As Fontes Caligráficas De Hermann Zapf

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As Fontes Caligráficas De Hermann Zapf dossiê ¶ AS FONTES CALIGRÁFICAS DE HERMANN ZAPF "#" Nikolaus Weichselbaumer Tradução: Augusto Rodrigues s letras caligráficas, isto é, aquelas que tentam imitar o ductus da escrita manual cursiva, constituíam uma questão marginal na composição tipográfca com chumbo. Em vir- tude de suas formas fligranadas, eram difíceis de produzir, Asensíveis ao manuseio e se apagavam rapidamente na impressão. Além disso, aproximavam-se da escrita caligráfca apenas em casos isolados, como, por exemplo, na English Script, bastante regular também na escrita manual. Entre as fontes caligráfcas menos padronizadas e mais livres, um impresso em que cada letra se repete de maneira idêntica pode imitar o aspecto geral da escrita manual apenas de modo bastante restrito. ¶ Esses obstáculos desapareceram no curso do século xx com o estabelecimento de novas tecnologias de composição. As mudanças no design da letra daí decorrentes serão examinadas neste artigo com base no exemplo das letras caligráfcas do designer de fontes alemão Her- mann Zapf (1918-2015).1 Zapf, com seus mais de cem designs de fontes, fgura entre os mais produtivos e bem-sucedidos desenhistas de letras do século xx. Entre suas criações encontra-se uma série de fontes utilizadas em todo o mundo, como a Palatino (1950), a Optima (1958) e a Zapf Dingbats (1978). ¶ A produção de Zapf estende-se de 1938 até o início do século xxi; desse modo, possibilita uma análise do desenvolvimento das letras de impressão durante a mudança do caractere de chumbo para a fonte do computador. Zapf, habilidoso retocador de fotografas e calí- grafo autodidata, passou de copista de música a designer de fontes. Em vários de seus projetos pode-se observar o desenvolvimento das formas a partir da escrita manual. De fato, as fontes de texto constituem grande 1. O presente artigo baseia-se num estudo mais extenso: Der Typograph Hermann Zapf. Eine Werkbiografe, Berlin/Boston, Waltert de Gruyter, 2015. Schriftmedien – Kommu- nikations- und buchwissenschaftliche Perspektiven n. 2. Livro ◆ 127 03 dossier.indd 127 22/03/16 16:43 ¶ dossiê 1. Palatino redondo com formas especiais e Palatino itálico manual. 2. Optima redondo, itálico e meio-preto. 3. Zapf Dingbats. parte da obra de Zapf, mas em todas as fases depois – numa versão da sua própria caligra- de sua carreira encontram-se projetos de fa, que tinha usado em 1944 numa cópia das letras caligráfcas. cartas de Hölderlin a Diotima3. Já logo depois da Segunda Guerra Mun- Para transpor para uma letra de impren- dial2 um dos primeiros projetos de fonte de sa, a letra manual feita com uma pena Som- Zapf foi uma letra caligráfica. Em 1948, merville4 teria de sofrer vários ajustes em iniciou com designs de uma letra cursiva elegante: baseava-se – como muitos outros 3. Cf. Hermann Zapf, Alphabetgeschichten. Eine Chronik technischer Entwicklungen, Bad Homburg, 2. As fontes de Zapf que foram publicadas antes e 2007, p. 41. durante a Segunda Guerra Mundial limitavam-se a 4. Trata-se, no caso, de uma pena de ponta muito fna notações de música. e elástica, na qual a espessura do traço é infuenciada 128 ◆ Livro 03 dossier.indd 128 22/03/16 16:43 dossiê ¶ 4. Caligrafa de uma citação de Hans von Weber. Hermann Zapf, 1944. seu aspecto. A primeira difculdade era o fato de que todos os traços deviam caber no retângulo que continha a imagem de um 5. A primeira versão de teste da fonte Virtuosa (1951). caractere e de que a junção entre os sinais isolados devia ser feita com ligaturas. Com efeito, eram conhecidas as letras cursivas Após algumas tentativas associadas às em forma de paralelogramo e outras com cursivas inglesas, as quais serviram, em kerning ajustável, porém eram de fabricação parte, de amostras, Zapf adaptou a fonte mais cara e muito sensíveis na composição às necessidades tecnológicas e aplicou ao e na impressão. Eram especialmente fracos eixo da letra uma leve inclinação à direita. os pontos onde os traços fnos se prolonga- Assim, os sinais não entravam em confito vam até a borda da letra. Para seu design com a limitação retangular do corpo da Zapf realizou estudos prévios com a pena e letra. Além disso, nos projetos defnitivos, as formas assim desenvolvidas ele abstraiu abdicou de quase todos os acabamentos com o lápis, antes de executar em aquarela no lado esquerdo. Com isso, o ajuste das a arte-fnal retocada com branco opaco5. ligações entre as letras ficou bastante facilitado, porque agora nenhuma letra precisava terminar à direita com um traço pela variação da pressão que se dá à pena. É usada, principalmente, para traçar o cursivo inglês e tirou exatamente na mesma altura e num ângulo seu nome da firma Sommerville de Birmingham, conveniente. Não obstante, para obter uma um dos fabricantes especializados neste tipo de pena aparência caligráfca da fonte, Zapf dese- para escrita. 