An Analysis of the Visual Identification of Early São Paulo City Letterpress Printing Shops: Contributions for Brazilian Design History (original) (raw)
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An Analysis of the Visual Identification of Early Sao Paulo City Letterpress Printing Shops
Lessons to Learn? Past Design Experiences and Contemporary Design Practices Proceedings of the ICDHS, 2020
The emergence of the first corporate visual identity systems in Brazil is still a controversial topic. Most Brazilian scholars agree that such systems were introduced in the early 1960s, and that they would have been influenced by European functionalist design, concrete art, the installation of the first Brazilian 'visual communica-tion' courses, and the incentives for a new model of economic development based on industrial production (Cameira, 2013, p. 32). According to Alexandre Wollner, one of the pioneers of Brazilian graphic design, a corporate visual identity system must provide a coherent graphic language for different artefacts related to the same company. He thus defines corporate identity programmes as: 'Definition of visual elements, signature, typography, color, through an integrated, prescribed constructive modulation which gives it a distinctive visual behaviour. System developed at hfg and currently used worldwide.' (Wollner, 2003, p. 312) On the other hand, Brazilian design historian Rafael Cardoso (2005), affirms: 'that Brazilian design started around 1960 implies not recognising as design everything that was done before that [...] during the fifty to one hundred years prior Letterpress printing shop, graphic identification, graphic memory São Paulo city had a peak of urban growth during the first Brazilian republic, from 1889 to the early 1930s. Letterpress printing shops were influential in this period, having been responsible for much of the printed artefacts. However, the study of these companies and their contribution to Brazilian design history is still incipient, especially regarding the different visual strategies adopted by them to promote their names and services. This article presents an analysis of the graphic elements present in the visual identification of letterpress printing shops operating in São Paulo during the 1900s and 1920s, thus contributing to a better understanding of early 20th century design practices. A set of 702 graphic artefacts , comprising book labels, advertisements, letterheads and photographs were considered. From this set, documents related to four typographic establishments (Duprat & Co., Casa Garraux, Livraria Universal, and Vanorden & Co.) were selected and analysed. Compositions including the names of these companies were analysed in order to determine and describe recurrent use of pictorial, verbal and schematic elements, aimed at establishing whether such elements were part of shared aspects of print culture, or peculiar choices made by printers in order to differentiate their companies.
A database for understanding early Brazilian graphic design
Diseño(s) otro(s). Prácticas y periferias [= Proceedings of ICDHS 2022 - 13th International Conference on Design History and Studies], 2024
This paper presents a database on artifacts printed in São Paulo (Brazil) between 1900 and 1930. This database was developed in order to analyze the recurrence of graphic elements in the identification of letterpress printing shops, verifying the hypothesis that at the beginning of the twentieth century these companies applied graphic identity strategies. Several archival collections were consulted in search of relevant artifacts. The artifacts were photographed and organized in a database that allows for visualizing relationships between elements, cross-referencing historical data and images collected.
AIS/DESIGN JOURNAL STORIA E RICERCHE, 2021
Printing in São Paulo started in 1827, and expanded, in the turn of the 20th century, with the massive arrival of European immigrants, setting the city as an important editorial and printing centre. Names and nationalities of those who produced graphic artifacts during the first 100 years of printing in São Paulo were identified, aiming at a better understanding of the foreign influences in the city’s early printing industry. From which countries São Paulo printers imported their printing supplies? What kind of network existed between immigrant printers and their countries of origin? What aesthetic influences can be observed in the typefaces circulating in São Paulo during this period? The research methods applied for answering those questions involved data collection from primary sources and the development of a database. Most of the owners of the companies identified were of German, Italian, Portuguese, or French origin, or descended from immigrants from these countries.
Designing the Early History of Typography in Brazil, Starting from Printing in São Paulo
ICDHS 10th+1, 2018, Barcelona. Back to the Future. The Future in the Past. Conference Proceedings Book, 2018
Many histories of typography in Brazil have been told from the point of view of book and newspaper publishing. A history of typography in Brazil as part of design history, however, is still to be written, or, better yet, designed. In order to help address this gap in knowledge, a digital platform able to gather data and provide information on the early history of letterpress printing in the city of São Paulo has been devised and implemented by a research team coordinated by the authors of this paper. In addition to textual and numerical information on over 200 trade printers, type foundries, type distributors, and their staff, the platform provides interactive maps showing the location of these companies, and a timeline of their activity from 1827 to 1927. It also offers a reconstruction of the printers' repertoires-samples of the typefaces they used, built from thousands of images collected from printed pages. The result is a rich set of data accessible by anyone interested in learning more about the early history of typography in São Paulo, gathered in a system that allows for systematic updates, and which can be expanded to incorporate data from other periods, sources and locations.
