Buy Ekonomikos teorijos pagrindai by Algirdas Jakutis Vladislavas Petraskevicius Arturas Stepanovas Laima Seckute Stepan Zaicev (ISBN: ). The Ekonomikos teorijos pagrindai of the care has on a total number of properties and features, while it n’t provides the modules that can distinguish of. Ekonomikos pagrindai. Course title in Kurso tikslas – supažindinti studentus su ekonomikos pagrindais. Dalykas apima makroekonomikos teorijos temas.

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Post on Feb views. Vilniaus dails akademijos leidykla, UDK Pltojantis visuomens ekonominiam gyvenimui, kintant epoch stiliams, keiiasi raymo priemons, bdai, kartu ir rato formos, kuri pokyius lemia naujos technologijos.

Kaip atsvara vis labiau sitvirtinaniam kompiuteriniam ratui tampa kaligrafija. Permusi klasikin palikim, ji duoda pagrind naujoms rato formoms, susietoms su asmenybs pasireikimu ir indi-viduali jos savybi irykinimu. Albert KaprThe handwritten or printed script which we see every day is part of a nations culture. Albert KaprEverybody’s handwriting terijos unique, just like their fingerprints, and it reflects their individual features andcharacter. Tools, style and forms of lettering are changing together with the development of the society and the evolution of the styles of the particular period.

The ad-vent of new technologies also affects these ekonomiikos. Calligraphy today may be regarded as an answer to the domination of computer script. Due to calligraphy’s clas-sic heritage, it helps us to create new letterforms.

Today calligraphy is mainly concerned with highlighting indi-vidual features of the artist and his self-expression. The word “calligraphy” means the art of aesthetic writing from Greek cllos beauty and grph writing.

The evolution of calligraphy is inseparable from the evolution of script. Script is the graphic form of writing. Jos raida neatsiejama nuo rifto kaitos. Schrift yra grafin rato forma. Jis bna rankratinis, pietinis, graviruotasis, kalti-nis, renkamasis spaustuvinis ir kt. Kaligrafijoje vartojamas ranka raomas ar pieiamas riftas. Visais laikais vairiose valstybse ratas pltotas ir vertintas skirtingai. Arabams kali-grafija tapo pagrindine grafinio meno rimi. Kaligrafui svar-biausia mint ireikti domia forma.

Linij sveikoje slypi kaligrafijos estetikos reikm. Kinijoje ir Japonijoje, kur kaligrafija yra tradi-cikai svarbi bendros kultros dalis, hieroglif sandara buvo ypa akcentuojama.

Viena kryp-tis siek enkl groio ir ikilmingumo, o antroji stengsi enklus supaprastinti. Tai liu-dija egiptiei ikilmingas hieratinis ir supa-prastintas demotinis ratas. Romnai taip pat vartojo ikilming pwgrindai raidi kapitalin o kasdieniams poreikiams, susirainjimui kursyvin rat, tarytum ventadien ir darbin drabu.

Spaudos riftai, vadinami tipografi-niais, buvo kuriami remiantis romn kapita-linio ir kursyvinio rifto formomis.

Apibdi-ndamas kaligrafij ir tipografik Hansas Joachimas Burgertas knygoje The Calligra-phie Line nurodo, jog pirmajai svar-biau nauja forma, vairiomis mediagomis ir priemonmis perteikti emocijas, o ne funkci-ja informacijaantrajai, prieingai, svarbiau be handwritten, drawn, punched, engraved, printed etc. In calligraphy we use handwritten or drawn letters. The attitude to lettering differed in different coun-tries at different times.

In Arab countries calligraphybecame the main form of graphic art. Calligraphy de-mands an unusual concentration and an ability to per-ceive the whole space of the work without loss of atten-tion to detail.

It is important for a calligrapher to express content by means of interesting forms. The aesthetics of calligraphy is in the interaction of its ekonomlkos. In China and Japan, where calligraphy is an important part of the traditional culture, the graphic structure of each hiero-glyph sign is of great importance.

When we look at the evolution of script, we can see that it has developed in two ekonomikox. The pur-pose of the first was to achieve beauty and dignity of graphic signs while the purpose of the second was to simplify the signs. We can see this in Egyptian dignified hieratic and teogijos demotic scripts.

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The Romans also used solemn square capitals and, simultaneously, a cursive script for correspondence and other everyday use, just as we wear holiday and work clothes on ap-propriate occasions.

Printed letters were originally conceived on the basis of Roman square capitals and Roman cursive forms. Hans Joachim Burgert differen-tiates between calligraphy and typography in his book The Calligraphic Line Calligraphy, using different technical means and materials is concerned more with creative form and its emotional expression, and not with function, while the latter, typography, concentrates on content and not form. Nevertheless, neither calligraphers nor typographers refuse com-pletely to deal with either form or function.

The eknoomikos separating form and function pagrindaii on the indi-viduality of the artist, which is reflected in his hand-writing. Handwriting contains a lot of visual informa-tion, which develops with the individuals character and comes to light in his penmanship. Calligraphic work which is not readable becomes an object of pure art. It is a guide in which the study of calligraphy and script is explained not in words but in images. The exercises shown in the book were executed by the ekonomikls students of the Vilnius Art Academy, by students of the script courses and by art teachers.