5. Cf. Biblioteca Herzog August de Wolfenbüttel, Col. nhou ligaturas para combinações de letras Zapf wal 373, p. 5. que normalmente não eram usadas com Livro ◆ 129 03 dossier.indd 129 22/03/16 16:43 ¶ dossiê 6. Virtuosa I, II e Virtuosa forte de 14 pontos. ligaturas, mas que desse modo podiam ser 10 a 48 pontos6. Foi dada uma confgura- construídas de forma mais enfática, como, ção às formas pontiagudas, como no inte- por exemplo, os fnais -ng e -nd de palavras, rior da letra “A”, de modo que não restasse tão comuns na língua alemã, e combina- nenhum canto pontiagudo problemático. ções que, segundo as expectativas, apare- Somente a altura do caractere de 8 pontos ceriam com mais frequência no campo foi cortada à mão. Esse corpo foi pensado, de aplicação da fonte, como ag (sigla de sobretudo, para usá-lo na impressão de car- Aktiengesellschaft, Sociedade Anônima). tões de visita. A combinação de tamanhos Para complementar, desenhou um segun- de fonte relativamente pequenos com gran- do alfabeto em caixa-alta com formas mais des margens, causadas pela impressão em enfáticas, que podia ser usado alternativa- papéis de cartão de visita, tornou necessá- mente e, pelo uso de diversas variantes do rias pequenas modifcações: os traços foram mesmo caractere, devia possibilitar melhor reforçados de forma leve e proporcional de imitação da escrita manual. modo que adquirissem estabilidade, sem Em comparação com muitas fontes ca- com isso causar a impressão visual de um ligráfcas já existentes e também para seu corte espesso. Algumas formas internas das próprio projeto caligráfco, Zapf escolheu letras, sobretudo a depressão do “e”, foram um contraste diminuto do vigor do traço. levemente aumentadas, pois do contrário As linhas relativamente espessas não se par- teriam borrado na impressão7. tiam tão facilmente na impressão e, além Essa fonte foi lançada em 1952/1953 com o disso, eram mais econômicas na produção. nome de Virtuosa8. Para o departamento de Em fontes com linhas extremamente fnas, marketing da casa, Zapf listou três argumen- o arredondamento de cantos pontiagudos tos em prol da comercialização da fonte: as sobressaiu negativamente na produção com um pantógrafo fresador. No entanto, con- 6. Cf. Biblioteca Herzog August de Wolfenbüttel, Col. Zapf wal 264, p. 14. seguiu-se fresar as matrizes dos designs de 7. Cf. Idem, p. 51a. Zapf, a partir de um molde, até a altura de 8. Cf. Idem, p. 14. 130 ◆ Livro 03 dossier.indd 130 22/03/16 16:43 dossiê ¶ 7. Manipulação de um caractere com o auxílio de uma lente Photofex. linhas dez vezes mais fortes em comparação substituição, nas décadas seguintes, da com- com uma cursiva inglesa; o molde conven- posição tipográfca pela fotocomposição; to- cional, fácil de fundir em tipos normais; e, davia, novas possibilidades também se abri- por fm, o baixo preço para uma letra cur- ram na questão da forma: as fontes deixavam siva9. Embora não se tenham conservado de ser constritas às dimensões de um corpo as listas de preço e os totais de venda, ainda de letra de metal, mas podiam projetar-se assim a Virtuosa foi complementada, em consideravelmente para a direita ou para a 1956, com uma vigorosa variante (ver Fig. esquerda, como, por exemplo, no caso dos 5)10. Na verdade, esta adotou o ductus da es- contornos móveis. Além disso, as fontes de crita, mas dispunha de muitas formas de letra fotocomposição podiam ser deformadas em totalmente independentes, as quais foram re- seguida. Os sistemas de lentes usados nesse desenhadas e não obtidas, como usualmente, processo foram desenvolvidos já nos anos pela adiposidade da fonte existente. Na estei- 1930, sob a direção de Edward Rondthaler ra da Virtuosa surgiram algumas fontes que na Photo-Lettering Inc., uma das empresas adotaram esse princípio básico11. Entre elas, o pioneiras na fotocomposição12. Os sistemas exemplo mais bem-sucedido é talvez a Bou- de lentes possibilitavam, sem grandes custos, levard, dada a público, em 1955, por Günter alargar e estreitar um caractere, assim como Gerhard Lange pela empresa H. Berthold. criar uma letra contorcida e inclinada para Embora a Virtuosa tenha sido uma fon- substituir um caractere itálico que não esta- te itálica de sucesso no fm da era do tipo va disponível em determinados casos. móvel de chumbo, seu campo de aplicação Apesar dessas possibilidades novas, os de- continuou limitado em grande parte aos im- signers não tinham total liberdade para de- pressos comerciais. Além disso, as formas senhar formas na criação de uma fonte para ainda são fortemente marcadas pelas neces- a fotocomposição. Este processo de compo- sidades da composição tipográfca. sição deformava o caractere de modo dife- A fotocomposição, que entrou no circuito rente da composição tipográfca. Enquanto comercial nos anos 1950, ofereceu no caso na impressão tipográfca aparecem bordas outras possibilidades. De fato, a rapidez da (margens) de prensa que mostram a letra um composição, que aumentou de maneira pouco mais espessa, a fotocomposição de- signifcativa, foi o principal motivo para a forma os caracteres por ofuscamento.
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