My kingdom for a cover!

Lament for IgnacioSánchez Mejías

� e place of the Golden Triangle of Art

MADRID

FEDERICO

DANIEL GIL

On the wake of greats calligraphersJUAN de YCIAR

Centro para la Formación Audiovi-sual y Gráfica de Madrid, quiere dar calurosamente la bienvenida a las cuatro escuelas gráficas con las que desarrollamos el proyecto Leonardo denominado “The best link”, que pre-tende entre otros objetivos poner en común formas de trabajo, experien-cias, herramientas y también conocer las culturas de los cuatro países.

Actualmente es muy importante para los jóvenes, pero también para los profesores y las escuelas, estén en contacto y aprendan a colaborar con gentes de distintos países con distintas culturas. El comercio, los medios de transporte y los medios de comunica-ción en red hacen que prácticamente desaparezca el concepto de tiempo y de espacio. Todo es inmediato, todo está conectado.

Debemos aprender a colaborar en proyectos y en programas internacio-nales, nuestros profesores y nuestros alumnos deben saber como formar parte de un proyecto internacional. Ese es el futuro para los nuevos profesionales y creemos que “The Best Link” es una buena oportunidad para los alumnos de Porvoo en Finlandia, de Copenhagen y Kolding en Dina-marca, para los alumnos de ST. Gallen en Suiza y para nuestros alumnos de Madrid.

Esperamos que este encuentro de Abril en Madrid, todos podáis disfru-tar y aprender todos juntos.

Luis García Domínguez

Director IES Puerta Bonita

Center for the Audio-visual and Graphical learning of Madrid, wants to warmly give the welcome to the four graphical schools with which we developed to the project denominated Leonardo “The best link”, that aims among others to put common forms of work, expe-riences, tools and also to know the cultures the four countries.

At the moment it is very important for the young people, but also for the teacherss and the schools, they are in contact and they learn to collaborate with people of different countries with different cultures. The World trade, the transports and the mass media in network cause that practically the space and time concept disappears. Everything is immediate, everything is connected.

We must learn to collaborate in projects and in international programs, our professors and our students they must know like com-prising of an international project. That is the future for the new pro-fessionals and we think that “The Best Link”.is a good opportunity for the students of Porvoo in Finland, of Copenhagen and Kolding in Denmark, for the students of ST.Gallen in Switzerland and for our students of Madrid.

We hope that this encounter of April in Madrid, all you can enjoy and learn all together ones.

Luis García Domínguez

Director IES Puerta Bonita

The Puerta Bonita Link Project · Abril 2013

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Finland • Sami Ulmanen • Markku Tepsa Koskinen Atte • Katajamäki Sami • Salo Tommi • Lyytikäinen Meri • Mällinen Petteri • Haapatalo Heli • Jäppinen Ulla • Harjunpää Jesse • Timonen Emma • Vantaa Emma. Switzerland • Kehl Daniel • Lüscher Beat • Schwarz Karin • Wyss Rolf • Eisenlohr Judith • Louis Hua • Gallusser Taschina • Willi Oberhänsli • Selina Slamanig • Nadine Hauser • Samira Büchler • Sandra Butz • Sandro Breu • Rachel Jans • Tobin Grand • Joana Böni. Denmark • Louis Lind Olrik • Brian Dupont • Ole Rosendal Damborg •Tine Secher • Jens Mondrup Thorsen • Steen Andersen • Henrik Borgstroem • Michael Pelt • Ole Christensen • Thomas Soerensen • Claus Bojsen Pedersen • Stine Gry Juul Nielsen • Carina Schjødt Dinesen • Manuel Tobs • Henrik Wendelboe JensenCamilla Beyer • Daniek Andersen Bruhn •Thomas Trunz Petersen • Chris Borch Lind • Mads Koudal • Carlo Antonio Ratta • Sarah Hagner Hvilsom Larsen • Mohammad Mahdi Alturaihi • Johanne Rode Moeller. Spain • Juan Jándula Hernández • Juan Martínez-Val Peñalosa • Ana Saiz Desviat • Francisco Javier Sánchez Bosch • Vicente Gallego Pérez • Sergio Saelices Ruiz • Juan José Rodríguez Rodríguez • José Chuvieco Salinero • José Alberto Sánchez Ortiz de la Tierro • Fernando San Román Martín • Sara Noval Toldos • Raúl Román Gutiérrez • Evelyn Centenaro Huamán • Antonio Lucena Esteban • Noelia Peinado Adán • Sergio Saldaña Martínez • Patricia Aleia López • Ricardo Asperilla Salas • Rodrigo Bricio Mourazo • Rosmery Durand Morales • Lorena Galindo Cardozo • Carlos González Barjollo • Máximo Alberto Iniesta Loizu • Carlos Javier Rodríguez • Marta de Juan Romero • Lola López Fernández • Javier Lozada Gualpa • Christian Luján Gamboa • Aitor Martínez Mas • Mohamed Abdel Islam • Juan Morcillo Hurtado • Estefanía Parra Sánchez • Santo Reyes William • Carlos Sánchez Marchena • Ángel Zúñiga González.

