quinta-feira, 28 de janeiro de 2016

Istanbul x Constantinopla

Imagino a diferença que uma cidade pode ter ..

quando muda de cor ...

Cor Romana,

Cor Grega,

Cor Turca,

a nossa Cor.

quarta-feira, 27 de janeiro de 2016

Goethe - Epigramme


Dei santi si dice che fossero benevoli in specie

col peccatore e la peccatrice.

A me accade proprio lo stesso.

Heilige Leute, sagt man, sie wollten besonders dem Sünder 

Und der Sünderin wohl.

Geht's mir doch eben auch so.

Venedig 1790
Seite 463
Maria Teresa Giannelli 

Ernesto Nazareth - Odeon (choro)

Ernesto Júlio de Nazareth (March 20, 1863 – February 5, 1934) 
was a Brazilian composer and pianist, especially noted for his creative Maxixe and Choro compositions. Influenced by African rhythms and many musical styles like the Lundu and the Choro,[1] he never fully accepted this influence, refusing to give popular names to his compositions.[2] A musician of classical training, he classified his music as "Brazilian tangos", since the Argentine tango and polka dances were considered fashionable at the time. His piano repertoire is now part of the teaching programs of both classical and popular styles, as Nazareth once served at the boundary between these two worlds.[2]

terça-feira, 26 de janeiro de 2016


Bodoni is the name given to the serif typefaces first designed by Giambattista Bodoni (1740–1813) in the late eighteenth century and frequently revived since.[1] Bodoni's typefaces are classified as Didone or modern. Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville: increased stroke contrast reflecting developing printing technology and a more vertical axis, but took them to a more extreme conclusion. Bodoni had a long career and his designs evolved and varied, ending with a typeface of a slightly condensed underlying structure with flat, unbracketed serifs, extreme contrast between thick and thin strokes, and an overall geometric construction.[2]
When first released, Bodoni, and other didone fonts, were called classical designs because of their rational structure. However, these fonts were not updated versions of Roman or Renaissance letter styles, but new designs. They came to be called 'modern' serif fonts and then from to mid 20th century they were known as Didone designs.[3] Though Bodoni's later designs are rightfully called "modern", the earlier designs are "transitional".
Some digital versions of Bodoni are said to be hard to read due to "dazzle" caused by the alternating thick and thin strokes, particularly as the thin strokes are very thin at small point sizes. This is very common when optical sizes of font intended for use at display sizes are printed at text size, at which point the hairline strokes can recede to being hard to see. Versions of Bodoni that are intended to be used at text size are "Bodoni Old Face", optimized for 9 points; ITC Bodoni 12 (for 12 points); and ITC Bodoni 6 (for 6 points).
Massimo Vignelli stated that 'Bodoni is one of the most elegant typefaces ever designed.'[4] In the English-speaking world, 'modern' serif designs like Bodoni are most commonly used in headings and display uses and in upmarket magazine printing, which is often done on high-gloss paper that retains and sets off the crisp detail of the fine strokes. In Europe, they are more often used in body text.

segunda-feira, 25 de janeiro de 2016

Conquistamos a curiosidade de 83 Países !!!

Em 8 anos de existência do blog Nave al Mare,

tivemos mais de 322 mil visitas feitas 

por 81 países.

A missão continua.

Não sei onde chegaremos.

Espero poder continuar caminhando, 
para assim quem sabe, 
descobrirmos juntos qual o Destino dessa caminhada.