Priscila Farias
Universidade de São Paulo, Faculdade de Arquitetura e Urbanismo, Faculty Member
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Graphic design history, Semiotics, Design, Typography, Type design, Punk, and 26 moreLetterpress (Art), Lettering, Epigraphy, Graphic Design Activism, History and Memory, Legibility, Typography and Architecture, Visual Arts, Charles S. Peirce, Epigraphy (Archaeology), Information Design, Infographics and data visualization, Peircean Semiotics, Diagrammatic Reasoning, Peirce Pragmaticist Semiotics, Peirce, Charles Sanders Peirce, Knowledge Discovery with Diagrams, Diagrammatic Design, Design Da Informação, Infográficos, Print Culture, Design History, Typeface Design, Design History and Theory, and Punk Culture edit
Forme della tipografia nello spazio pubblico Lettering urbano a Venezia Insegne come patrimonio culturale Nel corso della storia dell'umanità, come è noto, il disegno delle lettere ha rivestito un ruolo imprescindibile garantendo la... more
Forme della tipografia nello spazio pubblico Lettering urbano a Venezia Insegne come patrimonio culturale Nel corso della storia dell'umanità, come è noto, il disegno delle lettere ha rivestito un ruolo imprescindibile garantendo la possibilità di dare forma alla comunicazione e di diffondere le conoscenze in special modo attraverso la scrittura. Suggerisce a questo proposito George Kubler (1976):
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Sociology and InfoDesign
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Computer Science and Art
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Geography and InfoDesign
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Humanities and Art
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Engineering and Truck
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This essay sheds light on Brazilian artist Hudinilson Jr.’s Cadernos de referências (c. 1981-2013), a series of dense and layered scrapbooks. Through an analysis of layouts and media, the investigation highlights the extensive design and... more
This essay sheds light on Brazilian artist Hudinilson Jr.’s Cadernos de referências (c. 1981-2013), a series of dense and layered scrapbooks. Through an analysis of layouts and media, the investigation highlights the extensive design and cultural implications that the practice triggers. The focus lies primarily on formal recurrences and narrative strategies identified on double page spreads, revealing how they condense the artist’s queer poetics. The Cadernos emerge as an everyday practice of exploration of the human body, a space for self-design and cultural resistance, and a tool for questioning the relationship between the exposed body, self-image, and mass media.
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Humanities and Art
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A historia da tipografia brasileira, especialmente no que concerne ao desenho dos tipos, ainda e um assunto pouco explorado por pesquisadores da area de design. Levando em consideracao que as fundicoes de tipos nacionais podiam fabricar... more
A historia da tipografia brasileira, especialmente no que concerne ao desenho dos tipos, ainda e um assunto pouco explorado por pesquisadores da area de design. Levando em consideracao que as fundicoes de tipos nacionais podiam fabricar fontes com desenhos originais ou reproduzir desenhos estrangeiros, este artigo descreve os metodos e procedimentos adotados para identificar e estabelecer as origens das faces tipograficas presentes nos catalogos de tipos da Funtimod – Fundicao de Tipos Modernos, a maior empresa brasileira do ramo no seculo 20. A partir da aplicacao da metodologia aqui descrita, que tem como destaque a utilizacao de metodos analiticos comparativos, concluiu-se que a maior parte da colecao tipografica da Funtimod era formada por tipos cujos desenhos foram originalmente projetados por empresas alemas.
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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... more
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 Sao 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 lear...
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A chapter co-written with Brazilian research colleagues Priscila Farias and Anna Gouveia, which argues for the serious consideration and preservation of these small inscriptions, which contribute much to our understanding the... more
A chapter co-written with Brazilian research colleagues Priscila Farias and Anna Gouveia, which argues for the serious consideration and preservation of these small inscriptions, which contribute much to our understanding the architectural development and social history of the centre of Sao Paulo.
