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Versidad Autónoma Metropolitana, Unidad Azcapotzalco Este material tiene fines pedagógicos y su función es servir como apoyo en las prácticas educativas que se llevan a cabo en las licenciaturas que se imparten en la División de Ciencias y Artes para el Diseño de la Universidad Autónoma Metropolitana, unidad Azcapotzalco. En este sentido, el único fin de esta obra es generar y compartir material de apoyo para el proceso de enseñanza-aprendizaje en el campo del diseño. Asimismo, el autor de esta presentación es responsable de todo su contenido y la obra se encuentra protegida bajo una licencia de Creative Commons 4.0. Para más información se puede consultar el sitio https://creativecommons.org/. Escuela tipográfica alemana del estilo gótico hasta nuestros días Apoyo A lA UEA Clave UEA: 1424013 Nombre UEA: Temas Selectos de Tipografía Clave UEA 1423014 Nombre UEA: Teoría y metodología Aplicada I (Apoyo a Diseño de Mensajes Gráficos) Guión argumental Revisar los tipógrafos e impresores clave de la escuela alemana del estilo gótico hasta nuestros días y su influencia en desarrollo de la forma tipográfica en el pasado a la actualidad. Escuela tipográfica alemana del estilo gótico hasta nuestros días Alfonso García Reyes 1 Escuela tipográfica alemana del estilo gótico hasta nuestros días Objetivo Conocer las generalidades y los momentos clave de la historia de la tipográfica alemana desde el estilo gótico hasta la fecha, desarrollando criterios propios para asociar forma y producción al contexto histórico y su aplicación. Desarrollar una apreciación de los diversos estilos históricos alemanes desde el estilo gótico a la fecha, y como estos sirvieron de base para formar criterios, encontrar el estilos tipográficos apropiados para proyectos de diseño e interpretar un nuevo estilo tipográfico con las herramientas digitales. Escuela tipográfica alemana del estilo gótico hasta nuestros días Alfonso García Reyes 2 Escuela tipográfica alemana del estilo gótico hasta nuestros días Introducción La industria editorial y tipográfica alemana nos brinda la oportunidad para asomarnos a una escuela que ha influenciado a todo el mundo. Desde el la edad media hasta nuestros días los alemanes han sido determinantes en el desarrollo técnico, tecnológico y formal de la tipografía. Desde la invención de la imprenta, los alemanes han influenciaron y siguen influenciado a muchos diseñadores hoy en día en todo el mundo. Desarrollar una sensibilidad a partir del desarrollo de la tipografía alemana sus estilos y criterios son necesarios en la argumentación en el uso de la tipografía. Escuela tipográfica alemana del estilo gótico hasta nuestros días Alfonso García Reyes 3 Escuela tipográfica alemana del estilo gótico hasta nuestros días Desarrollo de estrategias didácticas para el cumplimiento del objetivo de aprendizaje En esta exposición se presentan las escuelas tipográficas alemanas desde la edad media hasta la fecha con el fin de sensibilizarnos y aprender de los grandes tipógrafos ingleses como una oportunidad para continuar con la curiosidad de seguir aprendiendo de ellos. Se promoverá la participación de los alumnos formulándoles preguntas, planteándoles problemas teóricos, resolviendo sus dudas y escuchando sus inquietudes sobre este periodo de la tipografía. Escuela tipográfica alemana del estilo gótico hasta nuestros días Alfonso García Reyes 4 Edad Media Representación gótica Arquitectura Gótica de la Adoración de los Magos en la Catedral de La arquitectura gótica es la forma Estrasburgo. artística sobre la que se formó la http://es.wikipedia. definición del arte Gótico, el esti- org/wiki/ lo artístico comprendido entre el Arte_g%C3%B3tico Románico y el Renacimiento, que se desarrolló en Europa Occiden- tal —cristiandad latina— en la Baja Edad Media, desde finales del siglo XII hasta el siglo XV, aunque más allá de Italia las pervivencias góticas continuaron hasta los comienzos del siglo XVI. El vocablo «gótico» es el adjetivo correspondiente a godo y fue utili- zado en este contexto por primera Catedral de Nuestra Señora de París. Muestra vez por el tratadista italiano Giorgio las características de la arquitectura gótica que Vasari (1511-1574). En sentido pe- nace en la región de Isla de Francia (Île-de-France) yorativo usó este término para de- a finales del siglo XII: el uso del arco ojival y las nominar la arquitectura anterior al elevadas bóvedas de crucería que desplazan su Renacimiento, propia de los bárba- peso mediante los arbotantes (bien visibles en ros o godos, cuyos componentes le la imagen), el predominio de los vanos sobre los parecían confusos, desordenados muros, que permiten los grandes rosetones, la y poco dignos, por contraste a la altura de la aguja central y la posición central del perfección y racionalidad del arte trasepto. clásico. http://es.wikipedia.org/wiki/ Arquitectura_g%C3%B3tica En la escultura gótica las tallas en piedra continúan usándose para la decoración de la arquitectura, ade- más