The experimental character of typography as well as the exploration and use of text as an image, are seen in the history of graphic design with the proposals of the artistic movements of the twentieth century that broke with the traditional canons of the aesthetics of the printed page and, consequently, with the structure of the graphic language in force at the time. The power of the word as an image gained prominence, questioning the rules of typography to reveal new possibilities for articulating the language of graphic design. Poets, graphic artists and typographers saw in the rupture of the traditional use of the word the possibility of its valorization as a sign with expressive and imagistic power.
The breaking of linearity and consequently the non-traditional use of its material components, awakened a new dimension to the language of analogical typography thus perceived in the constructivist proposal. Typography was consolidated as an expressive sign.
Still in the twentieth century, the principles of simultaneity found in the collage and cubist painting of Picasso and Braque open a new dimension of time-space representation for art and that were also reflected in typography.
More contemporary movements such as postmodernism have emphasized deconstruction and hybridity in language, important vectors for experimental typographic composition.
It is in this sense that my discussion in the artistic field of letterpress takes place, exploring the imagetic character of the word and the resignification of language, components present on the front of graphic experimentation.