress rather more on this side than on the side of aesthetic perception, it is probably because I felt it had to come first, though naturally the two grow together. The teacher tries to keep them together, so that a deepening perceptiveness enriches creative attitudes and the student's own creative work gives him a focus and a sense of his own relatedness to the values around him.

John Portchmouth 42 High Street

Canterbury, Kent, England

Beginner's Guide to Painting in Oils

I have read D. Friend's review of my book (Leonardo 5, 276 (1972)) and find it most fair and well written. I hope any faults will be remedied in any future work.

Barbara Dorf 11 Pembridge Villas

London, W. 1 , England

CORRECTIONS

I would like to draw the attention of readers to the following corrections in my article entitled 'Chinese and Japanese Colour Wood-block Painting' in Leonardo 4, 75 (1971): Page 75, right column, line 32-eighteen instead of seventeen. Page 76, right column, line 57-side instead of half; line 58-half instead of side; line 58-omit sentence beginning with The free; line 62-halfinstead of side. Page 77, left column, line 4-block instead of board. Page 78, left column, line 36-the sentence beginning with These reappear should read These serve as guides and reappear on all blocks of the set, forming deepened steps to ensure good register. Legend of figure 6, line 3-with deepened feeding steps instead of with register lines. Page 79, left column, line 20-replace high and by deep and one side is 5 cm higher than the other; right column, line 1-should read shading is achieved by gradated drying of the printing surface before rubbing; right column, line 4-steps instead of marks.

Jan Tschichold CH-6611 Berzona (Onsernone), Switzerland

The colour illustration entitled 'Sardi's' in my article in Leonardo 5, 119 (1972) should have been indicated as being in the collection of Mrs. R. H. Graham, Overland Park, Kansas, U.S.A.

of other people, they must develop confidence first in their own vision, and, along with this, confidence in expressing their vision by the best means they can. My book sets out to examine afresh how these means can be provided and how the need for per- sonal experience with materials and creative skills can be met in the secondary school. If your reviewer found the stress rather more on this side than on the side of aesthetic perception, it is probably because I felt it had to come first, though naturally the two grow together. The teacher tries to keep them together, so that a deepening perceptiveness enriches creative attitudes and the student's own creative work gives him a focus and a sense of his own relatedness to the values around him.

John Portchmouth 42 High Street

Canterbury, Kent, England

Beginner's Guide to Painting in Oils

I have read D. Friend's review of my book (Leonardo 5, 276 (1972)) and find it most fair and well written. I hope any faults will be remedied in any future work.

Barbara Dorf 11 Pembridge Villas

London, W. 1 , England

CORRECTIONS

I would like to draw the attention of readers to the following corrections in my article entitled 'Chinese and Japanese Colour Wood-block Painting' in Leonardo 4, 75 (1971): Page 75, right column, line 32-eighteen instead of seventeen. Page 76, right column, line 57-side instead of half; line 58-half instead of side; line 58-omit sentence beginning with The free; line 62-halfinstead of side. Page 77, left column, line 4-block instead of board. Page 78, left column, line 36-the sentence beginning with These reappear should read These serve as guides and reappear on all blocks of the set, forming deepened steps to ensure good register. Legend of figure 6, line 3-with deepened feeding steps instead of with register lines. Page 79, left column, line 20-replace high and by deep and one side is 5 cm higher than the other; right column, line 1-should read shading is achieved by gradated drying of the printing surface before rubbing; right column, line 4-steps instead of marks.

Jan Tschichold CH-6611 Berzona (Onsernone), Switzerland

The colour illustration entitled 'Sardi's' in my article in Leonardo 5, 119 (1972) should have been indicated as being in the collection of Mrs. R. H. Graham, Overland Park, Kansas, U.S.A.

of other people, they must develop confidence first in their own vision, and, along with this, confidence in expressing their vision by the best means they can. My book sets out to examine afresh how these means can be provided and how the need for per- sonal experience with materials and creative skills can be met in the secondary school. If your reviewer found the stress rather more on this side than on the side of aesthetic perception, it is probably because I felt it had to come first, though naturally the two grow together. The teacher tries to keep them together, so that a deepening perceptiveness enriches creative attitudes and the student's own creative work gives him a focus and a sense of his own relatedness to the values around him.

