This piece is included in the New Impressions Exhibition on display at the museum April 17-June 30, 2019. There are a limited number of these prints available.
Graphic artist, typographer and letterpress printer. He concluded his studies at Rudolf Steiner, a German school in São Paulo (Waldorfschule) with a course in graphic arts and has a Bachelor's Degree in Visual Arts from Fundação Armando Alvares Penteado (FAAP) and a post-graduation course in Graphic Design from Faculdade Belas Artes de São Paulo. He has a Master's Degree in Education, Art and Culture History from Faculdade Presbiteriana Mackenzie and a Ph.D. in Social History from University of São Paulo (USP). He is currently a Design lecturer at Escola Superior de Propaganda e Marketing (ESPM). He is a founding partner at O cina Tipográ ca São Paulo, a NGO dedicated to researching Brazilian graphic memory, courses and projects in typographic language. His work in graphic design and visual arts focuses on experimental typography. In his atelier Letterpress Brasil, he develops letterpress and graphic design projects.
Description of Process
The poster "Letterpress, the language of touch" [70 x 48 cm] was developed to combine the concept of reading Braille with the letterpress language, using the digital font created by Kosuke Takahashi: Braille Neue. The uniqueness of letterpress is due to the relief, the texture of the types and ornaments and the touch of the paper. As it is a direct impression system, the plate touches the paper directly, which can be easily noticed while reading, be it a book or an art piece, either seeing or touching it. Letterpress allows for a rich perception process: reading with your eyes as well as with your hands represents a unique sensory experience. Similarly, reading Braille means using your touch to decode its signs. Letterpress, the language of touch! For this project, the wood types, metal types (plates) and positive/negative plates have been especially designed for the high relief of Braille. The poster was printed with 22 runs with ink for the optimal register of the details and 6 blind runs to create the high relief. The printers used were a Vandercook Universal III and a platen press adapted to large formats.