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Art and Typography
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Humanities and Art
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Focusing on the first centenary of letterpress printing in São Paulo city, this study examines the newspaper Echo Portuguez. Printed in 1897, the newspaper was aimed at the Portuguese colony in Brazil, especially in the state of São... more
Focusing on the first centenary of letterpress printing in São Paulo city, this study examines the newspaper Echo Portuguez. Printed in 1897, the newspaper was aimed at the Portuguese colony in Brazil, especially in the state of São Paulo, committed to preserving harmony between the two people (Cunha & Noronha, 1897). The research presented in this paper aimed at recovering the typographic repertoire used in this newspaper, unveiling the typefaces used and their foundries. Because it was printed by Typographia Hennies Irmãos (Hennies Brothers Letterpress Printing Shop), whose founders were of German origin, the initial hypothesis was that the typefaces used were of German origin. The corpus of study involved the typefaces used in titles, subtitles and ads. Types were quantified and grouped before methods of identification, collection and image treatment were applied, in order to organize the typefaces organized into families and make them available in the digital platform Tipografia Paulistana. An online database was created and shared with other researchers, encouraging a collaborative way of identifying typefaces. Type samples from Echo Portuguez were compared with typefaces found in type specimens and books about typefaces, mainly European and American. As a result, 27 typefaces were identified, but it was possible to establish potential manufacturers or founders only for 13 of them. Among those potential founders of typefaces and ornaments there are AU Jade Piaia, Priscila Farias KW Typography, Letterpress printing, Type specimen, Graphic memory.
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Distilled from sugarcane juice, cachaça (also known as aguardente, pinga, cana, and many other names) is the most popular liquor in Brazil, and the basis for the well-known cocktail caipirinha. As any other strong alcoholic beverage,... more
Distilled from sugarcane juice, cachaça (also known as aguardente, pinga, cana, and many other names) is the most popular liquor in Brazil, and the basis for the well-known cocktail caipirinha. As any other strong alcoholic beverage, cachaça is considered to be mostly a male drink. Almost all of the names for cachaça, however (including ‘cachaça’ itself), are female nouns in Portuguese, which is a language with grammatical gender. In fact, one of the possible etymological origins for cachaça is an ancient Portuguese name for a female pig. As a result, many popular sayings or jokes involving cachaça drinking are based on the liquor/woman metaphor, giving rise to a common category for women and alcohol that builds up in Brazilian culture most probably since the seventeenth century (with the rise of cachaça production in Brazil), extending the female-alcohol connection to other popular drinks, like beer (also a female noun in Portuguese). This might be the reason why many cachaça producers choose female names for their brands, and, even when they don’t, they choose to have a woman represented in their labels. Based on an analysis of the graphic and verbal elements found in 50 cachaça labels produced in the early to the mid twentieth century, this paper intends to describe the main strategies of representation connecting women and alcohol adopted by cachaça producers and cachaça label designers and printers.
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The 1980s witnessed major changes that would eventually reconfigure the world, especially in political and social terms. In Brazil, this process gained greater relevance with the end of the military dictatorship, the redemocratisation of... more
The 1980s witnessed major changes that would eventually reconfigure the world, especially in political and social terms. In Brazil, this process gained greater relevance with the end of the military dictatorship, the redemocratisation of the country and a strong economic stagnation. The increasing attention given to youth in Western cultures since the end of World War II ensured them importance never experienced before. This situation led industry and commerce to direct production and sales efforts to this target audience. The new protagonists in the cultural and musical scene were politicised, but less pamphleteer, sarcastic and commercial rock bands. The recording industry had a peak that preceded the crisis of the following decades. Because of their visibility and visuality, vinyl record covers conquered a special space in the collective imagination of an entire generation. After previous music movements such as Jovem Guarda and Tropicália, 1970s Brazilian rock, influenced by psychedelism, resonated with the experience of countryside alternative communities. Having access to foreign music production in the early 1980s was not easy, but young people in large Brazilian urban centres were attentive to the international sociocultural scene, especially London and New York. Vinyl records or cassette copies of bands such as The Sex Pistols, The Clash, The Police, The Ramones, The New York Dolls and The Talking Heads circulated among homes, classrooms, parties and different social classes, Visual design, music, Brazil, 20th century In the early 1980s, along with the emergence of pro-redemocratisation movements in Brazil and the participation of the youth in this process, Brazilian rock gained popularity and importance in mass culture, giving album covers of this musical genre a prominent place in the affective memory of a whole generation. After a brief historical contextualisation, this paper presents a visual analysis of 90 Brazilian rock album covers from the 1980s, aiming to understand their visual structures, the relationships established between their constitutive elements and their main formal characteristics, even as their visual influences and references. To this end, design theories on visual language and typography were applied, as well as the observation and examination of the selected album covers. That resulted in a better understanding of the relationship between design, visual language and the production of symbolic values associated with culture, in particular with graphic culture, youth culture and Brazilian rock culture.