John Portchmouth 42 High Street

Canterbury, Kent, England

Beginner's Guide to Painting in Oils

I have read D. Friend's review of my book (Leonardo 5, 276 (1972)) and find it most fair and well written. I hope any faults will be remedied in any future work.

Barbara Dorf 11 Pembridge Villas

London, W. 1 , England

CORRECTIONS

I would like to draw the attention of readers to the following corrections in my article entitled 'Chinese and Japanese Colour Wood-block Painting' in Leonardo 4, 75 (1971): Page 75, right column, line 32-eighteen instead of seventeen. Page 76, right column, line 57-side instead of half; line 58-half instead of side; line 58-omit sentence beginning with The free; line 62-halfinstead of side. Page 77, left column, line 4-block instead of board. Page 78, left column, line 36-the sentence beginning with These reappear should read These serve as guides and reappear on all blocks of the set, forming deepened steps to ensure good register. Legend of figure 6, line 3-with deepened feeding steps instead of with register lines. Page 79, left column, line 20-replace high and by deep and one side is 5 cm higher than the other; right column, line 1-should read shading is achieved by gradated drying of the printing surface before rubbing; right column, line 4-steps instead of marks.

Jan Tschichold CH-6611 Berzona (Onsernone), Switzerland

The colour illustration entitled 'Sardi's' in my article in Leonardo 5, 119 (1972) should have been indicated as being in the collection of Mrs. R. H. Graham, Overland Park, Kansas, U.S.A.

of other people, they must develop confidence first in their own vision, and, along with this, confidence in expressing their vision by the best means they can. My book sets out to examine afresh how these means can be provided and how the need for per- sonal experience with materials and creative skills can be met in the secondary school. If your reviewer found the stress rather more on this side than on the side of aesthetic perception, it is probably because I felt it had to come first, though naturally the two grow together. The teacher tries to keep them together, so that a deepening perceptiveness enriches creative attitudes and the student's own creative work gives him a focus and a sense of his own relatedness to the values around him.

John Portchmouth 42 High Street

Canterbury, Kent, England

Beginner's Guide to Painting in Oils

I have read D. Friend's review of my book (Leonardo 5, 276 (1972)) and find it most fair and well written. I hope any faults will be remedied in any future work.

Barbara Dorf 11 Pembridge Villas

London, W. 1 , England

CORRECTIONS

I would like to draw the attention of readers to the following corrections in my article entitled 'Chinese and Japanese Colour Wood-block Painting' in Leonardo 4, 75 (1971): Page 75, right column, line 32-eighteen instead of seventeen. Page 76, right column, line 57-side instead of half; line 58-half instead of side; line 58-omit sentence beginning with The free; line 62-halfinstead of side. Page 77, left column, line 4-block instead of board. Page 78, left column, line 36-the sentence beginning with These reappear should read These serve as guides and reappear on all blocks of the set, forming deepened steps to ensure good register. Legend of figure 6, line 3-with deepened feeding steps instead of with register lines. Page 79, left column, line 20-replace high and by deep and one side is 5 cm higher than the other; right column, line 1-should read shading is achieved by gradated drying of the printing surface before rubbing; right column, line 4-steps instead of marks.

Jan Tschichold CH-6611 Berzona (Onsernone), Switzerland

The colour illustration entitled 'Sardi's' in my article in Leonardo 5, 119 (1972) should have been indicated as being in the collection of Mrs. R. H. Graham, Overland Park, Kansas, U.S.A.

of other people, they must develop confidence first in their own vision, and, along with this, confidence in expressing their vision by the best means they can. My book sets out to examine afresh how these means can be provided and how the need for per- sonal experience with materials and creative skills can be met in the secondary school. If your reviewer found the stress rather more on this side than on the side of aesthetic perception, it is probably because I felt it had to come first, though naturally the two grow together. The teacher tries to keep them together, so that a deepening perceptiveness enriches creative attitudes and the student's own creative work gives him a focus and a sense of his own relatedness to the values around him.

John Portchmouth 42 High Street

Canterbury, Kent, England

Beginner's Guide to Painting in Oils

I have read D. Friend's review of my book (Leonardo 5, 276 (1972)) and find it most fair and well written. I hope any faults will be remedied in any future work.