Diseño(s) otro(s). Prácticas y periferias [= Proceedings of ICDHS 2022 - 13th International Conference on Design History and Studies], 2024
Printing activities in São Paulo expanded mainly in the turn of the 19th to the 20th century, powered by the arrival of immigrants. These immigrants brought knowledge and technology in typography and printing, influencing the local printing culture. This article deals with the Hennies Brothers who produced printed artefacts for immigrant communities established in São Paulo, revealing a sense of the multilingual population reflected in the local graphic memory.
European pioneers of São Paulo City Letterpress Printing [AIS Design] artigo
AIS/Design Journal: Storia e Ricerche, 2021
Printing in São Paulo started in 1827, and expanded, in the turn of the 20th century, with the massive arrival of European immigrants, setting the city as an important editorial and printing centre. Names and nationalities of those who produced graphic artifacts during the first 100 years of printing in São Paulo were identified, aiming at a better understanding of the foreign influences in the city's early printing industry. From which countries São Paulo printers imported their printing supplies? What kind of network existed between immigrant printers and their countries of origin? What aesthetic influences can be observed in the typefaces circulating in São Paulo during this period? The research methods applied for answering those questions involved data collection from primary sources and the development of a database.
A brief overview of early printing in Brazil
7ET • 7.º Encontro de Tipografia 7th Typography Meeting: Rhythmus, 2019
The aim of this paper is to present an overview of the emergence of the Brazilian press, raising issues relating to the history of printing and typography in Brazil. Departing from the presentation and discussion of selected specimens, we intend to make a brief historical-critical analysis, displaying an overview of the activities that resulted in the development and expansion of printing technologies in the country. On the methodology of this study, it is important to highlight the literature and field research in valuable collections such as the National Library of Brazil and the National Library of Portugal. Because these are previous results of a doctoral research in progress, what we intend to achieve immediately is the spread of knowledge about the history of the Brazilian press. In addition, this paper seeks to raise questions about formal aspects of printed works in Brazil during the study period, relating them, where possible, with the international context.
Design for Modern Daily Life in Brazil: 1920 - 1960 (English Version)
The MAC Essential Collection brings, in this volume, the “Projects for a modern daily life in Brazil, 1920-1960”, an exhibition that presents a set of works representing the circulation of modern language in the country, especially in the urban environment of the first half of the year. 20th century. In its collection, MAC USP has works by modernist artists that allow us to observe the processes used in the insertion of this language in everyday life. These are mainly projects for illustration, posters, and magazine covers; studies for decorative murals for public and private spaces, and designs of sets and costumes for theater and ballet. The exercise of exhibiting works that do not fit into a conventional register of what is meant by “fine arts” – that is, painting and sculpture – presents its challenges, starting with the terminology used to describe this set. The question, which can be put at first as simply semantic, reveals more profoundly, the yearning for a vocabulary appropriate to the specificities of these objects.
Selected Readings of First Information Design International Conference, 2003
LIMA, G. C. ; MARIZ, S . A new approach to Brazilian book design: the experience of the Civilização Brasileira publishing house, 1950-1960. In: Spinillo, Carla e Coutinho, Solange.. (Org.). Selected Readings of First Information Design International Conference. 1 ed.. 1 ed. Recife:: The Brazilian Society of Information Design, 2004, v. , p. 36-44. A Editora Civilização Brasileira foi, sem dúvida, um marco na história moderna brasileira. Não apenas por ter sido um veículo de um discurso político-ideológico de vanguarda, mas também por servir de exemplo de excelência em vários aspectos da produção editorial. O que iremos apresentar neste artigo é um breve histórico do início do processo de reformulação visual da editora de Ênio Silveira, através do enfoque do design gráfico. No transcorrer de sua existência, a editora tem passado por várias fases, mas sob o comando de Ênio Silveira, foram três períodos nitidamente distintos. O primeiro que vai de 1951 a 1959, foi a fase de estruturação do esquema empresarial. O segundo, de 1959 a 1970, foi a construção de uma identidade visual renovadora e de uma atuação política de esquerda. E o terceiro, a partir de 1970, é representado por uma produção de qualidade decrescente, quando as agruras financeiras impostas pela ditadura militar se fazem sentir na produção dos livros. O presente artigo é o primeiro resultado de uma pesquisa que se iniciou há mais de um ano, e que em 2003 foi incorporada ao tema de mestrado em design de Ana Sofia Mariz, na Pontifícia Universidade Católica do Rio de Janeiro, sob a orientação do professor Luiz Antonio Coelho e a coorientação do professor Guilherme Cunha Lima."