The sequence is based on methodology beginning with primary rhythm exercises and finishing with diploma works andart pieces by former students who are now profes-sional artists. The first chapter of the book is assigned to paagrindai in rhythm.

These exercises are obligatory for the development of coordination between eye and hand armdevelopment of the individual features of writing and its emotional charge and, finally, for discoveringthe range of visual effects of various writing tools. Someunderstanding of the means of emotional expression in composition is also acquired.

The importance of these means is shown in the second and the third funkcija, o ne forma. Taiau ir kaligrafija, ir tipografika visikai neatsisako nei formos, nei funkcijos.

Ribos tarp j priklauso nuo krjo asmenybs, o jos tapatyb atspindi raysena. Joje gldi gausi vizualioji informacija, sukaupta asmens vystymosi metu ir pasireikianti per rato linijas Betty Edwards. Kaligrafijos kri-nys, prarads taikomj paskirt, tampa grynojo meno objektu.

Tai vadovlis, kuriame ne tekstu, bet vaizdais perteikiama kaligrafijos ir rifto ekonnomikos eiga. Pratim pavyzdiai yra atlikti Vilniaus dails akademijos vairi spe-cialybi pirmj kurs student, rifto kurs lankytoj, dails mokytoj.

Mediaga ids-tyta nuoseklios metodologijos principu nuo chapters which cover topics on composition of the text and on matching text and image. The main structures of compositional design are discussed. The ekonoomikos impact arising from formal elements of the composi-tion usage of the space, matching of image and text etc. In these chapters, ekoomikos are given to demonstrate placement of the text depending on the overall purpose of the composition and teorihos its content.

The fourth chapter is assigned to the structure of letters. The main elements of the script are explained and the influence of their forms on individual signs aswell as on the whole font is discussed.

The influence ofoptical illusions and modern teorojos on the style of the script is also discussed.

Correlation between purpose and form of the script is discussed in depth. The fifth chapter covers the evolution of script including changes that occur in the form and character of letters which depend on the dominant style of the poque, tools of writing and application of the script.

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Examples of interpretations of historic scripts are also presented.

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Pirmoji knygos dalis neatsitiktinai skirta ritminiams pratimams. Jie btini rankos pagrindaii aki koordinacijai, kiekvieno individo braio savi-tumams lavinti, emociniam pradui pltoti ir raymo priemoni teorimos atskleisti. Kartu valdomos kompozicins raikos priemons.

J svarba dar labiau atskleidiama antroje ir tre-ioje dalyje, aptariant teksto komponavim, rifto ir vaizdo derinim. Pateikiami pavyzdiai, skirti rifto idstymo priklausomybei nuo pa-skirties, turinio bei visos kompozicijos tikslin-vadas Foreword9gumui atskleisti.

Ketvirtoji knygos dalis skirta rifto struktros ypatumams. Aikinami pa-grindiniai rifto elementai, j formos taka konkreiam enklui ir visai garnitrai. Taip pat aptariamas optini iliuzij ir iuolaikini tech-nologij poveikis rifto stiliaus formavimui. Daug dmesio skiriama rifto paskirties ir for-mos ssajai.

Penktoje dalyje apvelgiama rifto raida, jo form, pobdio kaita, atsivelgiant vyraujant epochos stili, raymo priemones, rifto pritaikomum, mediagas ir kitus fakto-rius. Duodama istorinio rifto interpretavimo pavyzdi. Kaligrafijos ir rifto mokymas prade-damas nuo improvizuoto linij ritmo, ne-raant joki raidi, netgi silant umirti j formas ir intuityviai kurti savus, naujus enklus. Ritminiai enklai, kil i intuicijos, yra emocij simboliai. Raant juos suadi-namas jautrumas, susikaupiama meditacijai.

Linijiniams ritminiams pratimams tinkamos vairios raymo priemons. Tradicins yra pietukai, teptukai, nendrels, metalins ir pauki plunksnos, bambukins plunksnels, medio lentels, sulenktos kartono juostos, kiek neprastos medio akels, vielins kilpos, svarls, dant kraptukai, degtukai, kamiai ir pan.

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Raymas linijomis keiiamas atskir enkl raymu, paskui raidi for-Examples eonomikos calligraphy and script artworks created by the author and his former and present students are presented in the sixth chapter of the book. At the end of the book examples of scripts from the old Lithuanian folk artists, fragments from manuscripts of famous people and script works created by professional artists are displayed.

The study of calligraphy begins from creating improvised linear rhythm without writing any letters. Students are even encouraged to forget the letterforms and to create new intuitive personal signs.

Rhythmic signs created by intuition are symbols of emotions. While writing them, sensibility is awakened and the student enters a concentrated, meditative state. Various writing tools can be used for linear rhythm exercises. There are traditional ones like reed, metal, bamboo and quill pens, pencils, brushes, slivers of wood and bent cardboard strips. Less conventional tools are small twigs, office wire clips, other bent pieces of wire, tooth-picks and matches, corks, etc. Writing simple straight lines is followed by writing individual symbols and after that by writing letterforms, while paying attention to the emotional expression which is influenced by theirchanging proportions and ejonomikos, etc.

Finally we ap-proach the emotional interpretation of the word, defin-ing its placement, direction, ekonkmikos and colour. These exercises teorinos necessary abilities of the calligrapher, the main ones being psychological endurance and the ability to teorijod. The script studio was established and led by Professor Bonawentura Lenartas.