Barbara Dorf 11 Pembridge Villas

London, W. 1 , England

CORRECTIONS

I would like to draw the attention of readers to the following corrections in my article entitled 'Chinese and Japanese Colour Wood-block Painting' in Leonardo 4, 75 (1971): Page 75, right column, line 32-eighteen instead of seventeen. Page 76, right column, line 57-side instead of half; line 58-half instead of side; line 58-omit sentence beginning with The free; line 62-halfinstead of side. Page 77, left column, line 4-block instead of board. Page 78, left column, line 36-the sentence beginning with These reappear should read These serve as guides and reappear on all blocks of the set, forming deepened steps to ensure good register. Legend of figure 6, line 3-with deepened feeding steps instead of with register lines. Page 79, left column, line 20-replace high and by deep and one side is 5 cm higher than the other; right column, line 1-should read shading is achieved by gradated drying of the printing surface before rubbing; right column, line 4-steps instead of marks.

Jan Tschichold CH-6611 Berzona (Onsernone), Switzerland

The colour illustration entitled 'Sardi's' in my article in Leonardo 5, 119 (1972) should have been indicated as being in the collection of Mrs. R. H. Graham, Overland Park, Kansas, U.S.A.

of other people, they must develop confidence first in their own vision, and, along with this, confidence in expressing their vision by the best means they can. My book sets out to examine afresh how these means can be provided and how the need for per- sonal experience with materials and creative skills can be met in the secondary school. If your reviewer found the stress rather more on this side than on the side of aesthetic perception, it is probably because I felt it had to come first, though naturally the two grow together. The teacher tries to keep them together, so that a deepening perceptiveness enriches creative attitudes and the student's own creative work gives him a focus and a sense of his own relatedness to the values around him.

John Portchmouth 42 High Street

Canterbury, Kent, England

Beginner's Guide to Painting in Oils

I have read D. Friend's review of my book (Leonardo 5, 276 (1972)) and find it most fair and well written. I hope any faults will be remedied in any future work.

Barbara Dorf 11 Pembridge Villas

London, W. 1 , England

CORRECTIONS

I would like to draw the attention of readers to the following corrections in my article entitled 'Chinese and Japanese Colour Wood-block Painting' in Leonardo 4, 75 (1971): Page 75, right column, line 32-eighteen instead of seventeen. Page 76, right column, line 57-side instead of half; line 58-half instead of side; line 58-omit sentence beginning with The free; line 62-halfinstead of side. Page 77, left column, line 4-block instead of board. Page 78, left column, line 36-the sentence beginning with These reappear should read These serve as guides and reappear on all blocks of the set, forming deepened steps to ensure good register. Legend of figure 6, line 3-with deepened feeding steps instead of with register lines. Page 79, left column, line 20-replace high and by deep and one side is 5 cm higher than the other; right column, line 1-should read shading is achieved by gradated drying of the printing surface before rubbing; right column, line 4-steps instead of marks.

Jan Tschichold CH-6611 Berzona (Onsernone), Switzerland

The colour illustration entitled 'Sardi's' in my article in Leonardo 5, 119 (1972) should have been indicated as being in the collection of Mrs. R. H. Graham, Overland Park, Kansas, U.S.A.

when we create something ourselves-each stimu- lates the other. If young people are to develop judgment of their own and not just adopt the values

when we create something ourselves-each stimu- lates the other. If young people are to develop judgment of their own and not just adopt the values

when we create something ourselves-each stimu- lates the other. If young people are to develop judgment of their own and not just adopt the values

when we create something ourselves-each stimu- lates the other. If young people are to develop judgment of their own and not just adopt the values

when we create something ourselves-each stimu- lates the other. If young people are to develop judgment of their own and not just adopt the values

when we create something ourselves-each stimu- lates the other. If young people are to develop judgment of their own and not just adopt the values

B. George Stark 138 Bd. Exelmans

75-Paris 16, France

B. George Stark 138 Bd. Exelmans

75-Paris 16, France

B. George Stark 138 Bd. Exelmans

75-Paris 16, France

B. George Stark 138 Bd. Exelmans

75-Paris 16, France

B. George Stark 138 Bd. Exelmans

75-Paris 16, France

B. George Stark 138 Bd. Exelmans

75-Paris 16, France

384 384 384 384 384 384

This content downloaded from 62.122.79.21 on Thu, 12 Jun 2014 22:16:26 PMAll use subject to JSTOR Terms and Conditions