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The first printing presses were officially established in Brazil in 1808. Printing in São Paulo city started in 1827, and expanded in the late nineteenth and early twentieth century, setting the city as the main Brazilian editorial and... more
The first printing presses were officially established in Brazil in 1808. Printing in São Paulo city started in 1827, and expanded in the late nineteenth and early twentieth century, setting the city as the main Brazilian editorial and printing centre. Many of the early São Paulo city printing shops were founded by German and Italian immigrants and produced printed artefacts aimed at immigrant communities. Typographia Hennies Irmãos (Hennies Brothers' Letterpress Printing Shop) is an example of this. The company was founded by German emigrant brothers Heinrich and Theodor Hennies in 1891 and passed on to three generations until it closed down in 1992. This article describes and discusses the research methods adopted to unravel the trajectory of an immigrant letterpress printing practice of German origins in Brazil, contributing to studies on migrating graphic memory and print culture. Primary sources, such as documents and printed publications in the German language produced for the immigrant community were examined, revealing important data on the artefacts produced by this printing shop and its typographic repertoire.
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There is a renewed interest today, in Italy and abroad, towards forms of typography and publishing tightly linked to the revival of pre-digital tools and techniques (Bonini Lessing, Bulegato & Farias, 2019). Over the past thirty years,... more
There is a renewed interest today, in Italy and abroad, towards forms of typography and publishing tightly linked to the revival of pre-digital tools and techniques (Bonini Lessing, Bulegato & Farias, 2019). Over the past thirty years, the instantaneous speed of mass production made possible by digital technologies has been accompanied , almost as a natural counterpoint, by the interest of producers , designers and users in rediscovering manual production and the material, aesthetic and sensory qualities of short-run or custom-printed artefacts. This 'rediscovery' was, to a great extent, motivated by an appreciation for craftsmanship, that is, for the skill required to make things by hand, but also for the imprecision inherent in the techniques used. It is also linked to the emergence of more selective and competent consumers, supporters of 'slow' consumption practices, custom-made goods, and of issues such as sustainability, ethics, and respect for tradition. As we will see, this revival was fuelled both by the interest of design historians and theorists in original or long-neglected forms and sources, and by the interest of designers and printers in collecting and reviving typefaces, presses and tools for typesetting by hand, papers and Print culture, typography, graphic memory In the early decades of the twenty-first century, parallel to digital technology developments and growing concern about sustainability, design literature recorded a renewed interest in early typographic practices, such as letterpress printing, handmade paper and binding, and short-run editions. This interest materialised in various ways: the digital revival of historical typefaces; 3d printing of physical type; 'independent' letterpress printers; and archives, collections and museums dedicated to type and typography. This state of affairs provided new perspectives and concerns for design as a field responsible, among other things, for the conception and production of printed artefacts. It also posed a call for new ways of capturing and describing the multiple aspects of typographic culture and history. One of the main sites where typography developed historically in Europe, is the city of Venice and the Veneto region, where pioneer letterpress printers and type designers, such as Aldo Manuzio and Francesco Griffo, as well as important binders, paper mills and ink manufacturers have worked since the fifteenth century. This article presents and discusses the results of a research project that examined how design studies and methods can contribute to a better understanding and to the preservation of typographic heritage in Italy.
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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... more
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.
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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... more
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.
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Este artigo tem como objetivo apresentar um modelo de análise para a tipografia baseado em princípios da semiótica de extração peirceana. Parte-se da compreensão da tipografia em um sentido amplo, que inclui o design de letras e o design... more
Este artigo tem como objetivo apresentar um modelo de análise para
a tipografia baseado em princípios da semiótica de extração peirceana.