The Puerta Bonita Link Project Participants

Spanish TeamContentThe place of the Golden Triangle of ArtMadrid 4 - 7Madrid possesses a modern infrastructure, but it has preserved the look and feel of many of its historic neighbourhoods and streets. Its landmarks include the Royal Palace of Madrid, the Teatro Real, the Retiro Park and the Golden Triangle of Art, comprising the Prado Museum, the Centro de Arte Reina So-fía, and the Thyssen-Bornemisza Museum.

Puerta Bonita photo albumCommon for all 8Images on a table. Memories of a meeting.Technique. Creativity. Design and above all, people.

On the wake of greats calligraphersJuan de Yciar 14 A pupil of Tagliente and Palatino in Italy, Yciar invented the so-called Spanish Bastarda, and drew many beautiful chancery alphabets as the Cancellaresca gruesa.

Lament for Ignacio Sánchez MejíasFederico García Lorca 16Spanish poet and dramatist, member of the Generation of ’27, García Lorca wrote in the lament for a beloved friend and bull fighter a deep song of grief.

A cover, a cover, my kingdom for a cover!Daniel Gil 18 A designer who broke with an aesthetic excessively conventional to introduce a new graphical language. During years it contributed to create one of the most solid images of the Spanish graphical design.

4

16

18

4

keen eye and sensibility was also responsible for bringing much of the museum’s fine collection of Italian masters to Spain.

About 84% of the inhabitants of Madrid are Spaniards, while people of other origins include immigrants

M adrid possesses a modern infra-structure, but it has preserved the

look and feel of many of its historic neighbourhoods and streets. Its land-marks include the Royal Palace of

Madrid, the Teatro Real, the Retiro Park and the Golden Triangle of Art, comprising the Prado Museum, the Centro de Arte Reina Sofía, and the Thyssen-Bornemisza Museum.

Velázquez not only provided the Prado with his own works, but his

The Place of the Golden Triangle of ArtVelázquez not only provided the Prado with his own works, but his keen eye and sensibility was also responsible for bringing...

5

The Place of the Golden Triangle of ArtMadrid

Madrid possesses a modern infrastructure, but it has preserved the look and feel of many of its historic neighbourhoods and streets. Its landmarks include the Royal Palace of Madrid, the Teatro Real, the Retiro Park and the Golden Triangle of Art, comprising the Prado Museum, the Centro de Arte Reina Sofía, and the Thyssen-Bornemisza Museum.

much of the museum’s fine collection of Italian masters to Spain. Velázquez is also in the colours of the Madrid skyline.

from Latin America, Europe, Asia, North Africa and West Africa.

The Madrid metropolitan area is calculated to be around 6.5 million. It is the third-largest city in the E.U.

Due to Madrid’s dry climate, precip-itation is concentrated in the autumn

Golden Triangle of Art: Prado Museum, the Museo Nacional Centro de Arte Reina Sofía and the Thyssen-Bornemisza Museum.

Golden Triangle of Art: Prado Museum, the Museo Nacional Centro de Arte Reina Sofía and the Thyssen-Bornemisza Museum.