de cumplir la función evange- lizadora. Bóveda gótica. San Juan (Świętej Janów), Toruń. http://es.wikipedia.org/wiki/Arte_g%C3%B3tico Escuela tipográfica alemana del estilo gótico hasta nuestros días Alfonso García Reyes 5 Edad Media Di moine inconnu - Caligrafía Carolingia Manuscrit enluminé de la BnF, Pubblico Minúscula carolingia fue el ante- dominio, https:// pasado directo de letra gótica. Su commons.wikimedia. desarrollo se debió a la creciente ne- org/w/index. cesidad de producir nuevos y más php?curid=1982965 libros de diferentes temas en el siglo XII. Fueron creadas nuevas universi- dades, donde se produjeron libros que para derecho, gramática, histo- ria, y otras actividades, no las obras exclusivamente religiosos para los que normalmente se habían utiliza- do los textos anteriores. La rapidez en la producción fue necesaria para estar al día con la demanda. La letra Carolingia, aun- que legible, tomaba mucho tiempo escribirla. Su gran tamaño consume mucho espacio en un momento en que los materiales para la escritura eran muy costosos. Ya en el siglo XI, se estaban utilizando diferentes formas de letra carolingia, y a la mi- tad del siglo XII, una forma capaz de ser escrita con mayor rapidez y sa- tisfacer la demanda, se utilizó en el noreste de Francia y los Países Bajos. El término gótico fue utilizado por primera vez en el siglo XV en Italia, en medio del Renacimiento, porque los humanistas del Renacimiento creían que era bárbaro. Gótico era sinónimo de bárbaro. Escuela tipográfica alemana del estilo gótico hasta nuestros días Alfonso García Reyes 6 Edad Media Caligrafía Gótica La escritura que a tal efecto creo el Obispo Ulfilas en el siglo IV D. C. para traducir la Biblia a la Lengua Gótica y cuyo inventario de signos proviene en su mayoría de la Len- gua Griega aunque se apropió tam- bién signos del alfabeto latino para aquellos sonidos que no existían en lengua griega (q, h, j, f) además de los signos a y s. Utilizó también sig- nos de la escritura rúnica, aunque sólo fueron dos. En total la escritura gótica tenía 25 signos.. Wulfila explica los Evangelios a los godos http://en.wikipedia.org/wiki/Ulfilas Codex Argenteus. http://es.wikipedia.org/wiki/Ulfilas Escuela tipográfica alemana del estilo gótico hasta nuestros días Alfonso García Reyes 7 Edad Media Caligrafía Gótica Durante los siglos XII y XIII se pro- ducen en la cultura unos cambios radicales que tienen sus efectos so- bre las características de los manus- critos y sobre la forma de escritura. Los libros y el estudio dejan de ser una prerrogativa la iglesia. A mitad del siglo XII la cultura se difunde fuera de los monasterios. Grandes universidades que surgen en todos los países en esa época y a las que acuden estudiosos laicos también. La escritura gótica provee de ahorro de material al ser más condensada. Se necesita por lo tanto proveer de los libros necesarios a las universi- dades para que puedan desarrollar sus enseñanzas. En este nuevo ambiente, los ma- nuscritos cambian profundamente de carácter: la escritura deja de ser Caligrafía en una Biblia latina de AD 1407 en espontánea, convirtiéndose en rígi- exhibición en la abadía de Malmesbury, Wiltshire, da, amanerada y con la uniformidad Inglaterra. La Biblia escrita a mano, que en Bélgica, propia de los productos producidos por Gerard fibrillas, para la lectura en voz alta en en serie. un monasterio. El texto en la pantalla es América, y se trata del libro de Números (Núm 1: 24-26). https://en.wikipedia.org/wiki/Blackletter. Escuela tipográfica alemana del estilo gótico hasta nuestros días Alfonso García Reyes 8 Siglo 19: Linotipia La linotipia es una máquina inventa- da por Ottmar Mergenthaler en 1886 que mecaniza el proceso de compo- sición de un texto para ser impreso. La linotipia fue comercializada por la empresa Linotype fundada por Mer- genthaler. Junto con la impresión tipográfica, la linotipia era el estándar de la industria para la publicación de periódicos, re- vistas y carteles de finales del siglo 19 Ottmar Mergenthaler hasta la décadas de 1960 y 70, cuan- https://es.wikipedia.org/wiki/ do fue sustituida en gran medida por Ottmar_Mergenthaler la composición electrónica. El nom- bre de la máquina proviene del hecho de que produce una línea completa de tipo de metal a la vez, lo que repre- sentó una mejora significativa sobre el estándar anterior, es decir, manual, en el cual la composición tipográfica letra por letra se realizaba usando una vara de componer y cajones de letras. Ottmar Mergenthaler http://www.linotypefilm.com/ press/ Escuela tipográfica alemana del estilo gótico hasta nuestros días Alfonso García Reyes 9 Siglo 19: Linotipia El operador de la linotipia introduce texto en un teclado de 90 caracte- res. La máquina agrupa las matrices, que son moldes para las formas de las letras, en una línea. La línea de ensamblado es entonces fundida en una sola pieza de metal en un pro- ceso conocido como la composición tipográfica de “metal caliente”.
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