Parte-se da compreensão da tipografia em um sentido amplo, que inclui
o design de letras e o design com letras, independentemente do modo de
produção ou reprodução. Tal definição inclui, portanto, manifestações da
linguagem gráfica verbal que, de um ponto de vista mais restrito, seriam
mais bem descritos como escrita ou letreiramento (Farias, 1998, 2004).
A tipografia, neste sentido amplo, faz parte do campo da cultura
visual, e, no caso de suas manifestações reproduzidas através das mais
diversas tecnologias gráficas, da cultura da impressão. O suporte mais
tradicional para a tipografia, assim concebida, é o livro. Por este motivo,
o modelo aqui proposto toma como referência a letra impressa que faz
parte de um volume para definir seus níveis microscópico, macroscópico,
e intermediários (ou mesoscópicos) de análise.
a tipografia baseado em princípios da semiótica de extração peirceana.
Parte-se da compreensão da tipografia em um sentido amplo, que inclui
o design de letras e o design com letras, independentemente do modo de
produção ou reprodução. Tal definição inclui, portanto, manifestações da
linguagem gráfica verbal que, de um ponto de vista mais restrito, seriam
mais bem descritos como escrita ou letreiramento (Farias, 1998, 2004).
A tipografia, neste sentido amplo, faz parte do campo da cultura
visual, e, no caso de suas manifestações reproduzidas através das mais
diversas tecnologias gráficas, da cultura da impressão. O suporte mais
tradicional para a tipografia, assim concebida, é o livro. Por este motivo,
o modelo aqui proposto toma como referência a letra impressa que faz
parte de um volume para definir seus níveis microscópico, macroscópico,
e intermediários (ou mesoscópicos) de análise.
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Little is known about the artefacts produced during the first century of printing in Brazil, and especially with regard to one particular genre of publication: type specimens. This paper describes the content and informational... more
Little is known about the artefacts produced during the first century of printing in Brazil, and especially with regard to one particular genre of publication: type specimens. This paper describes the content and informational organization of four type specimens published between the nineteenth and early twentieth centuries, revealing the typographic materials of the time, and how they were made available.
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Este artigo apresenta um estudo comparado acerca de inscrições contendo os nomes de arquitetos e construtores encontradas em fachadas de edifícios nas cidades de São Paulo e Londres. Para o estudo, 123 epígrafes arquitetônicas encontradas... more
Este artigo apresenta um estudo comparado acerca de inscrições contendo os nomes de arquitetos e construtores encontradas em fachadas de edifícios nas cidades de São Paulo e Londres. Para o estudo, 123 epígrafes arquitetônicas encontradas no centro histórico da cidade de São Paulo foram comparadas com 71 inscrições do mesmo tipo encontradas nas regiões de Westminster e Camden, na área central de Londres. O foco das análises é o aspecto informacional das inscrições, incluindo sua localização, tamanho, configuração tipográfica e conteúdo.
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In his 1903 Syllabus, Charles S. Peirce makes a distinction between icons and iconic signs, or hypoicons, and briefly introduces a division of the latter into images, diagrams, and metaphors. Peirce scholars have tried to make better... more
In his 1903 Syllabus, Charles S. Peirce makes a distinction between icons and iconic signs, or hypoicons, and briefly introduces a division of the latter into images, diagrams, and metaphors. Peirce scholars have tried to make better sense of those concepts by understanding iconic signs in the context
of the ten classes of signs described in the same Syllabus. We will argue, however, that the three kinds of hypoicons can better be understood in the context of Peirce’s sixty-six classes of signs. We analyze examples of hypoicons taken from the field of information design, describing them in the framework of the sixty-six classes, and discuss the consequences of those descriptions to the debate about the order of determination of the 10 trichotomies that form those classes.
of the ten classes of signs described in the same Syllabus. We will argue, however, that the three kinds of hypoicons can better be understood in the context of Peirce’s sixty-six classes of signs. We analyze examples of hypoicons taken from the field of information design, describing them in the framework of the sixty-six classes, and discuss the consequences of those descriptions to the debate about the order of determination of the 10 trichotomies that form those classes.