7

Triangle of Art, located along the Paseo del Prado and comprising three art museums: Prado Museum, the Museo Nacional Centro de Arte Reina Sofía, a museum of modern art, and the Th yssen-Bornemisza Museum, which completes the shortcomings of the other two museums. Th e Museo del Prado is the main Spanish national art museum, located in central Madrid. It features one of the world’s fi nest collections of European art, from the 12th century to the early 19th centu-ry, based on the former Spanish Royal Collection, and unquestionably the best single collection of Spanish art. El Prado is one of the most visited sites in the world, and it is considered to be among the greatest museums of art. Th e large numbers of works by Francisco de Goya, the artist most extensively represented in the collec-tion, and by Diego Velázquez, Titian, Peter Paul Rubens and Hieronymus Bosch are among the highlights of the collection. Th e best-known work on display at the museum is Las Meninas by Velázquez.

Th e Museo Th yssen-Bornemisza is an art museum in Madrid, located near the Prado Museum at one of city’s main boulevards. It is known as part of the “Golden Triangle of Art”, which also includes the Prado and the Reina Sofi a national galleries. Th e Th yssen-Bornemisza fi lls the historical gaps in its counterparts’ collections. With over 1,600 paintings the Th yssen-Borne-misza collection was once the second largest private collection in the world.

and spring. It is particularly sparse dur-ing the summer.

Madrid is located on the Man-zanares river in the centre of both the country and the Community of Madrid. As the capital city of Spain, seat of government, and residence of the Spanish monarch, Madrid is also the political, economic and cultural centre of Spain, and the largest city. Th e population is roughly 3.3 mil-lion and the entire population of the Madrid metropolitan area is calcu-lated to be around 6.5 million.

Th e Madrid region features a Medi-terranean climate with cool winters due to its altitude of 667 m above sea level, including sporadic snowfalls and minimum temperatures often below freezing. Summers are warm to hot with temperatures that consistently surpass 30 °C. Due to Madrid’s alti-tude and dry climate, diurnal ranges are often signifi cant during the sum-mer. Precipitation is concentrated in the autumn and spring.

W HiLE Madrid pos-sesses a modern infrastructure, it has preserved

the look and feel of many of its his-toric neighbourhoods and streets. Its landmarks include the Royal Pal-ace of Madrid; the Teatro Real with its restored 1850 Opera House; the Buen Retiro Park, founded in 1631; the 19th-century National Library building, containing some of Spain’s historical archives; a large number of National museums, and the Golden

Velázquez not only provided the Prado with his own works, but his keen eye and sensibility was also responsible for bringing much of the museum’s � ne collection of Italian

masters to Spain.

I.E

.S P

uert

a B

onit

a Dear reader, this magazine you hold in your hands now, is the result of a common effort of students and teachers from different nationalities working in a common project: Link. They have tried to bring their cultural approach to a general issue that concerns to all of them: the world of graphic arts. It is therefore an example of multicultural collaboration, in a profession which is continuously facing big technological challenges, but that still allows, from design to graphic production, to join it in the different national traditions, in a way that enriches everyone. Juan Jándula HernándezIES Puerta Bonita

On April 21 students traveled from Hansberg in Denmark to Madrid to participate in a Leonardo project with schools from Schwiez, Finland, Denmark and Spain.Students must work together and design a magazine there will be printed on offset and digital printing machine in Madrid.Students have been on a fotomathon in Madrid,

This magazine is an

example of multicultural

collaboration, facing big

technological challenges.

The result of a

common effort of

students and

teachers from

different

nationalities

working in a

project.

I.E

.S P

uert

a B

onit

a where they together took a lot of photographs which they will use to the magazine.students are working hard to complete the magazine before students return home Friday.The trip to Madrid has given students plenty of laring in collaboration with students they do not know and with students who do not speak the same language. Students experience also how other schools work. For example, the different rules we have on style and wrapping and how differently we look at what good design is.But it is a good experience for both students and teachers to se the cultural differences there are in the printing industry although we are working on the same machine and programs.Hansberg will say thanks for a wonderful and learning week in Madrid. Look forward to working with you again in switzerland.

The trip to Madrid has

given students plenty of

laring in collaboration

with students they do not

know.

It is a good experience for both students and teachers to se the cultural differences there are in the printing industry.

I.E

.S P

uert

a B

onit

aWe want to analyze the different ways of

facing the inrush of new technologies and tools in

premedia and printing industry. We want to compare the teaching

and learning strategies adopted by the different

partners in their home countries. We want to develop good practices

for education and training and analyze

their effect on the graphic / premedia industry in areas of

strategic importance such as multimedia,

digital printing, digital publishing

and communications technology. We are five

schools in the field of vocational education

from Denmark, Finland, Spain and Switzerland.

