Geometric Absolutism in Renaissance Typography: A Calligraphic Analytical Perspective on Luca Pacioli's De Divina Proportione

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dc.authorid0000-0002-6969-6670
dc.contributor.authorKipdemir, Serdar
dc.contributor.authorid341649
dc.date.accessioned2026-09-15T06:38:49Z
dc.date.available2026-09-15T06:38:49Z
dc.date.issued2026-08
dc.departmentFakülteler, Sanat ve Sosyal Bilimler Fakültesi, Görsel İletişim Tasarımı Bölümü
dc.descriptionUluslararası Hakemli Dergi
dc.description.abstractLuca Pacioli's De Divina Proportione (1509), one of the foundational texts that laid the geometric groundwork of Renaissance typography, systematizes the period's quest for universal harmony and mathematical perfection through letterforms. But how does this geometric absolutism relate to the dynamic nature of calligraphy? Guided by this question, this article aims to reevaluate Pacioli's understanding of "geometric absolutism"—rooted in the discipline of compass and ruler—from the analytical and applied perspective of a Latin calligrapher. Employing a qualitative Arts-Based Research design, the Pacioli alphabet, predominantly addressed in the literature within the contexts of art history or graphic design, is analyzed here through the tension between the dynamic nature of calligraphic execution (ductus) and the static construct of geometric form. Within the scope of this research, the letterforms idealized by Pacioli were manually reproduced using traditional calligraphic techniques; the ontological discrepancies arising in the relationship between pen angle, its movement across the surface, and ink flow with geometric grid systems were evaluated through systematic observation and comparative analysis. The findings reveal how letter anatomy based on mathematical proportions is reinterpreted in calligraphic practice through optical balance, bodily intuition, and the margin of human error. This article argues that the rationalization process in Renaissance typography was not a rupture from the calligraphic tradition, but rather a sophisticated form of integration developing between the two disciplines. The study is limited to Pacioli's 23 uppercase letters, with in-depth analysis confined to the letters "A" and "O".
dc.identifier.citationKipdemir, S. (2026). Geometric Absolutism in Renaissance Typography: A Calligraphic Analytical Perspective on Luca Pacioli's De Divina Proportione. Uluslararası Sanat ve Sanat Eğitimi Dergisi. 9(22), 57-86. http://dx.doi.org/10.29228/jiajournal.90087
dc.identifier.doi10.29228/jiajournal.90087
dc.identifier.endpage86
dc.identifier.issn2667-4769
dc.identifier.issue22
dc.identifier.startpage57
dc.identifier.urihttps://dspace.mudanya.edu.tr/handle/20.500.14362/443
dc.identifier.volume9
dc.institutionauthorKipdemir, Serdar
dc.language.isoen
dc.publisherASOS Publishing
dc.relation.journalUluslararası Sanat ve Sanat Eğitimi Dergisi
dc.relation.publicationcategoryMakale- Uluslararası- Hakemli Dergi- Kurum Öğretim Elemanı
dc.rightsinfo:eu-repo/semantics/openAccess
dc.subjectLuca Pacioli
dc.subjectde Divina Proportione
dc.subjectLatin calligraphy
dc.subjectgeometric absolutism
dc.subjectRenaissance typography
dc.subjectductus
dc.titleGeometric Absolutism in Renaissance Typography: A Calligraphic Analytical Perspective on Luca Pacioli's De Divina Proportione
dc.title.alternativeRönesans Tipografisinde Geometrik Mutlakiyet: Luca Pacioli’nin De Divina Proportione Eseri Üzerine Kaligrafik Analitik Perspektif
dc.typeMakale
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