![]() appears to be larger but is actually smaller than Khufu's influence: Narmer's palette and other predynastic works established this compositional scheme as the norm in Egypt for millennia Sculptor sub-divided the surface into registers and inserted the pictorial elements into their organized setting in a neat and orderly way ![]() horizontal lines define the ground supporting the figures followed a "canon" rules placed in how they create the proportions Persian people with two guys holding hands. Proportions of body changed from earlier works bull knocks down the fortress walls of a rebellious city ![]() in the lower register when a bull is shown front/staight/head on looks at beheaded enemies with heads between his legs Narmer is now in a red crown (white is upper Egypt) of lower Egypt. Two intertwined elongated feline necks: unification, create palette for eye makeup functional and decorative Papyrus with plants with human heads represents lower Egypt. Falcon with human arm represents the king's protector holding a rope binding foe's head, personifying lower Egypt (Horus is the Messenger) Narmer larger in scale than the attendants: hierarchy of scale killing enemies and his attendant is carrying shoes Back side: white headdress is a crown of upper Egypt his image and name appear on both sides of the palette Hieroglyphics: Narmer's name within the frame that represents the palace. The top of both of the palettes are heads of a cow with a woman's face: Hathor (divine mother of all Egyptian kings) or sky goddess Bath People depicted in composite view: frontal eye, frontal torso, profile legs form rigid and stiff Back and front coming together = unification of the two kingdom The rosetta stone helps us to decipher the hieroglyphics Unification of Egypt marks the end of Predynastic Egypt Although it seems like adapting Headline to Text would be a straightforward process, different needs in the two sizes lead the designers to find divergent solutions, and not only in the details.-Was about two feet shows the wealth of the owner: ornate palate ![]() "Guardian Egyptian Text is a capable workhorse in four weights, tuned for optimal readability at small sizes, even under quite adverse printing conditions. The optical compensations required for maximum legibility under such difficult circumstances inevitably look strange at large sizes." - Guardian Agate Sans, Commerical Type Guardian Egyptian Text That’s because this family was carefully designed to compensate for the worst imaginable printing conditions: 6 point and below on newsprint. "Guardian Agate Sans looks awkward and strange at 18 point, as you can see here. In spite of their simplicity, the lightest and heaviest weights still have quite a bit of personality, while the rest of the family is characterized by respectable neutrality." - Guardian Sans Headline, Commerical Type Guardian Agate Sans "Guardian Sans Headline is built of entirely unadorned forms, making it a typographic chameleon, combining well with a wide range of typefaces. Originally designed for use in newspapers, the family’s wide range of weights and clarity in the details give enough flexibility for all types of publication design, corporate identity, and even signage applications." - Guardian Egyptian Headline, Commerical Type Guardian Sans Headline "Through a blend of contemporary and traditional forms, Guardian Egyptian Headline mixes stylish Continental shapes with the no-nonsense proportions of the British Egyptian. ![]()
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