Madrid

22 a 24 de Abril

2013

14 15

wake of greats

15

J uan de Yciar was the first in Spain to publish a copy- book; Spanish calligra-

pher, mathematician and writing master, 1515-1590. Author of Arte Subtillissima (1553, Zaragossa) and Arte Breve (1559, Zaragossa). He was born in 1515 in the Basque city of Durango (Vizcaya), stud-ied calligraphy with Tagliente and Palatino, and invented the so-called Spanish Bastarda, and drew many beautiful chancery alphabets. La Orthographia pratica (The Prac-tical Orthography) by Juan de Yciar is the first treatise on Spanish cal-ligraphy. Its author was trained in grammar and the arts. A decisive factor in the birth of this work is the cultural environment at the time in Vizcaya and especially in Aragon,

Juan de Yciar On the wake of greatscalligraphers

where groups of artists carried out their activity under the patronage of Ferdinand the Catholic King, who decidedly fostered the introduction of new Renaissance trends. To dis-cover background, we have to look to Italy, in the works of the great

Renaissance calligraphers. The word that we currently use, calligraphy, was not used in the Renaissance. It had been used in ancient times by Plutarch and Diogenes Laërtius, but it fell into disuse in the Middle Ages and was not recovered until very modern times. Palantino uses the word “Orthographia” in his work and Icíar vindicates this. Recopilación subtillísima intitulada Orthographia Practica was repub-lished in 2003 by Jakider. From that book is his beautiful Latina initial caps. Scan of his Spanish renais-sance alphabet, other alphabets, Ave Maria (1548, from Arte Subtilis-sima), chancery hand, and Cancel-laresca gruesa (1548). Biblioteca complutense de Madrid has images on-line. ■

A pupil of TAglienTe And pAlATino in iTAly, yciAr invenTed

The so-cAlled spAnish BAsTArdA And drew mAny BeAuTiful chAnceryAlphABeTs As The cAncellArescA gruesA.

THe gReAT RenAISSAnCe DYnAMIC FORCe

OF MODeRn

CALLIgRAPHeRS weRe A FOR THe CReATIOn TYPOgRAPHY.

16 17

cogida and deathAt � ve in the afternoon.It was exactly � ve in the afternoon.A boy brought the white sheetat � ve in the afternoon.A frail of lime ready preparedat � ve in the afternoon.� e rest was death, and death alone.At � ve in the afternoon.

� e wind carried away the cottonwoolat � ve in the afternoon.And the oxide scattered crystal and nickelat � ve in the afternoon.Now the dove and the leopard wrestleat � ve in the afternoon.And a thigh with a desolated hornat � ve in the afternoon.� e bass-string struck upat � ve in the afternoon.Arsenic bells and smokeat � ve in the afternoon.Groups of silence in the cornersat � ve in the afternoon.And the bull alone with a high heart!At � ve in the afternoon.When the sweat of snow was comingat � ve in the afternoon,when the bull ring was covered with iodineat � ve in the afternoon.Death laid eggs in the woundat � ve in the afternoon.

At � ve in the afternoon.At � ve o’clock in the afternoon.A co� n on wheels is his bedat � ve in the afternoon.Bones and � utes resound in his earsat � ve in the afternoon.Now the bull was bellowing through his foreheadat � ve in the afternoon.� e room was iridiscent with agonyat � ve in the afternoon.In the distance the gangrene now comesat � ve in the afternoon.Horn of the lily through green groinsat � ve in the afternoon.� e wounds were burning like sunsat � ve in the afternoon,and the people broke the windowsat � ve in the afternoon.At � ve in the afternoon.Ah, that fatal � ve in the afternoon!It was � ve by all the clocks!It was � ve in the shade of the afternoon!

cogida y muerte.A las cinco de la tarde. Eran las cinco en punto de la tarde. Un niño trajo la blanca sábana a las cinco de la tarde. Una espuerta de cal ya prevenida a las cinco de la tarde. Lo demás era muerte y sólo muerte a las cinco de la tarde.

