Histórico, y se relatarán las consideraciones y el proceso de diseño aplicados a la Trabajo que pretende recuperar parte del patrimonio del taller de Expósitos.Įn el presente texto se fundamentará la importancia de tomar este modelo tipográfico Partir de impresos que forman parte del fondo documental de la institución. Reconstrucción digital de los primeros caracteres y ornamentos utilizados, realizada a Instituto Histórico del Gobierno de la Ciudad, propuse un recorrido histórico y una 1780-1824, editada recientemente por Patrimonio e Ideas de libertad de cara a la Revolución de Mayo, acontecimiento del cual losĪrgentinos, este año 2010 conmemoramos el Bicentenario. Las Invasiones Inglesas, y los primeros periódicos contribuyeron a la difusión de las Instruyeron en la fe religiosa, sus tipos festejaron el triunfo de la Reconquista durante Sus impresos oficiales acompañaron la evolución urbana de BuenosĪires, sus cartillas y catones educaron a los más jóvenes, sus obras de corte litúrgico Por haberse constituído en la primera imprenta porteña y sostener su monopolio por La Real Imprenta de Niños Expósitos es un hito de la tipografía argentina, y no sólo By elucidating such aspects of Portuguese and Brazilian printing traditions, and departing from careful observation of typographic details, this paper intends to contribute to a fairer and more comprehensive history of the book and of graphic design in Latin America. Finally, it requires some knowledge about the ambiguities regarding the correct location of the tilde in certain diphthongs, as exemplified in many Portuguese and early Brazilian prints up to the nineteenth century. It also demands awareness of the debate on the status of the tilde as a letter or a diacritical mark, as carried on by early Portuguese grammarians. In what regard J-shaped tildes, italics attributed to Garamont and Granjon are key examples. Such an understanding demands a certain familiarity with the many variations in the form of the tilde that have antecedents in French Renaissance and Baroque typefaces. However, as this paper will demonstrate, an investigation on eighteenth century Portuguese grammar and European Baroque typeforms shows that the typography of this booklet should be understood within a more complex and interesting context. Most people believe they might be consequences of Fonseca's lack of typographic competence or poor literacy. A comma used as a cedilla and a J-shaped tilde used over the 'o' in the first line of its front cover immediately call the attention of anyone familiar with the rules of Portuguese grammar. A booklet entitled Relação da entrada que fez, printed by Antonio Isidoro da Fonseca in 1747, is considered the first book printed in Brazil.
0 kommentar(er)