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This paper is a follow up to some of the authors' ISEA 2017 paper " Towards an inventory of good practices for transdisciplinary collaboration. " A key issue identified there was how to develop training methods for teams that bridge very... more
This paper is a follow up to some of the authors' ISEA 2017 paper " Towards an inventory of good practices for transdisciplinary collaboration. " A key issue identified there was how to develop training methods for teams that bridge very different research, development and assessment methodologies. In this paper, we propose design methods to improve transdisciplinary collaborations, with a particular discussion on the emerging community of practice that seeks to enable art-science collaboration. An ISEA workshop is also proposed to make explicit the methodologies described.
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In 2011, I started an ambitious research project entitled “São Paulo cityGraphic Memory: exploratory studies on typography and identity,” which aimed to understand the configuration of the city’s visual identity through the study of... more
In 2011, I started an ambitious research project entitled “São Paulo cityGraphic Memory: exploratory studies on typography and identity,” which aimed to understand the configuration of the city’s visual identity through the study of typographic artifacts that were produced and circulated in São Paulo. One of the results of this research was a website dedicated to cataloging the typefaces used by São Paulo printers. The research had several developments, including the development of a second digital platform for the dissemination of data on the first 100 years of printing with movable type in São Paulo city (1817-1927), called 'Tipografia Paulistana' < http://www.fau .usp.br/tipografiapaulistana > (see also Farias et. al 2018 and Farias 2019).
More than 200 letterpress printers were identified, and the typographic repertoires —sets of typefaces available for printing in their workshops— began to be cataloged from printed matter (almanacs, newspapers, book covers). The protocol described here was created to guide the members of the research team, formed by undergraduate and postdoctoral research fellows who have been working on the identification, collection and organization of the typographic elements that make up these repertoires, and was perfected by them.
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Em 2011, dei início a um ambicioso projeto com o título “Memória Gráfica Paulistana: estudos exploratórios sobre tipografia e identidade,” que tinha como objetivo a compreensão da configuração da identidade visual da cidade através do estudo de artefatos tipográficos produzidos e veiculados em São Paulo. Um dos resultados desta pesquisa foi um site dedicado à catalogação dos tipos usados por impressores paulistanos. A pesquisa teve diversos desdobramentos, incluindo o desenvolvimento de uma segunda plataforma digital para a divulgação de dados sobre os primeiros 100 de impressão com tipos móveis na capital paulista (1817-1927), chamada ‘Tipografia Paulistana’ < http://www.fau.usp.br/tipografiapaulistana > (ver também Farias et. al, 2018 e Farias, 2019). Mais de 200 impressores foram identificados, e os repertórios tipográficos conjuntos de famílias tipográficas disponíveis para impressão em suas oficinas— passaram a ser catalogados a partir de impressos (almanaques, jornais, folhas de rosto de livros). O protocolo aqui descrito foi criado para orientar os membros da equipe, formada por bolsistas de iniciação científica e de pós-doutorado 1 que vem se dedicando ao trabalho de identificar, coletar e organizar os elementos tipográficos que compõem estes repertórios, e aperfeiçoado por eles.
More than 200 letterpress printers were identified, and the typographic repertoires —sets of typefaces available for printing in their workshops— began to be cataloged from printed matter (almanacs, newspapers, book covers). The protocol described here was created to guide the members of the research team, formed by undergraduate and postdoctoral research fellows who have been working on the identification, collection and organization of the typographic elements that make up these repertoires, and was perfected by them.