El viento se llevó los algodones a las cinco de la tarde. Y el óxido sembró cristal y níquel a las cinco de la tarde. Ya luchan la paloma y el leopardo a las cinco de la tarde. Y un muslo con un asta desolada a las cinco de la tarde. Comenzaron los sones del bordón a las cinco de la tarde. Las campanas de arsénico y el humo a las cinco de la tarde. En las esquinas grupos de silencio a las cinco de la tarde. ¡Y el toro, solo corazón arriba! a las cinco de la tarde. Cuando el sudor de nieve fue llegando a las cinco de la tarde, cuando la plaza se cubrió de yodo a las cinco de la tarde, la muerte puso huevos en la herida a las cinco de la tarde.   A las cinco de la tarde. A las cinco en punto de la tarde. Un ataúd con ruedas es la cama a las cinco de la tarde. Huesos y � autas suenan en su oído a las cinco de la tarde. El toro ya mugía por su frente a las cinco de la tarde. El cuarto se irisaba de agonía a las cinco de la tarde. A lo lejos ya viene la gangrena a las cinco de la tarde. Trompa de lirio por las verdes ingles a las cinco de la tarde. Las heridas quemaban como soles a las cinco de la tarde, y el gentío rompía las ventanas a las cinco de la tarde. A las cinco de la tarde. ¡Ay qué terribles cinco de la tarde! ¡Eran las cinco en todos los relojes! ¡Eran las cinco en sombra de la tarde!

Llanto por Ignacio Sánchez Mejías

Lament for Ignacio Sánchez Mejíasf e d e r i c of e d e r i c of e d e r i c o

17

Llanto por Ignacio Sánchez MejíasFederico García Lorca

Lament for Ignacio Sánchez Mejías

18 19

DANI

ELGILA cover, my kingdom for A cover!

A pupil of the Ulm School of... design, daniel gil was a disciple of otl Aicher

19

aniel Gil was one of the leading Spanish graphic designers of the 20th cen- tury. Born in Santander, Daniel gil studied in the Academy of Fine Arts of Madrid. In the early 1950s,

he attended the Ulm School of De-sign, where he was a disciple of Otl Aicher. Back in Spain, gil entered as graphic designer in the Hispavox recording house, becoming shortly its Art director. He then worked for two other record labels, namely the Spanish branches of Ariola and RCA.In 1966, gil moved to Alianza edi-torial publishing house, where along almost thirty years he produced

more than 4,000 book covers that made him the best known and rec-ognized Spanish graphical designer.From very young it felt inclination towards the plastic arts what it took to him to study Arts and Offices in Santander and later to realize studies of Beautiful Arts in Madrid. In 1951 he made his first design of cover, for the book of Manuel Maple Letter of peace to a foreign man, published in Santander, in the collection “ Flor”. Daniel gil broke with an aesthetic excessively conventional to intro-duce a new graphical language. During years it contributed to cre-ate one of the most solid images of the Spanish graphical design. It collaborated with other publishing

houses, as Peninsula, euros, Helios and Mondadori. In 1992 left the publishing house in which it had worked for more than twenty-five years and it undertook other activi-ties between which it is precise to emphasize its work in the Museum Thyssen-Bornemisza, where it real-ized its graphical symbol. In 1984 received the gold medal of Beauti-ful Arts.In 2003, a magazine of design, Vis-ual, created Prizes Daniel gil with one double purpose: “to vindicate the work of Daniel gil and the nov-el character of its languages… and emphasize every year the best thing than in the land of book design takes place”. ■

A cover, my kingdom for A cover!A pupil of the Ulm School of... design, daniel gil was a disciple of otl Aicher

DenmarkKøbenhavns Tekniske SkoleJulius Thomsens Gade 5DK-1974 Frederiksberg Cinfo@kts.dkwww.kts.dk

FinlandAmisto Perämiehentie 6Fl-06100 Porvootoimisto.porvoo@amisto.fiwww.amisto.fi

SwitzerlandSchule für Gestaltung St.GallenDernutstrasse 115CH-9012 St.Galleninfo@gbssg.chwww.gbssg.ch

SpainIES Puerta BonitaC/ Padre Amigó 5ES-28025 Madridcentro@iespuertabonita.comwww.iespuertabonita.dom

HansenbergSkovvangen 28DK-6000 Koldinghansenberg@hansenberg.dkwww.hansenberg.dk