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Em 2011, dei início a um ambicioso projeto com o título “Memória Gráfica Paulistana: estudos exploratórios sobre tipografia e identidade,” que tinha como objetivo a compreensão da configuração da identidade visual da cidade através do estudo de artefatos tipográficos produzidos e veiculados em São Paulo. Um dos resultados desta pesquisa foi um site dedicado à catalogação dos tipos usados por impressores paulistanos. A pesquisa teve diversos desdobramentos, incluindo o desenvolvimento de uma segunda plataforma digital para a divulgação de dados sobre os primeiros 100 de impressão com tipos móveis na capital paulista (1817-1927), chamada ‘Tipografia Paulistana’ < http://www.fau.usp.br/tipografiapaulistana > (ver também Farias et. al, 2018 e Farias, 2019). Mais de 200 impressores foram identificados, e os repertórios tipográficos conjuntos de famílias tipográficas disponíveis para impressão em suas oficinas— passaram a ser catalogados a partir de impressos (almanaques, jornais, folhas de rosto de livros). O protocolo aqui descrito foi criado para orientar os membros da equipe, formada por bolsistas de iniciação científica e de pós-doutorado 1 que vem se dedicando ao trabalho de identificar, coletar e organizar os elementos tipográficos que compõem estes repertórios, e aperfeiçoado por eles.
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The research presented in this paper focused on finding and cataloging letters used by nineteenth century letterpress printers in the city of São Paulo, contributing to a collection shared through the site Tipografia Paulistana (f... more
The research presented in this paper focused on finding and cataloging letters used by nineteenth century letterpress printers in the city of São Paulo, contributing to a collection shared through the site Tipografia Paulistana (f au.usp.br/tipografiapaulistana) . It was sought to expand the knowledge and to highlight letterpress printing as part of the memory of the city.
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The research presented in this paper is part of the project “Memória Gráfica Paulistana”, which aims to investigate the formation of a typographic repertoire in São Paulo in the nineteenth century through the cataloguing of fonts and... more
The research presented in this paper is part of the project “Memória Gráfica Paulistana”, which aims to investigate the formation of a typographic repertoire in São Paulo in the nineteenth century through the cataloguing of fonts and typefaces used by companies that were active in the city during this period. It focused on the newspaper O Farol Paulistano, considered the initial mark of printing in São Paulo, in 1827, and remembered as an important instrument of mobilization and political debate during the crisis of Don Pedro I First Reign (1822-1831) up to the beginning of Don Pedro II Regency (1831-1840).
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The main objectives of the project described in this paper were: To contribute to the research on São Paulo city graphic memory through the identification of non-verbal graphic elements (typographic ornaments and vignettes) found in the... more
The main objectives of the project described in this paper were: To contribute to the research on São Paulo city graphic memory through the identification of non-verbal graphic elements (typographic ornaments and vignettes) found in the commercial almanacs published in 1878, 1888 and 1898 by Jorge Seckler’s printing shop; to feed the Tipografia Paulistana website database with the identified images ; and to verify if the gradual decrease in the use of ornamented letters 19th century almanacs identified by Farias & Cunha Lima (2016) was related to an increase in the use of illustrations and vignettes in this kind of publication.
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Tendo como objetivo conhecer mais sobre a produção tipográfica brasileira, em particular a paulistana, contribuindo para os estudos sobre memória gráfica paulistana do século XIX e XX, a pesquisa relatada neste artigo consistiu na... more
Tendo como objetivo conhecer mais sobre a produção tipográfica brasileira, em particular a paulistana, contribuindo para os estudos sobre memória gráfica paulistana do século XIX e XX, a pesquisa relatada neste artigo consistiu na catalogação do repertório tipográfico de Jorge Seckler, importante impressor de almanaques comerciais de São Paulo. Dando continuidade a estudos realizados por outros integrantes da equipe de pesquisa, examinou-se o almanaque editado por Seckler para o ano de 1884. As 46 famílias tipográficas encontradas neste almanaque foram então comparadas com as fontes utilizadas em publicação do mesmo impressor para o ano de 1878, chegando assim a uma descrição da evolução de seu repertório.
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Design and Heritage provides the first extended study of heritage from the point of view of design history. Exploring the material objects and spaces that contribute to our experience of heritage, the volume also examines the processes... more
Design and Heritage provides the first extended study of heritage from the point of view of design history. Exploring the material objects and spaces that contribute to our experience of heritage, the volume also examines the processes and practices that shape them. It demonstrates that design historical methods of inquiry contribute significantly to critical heritage studies. Academics, researchers and students engaged in the study of heritage, design history, material culture, folklore, art history, architectural history, and social and cultural history will find much to interest them within the book.